TEXT: © Palladium Books®
  By Kevin Hassall
  Through the
  Glass Darkly
  ™
  Nightbane
  ® World Book Three:
  Palladium Books® Presents:
  Quentin Milton (Order #26014138)
  
  Warning! 
  Violence and the Supernatural 
  The fictional World of Nightbane® is one of horror, violence, and brutality, as well as heroics and triumph. 
  It is filled with supernatural monsters and other dimensional beings, often referred to as "demons," many of 
  whom torment, stalk and prey on humans. Other alien life forms, monsters, angels, demons, gods and demigods, 
  as well as magic, the paranormal, occult, insanity, torment and war are all elements in this book. 
  Some parents may find the violence and supernatural aspects of the game inappropriate for young read­
  ers/players. We suggest parental discretion. 
  Please note that none of us at Palladium Books condone nor encourage the occult, the practice of magic, the 
  use of drugs, or violence. The magic in this book is not real! 
  Nightbane® World Book Three. 
  Compatible with the entire Palladium Books® Megaverse®! 
  1 
  Quentin Milton (Order #26014138)
  
  Dedicated to all of our hard working freelancers. 
  --
  Maryann Siembieda, 1997 
  Other Palladium titles suitable for the Nightbane™ setting: 
  Nightbane® RPG -a must! 
  Nightbane® World Book 1: Between the Shadows™ 
  Nightbane® World Book 2: Nightlands™ 
  Mystic China™ 
  Ninjas & Superspies™ RPG 
  Beyond the Supernatural™ RPG,' 1 st or 2nd Editions 
  Boxed Nightmares, a BTS Sourcebook 
  Compendium o/Contemporary Weapons 
  And possibly Dragons & Gods and other Palladium Fantasy RPG® and Rifts® titles. 
  PDF Edition - July 2018 
  Copyright 1997 Palladium Books Inc. and Kevin Siembieda 
  All rights reserved, world wide, under the Universal Copyright Convention. No part of this book may be reproduced in part or whole, in any form or 
  by any means, without permission from the publisher, except for brief quotes for use in reviews. All incidents, situations, institutions, governments 
  and people are fictional and any similarity, without satiric intent, of characters or persons living or dead, is strictly coincidental. 
  Palladium Books®, Rifts®, RECON®, and Megaverse® are registered trademarks owned and licensed by Kevin Siembieda and Palladium Books Inc. 
  Nightbane, Nightlords, Nightlands, Dreamstream, Mirrorwall, Fleshsculptors, Mirrormage, Cybermage, Channellers, Bloodmage, Living Magic, 
  Shadow league, Lightbringers, Beyond the Supernatural, and other names and titles are trademarks owned by Kevin Siembieda and Palladium Books 
  Inc. 
  Through the Glass Darkly: Nightbane® World Book Three is published by Palladium Books Inc., 39074 Webb Court, Westland, 
  MI 48185. Printed in the USA. 
  2 
  Quentin Milton (Order #26014138)
  
  Palladium Book�® Pre�enn: 
  Nightbane® World Book Three: 
  rou 
  t e 
  Written By: Kevin Hassall 
  Game System & Additional Text: Kevin Siembieda 
  Editors: Alex Marciniszyn 
  Jim Osten 
  Kevin Siembieda 
  Proofreader: Julius Rosenstein 
  Cover Painting: Fred Fields 
  Interior Artists: Ramon Perez, Jr. 
  Roger Petersen 
  Scott Johnson 
  Kent Buries 
  Martin McKenna 
  Art Direction & Keylining: Kevin Siembieda 
  Typography: Maryann Siembieda 
  a�� ar 
  Base on the RPG rules, characters, concepts and Megaverse® created by Kevin Siembieda. 
  Special Thanks and a hearty welcome to writer of the macabre, Kevin Hassall - I loved what he did with 
  this book and I can hardly wait see what he comes up with next. Fred Fields for a haunting cover. Ramon, Scott, 
  Roger, Kent and the other artists for another frightful excursion into the bizarre. And to Maryann, Alex, Jim, 
  Steve and Julius for their subtle magic. 
  - Kevin Siembieda 
  3 
  Quentin Milton (Order #26014138)
  
  Contents 
  Chapter 1: Magic After Dark Day .............. 7 
  What is Magic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 8 
  Occult & Mystic Revivals ....................... 8 
  Chapter 2: Magic O.c.c.s ..................... 9 
  A few New Skills ............................. 9 
  Sorcerer O.C.C ................................ 10 
  Mystic O.C.C ................................. 12 
  Acolyte O.C.C ................................ 13 
  Channeller O.C.c. ............................. 14 
  Cybermage O.C.c. ............................ 17 
  Cybermagic O.C.c. ............................ 19 
  Fleshsculptor O.C.c. ........................... 20 
  Mirrormage O.C.C ............................. 21 
  Nemesis R.C.C ................................ 23 
  Optional Color, Abilities & Considerations . . . . . . . .. 24 
  Sorcerous Proficiencies (optional) .............. 24 
  Sorcerous Limitations or Weaknesses (optional) ... 27 
  Multiple Personalities ........................ 28 
  Characters & Context . . . . . . . . . . . . . . . . . . . . . . . . 30 
  Chapter 3: The Sorcerous Endeavor ............ 33 
  Living Magic ................................. 33 
  The Dangers of Too Much Magic ................. 34 
  Random Manifestations of Magic (table) ......... 34 
  Magical Investigations . . . . . . . . . . . . . . . . . . . . . . . . . 36 
  Inventing Spells ............................... 36 
  Rules for Inventing Spells .................... 37 
  Failed Spell Invention Table ................... 38 
  Spell Variants .............................. 38 
  Creation of an entirely "New" Spell ............. 39 
  More Notes on Magic .......................... 39 
  Access to Specialized Magics ................. 39 
  New & Modified Magic ...................... 39 
  Adding Cultural Touches ..................... 41 
  Spells & Adventure Hooks .................... 42 
  Miscasting Spells ............................. 42 
  Spell Magic Gone Wrong ..................... 43 
  Summonings Gone Wrong .................... 44 
  Creating Charms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 
  Familiars .................................... 45 
  Nightlands Familiars ......................... 49 
  Magical Divination ............................ 53 
  Random Divinations . . . . . . . . . . . . . . . . . . . . . . . . . 54 
  Divination through Sacrifice .................. 55 
  Chapter 4: New Spells ......................... 55 
  Sorcery/Wizardry Spells ...................... 56 
  Fleshsculptor Magic . . . . . . . . . . . . . . . . . . . . . . . . . 63 
  Mirror Magic ............................... 71 
  Chapter 5: The Shadowleague .................. 76 
  Who Runs the Shadowleague? ................ 77 
  Welcome to the Shadowboard ................. 78 
  Steward's Secret Agenda ..................... 79 
  4 
  The Free Houses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 
  Discussion Groups ............................ 83 
  Sample Shadowleague Members ................. 84 
  The Gathering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 
  Adventure Ideas ............................... 86 
  Chapter 6: Brotherhoods ...................... 87 
  The Seekers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 
  The Brotherhood of True Illumination . . . . . . . . . . . . . 90 
  Lesser Brotherhoods . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 
  The Order of the Cobra ....................... 95 
  The Iron Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 
  The True Templars . . . . . . . . . . . . . . . . . . . . . . . . . . 97 
  The Bossu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 
  The Immortals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 
  Chapter 7: Magical Sites ...................... 101 
  Legendary Sites ............................... 101 
  General Types of Sites .. . . . . . . . . . . . . . . . . . . . . . .. 102 
  Demon's Pools . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 104 
  Sacred Groves .............................. 
  Haunted Houses ............................ 
  Modern Monuments ......................... 
  105 
  105 
  106 
  Minor Sites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 107 
  Other Worlds ............................... 108 
  Chapter 8: Arcane Echoes ..................... 108 
  The Dull Jar of AI' Adin . . . . . . . . . . . . . . . . . . . . .. 109 
  The Haussman Memorial Slaughterhouse . . . . . . .. 111 
  The Perfect Heart . . . . . . . . . . . . . . . . . . . . . . . . . .. 113 
  Raiding History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 114 
  Voodoo Enchantments . . . . . . . . . . . . . . . . . . . . . .. 114 
  The Tools of Black Magic . . . . . . . . . . . . . . . . . . .. 117 
  Historical Magical Artifacts (ideas) ............... 119 
  Talismans of Teta . . . . . . . . . . . . . . . . . . . . . . . . . .. 119 
  The Babylonian Devil-Trap ................... 120 
  Changing the Ground Rules ................... 120 
  Chapter 9: Story Plots & Adventures ............ 121 
  Some Story Guidelines ......................... 121 
  Campaign Subplots .......................... 124 
  Theme & Content ........................... 126 
  Chapter 10: The Adventures ................... 127 
  Wired Mothers ............................... 127 
  Elisa Brown/Jeffries ......................... 129 
  All Men Are Bastards . . . . . . . . . . . . . . . . . . . . . . . . .. 131 
  Floretta (aka Florrie) ......................... 132 
  Christian Schaller ........................... 132 
  Sheltering Florrie ........................... 137 
  Shaller's Goons ............................. 138 
  Mother & Child . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 141 
  Devika .................................... 146 
  A 
  d· 
  ppen IX 
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   150 
  The Mirrorwall ............................. 150 
  Experience Tables. . . . . . . . . . . . . . . . . . . . . . . . . . .. 152 
  Quentin Milton (Order #26014138)
  
  Quick Find 
  Experience Tables ............................ 152 
  Great Circle, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 
  Hand of Glory (ritual) . . . . . . . . . . . . . . . . . . . . . . . . .. 118 
  Lady of the Lake. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 104 
  Legendary Places. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 10 1 
  Masters' Syrem, The. . . . . . . . . . . . . . . . . . . . . . . . . . . 93 
  New Skills ................................... 9 
  Shadow board ................................. 78 
  Shadowleague, The ............................ 76 
  Shadowleague: Adventure Ideas .................. 86 
  Shadowleague: Discussion Groups ................ 83 
  Shadowleague: Free House ...................... 81 
  Shadowleague: Gathering, The ................... 84 
  Shadow league: Informal Contacts ................ 85 
  Magic 
  Black Magic ................................. 117 
  Brotherhoods ................................. 87 
  Brotherhoods: Bossu ........................... 98 
  Brotherhoods: Immortals ....................... 99 
  Brotherhoods: Iron Band ........................ 96 
  Brotherhoods: Order of the Cobra ................ 95 
  Brotherhoods: Seekers ......................... 87 
  Brotherhoods: Shadowleague .................... 76 
  Brotherhoods: True Illumination ................. 90 
  Brotherhoods: True Templars .................... 97 
  Channeller: Limitations & Consideration ........... 16 
  Channeller: Source of Channeler's ................ 14 
  Channeller: Unexpected Spell Events .............. 15 
  Charms: Creating ............................. 44 
  Cybermage: Creating Cybermagic . . . . . . . . . . . . . . .. 17 
  Cybermagic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 18 
  Cybermagic: Examples. . . . . . . . . . . . . . . . . . . . . . . .. 19 
  Divination: Magical ........................... 9 
  Divination: Random Divinations Table ............ 54 
  Divination: Skill .............................. 53 
  Granted Powers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 
  Familiars: Nightlands .......................... 49 
  Familiars: Ordinary ............................ 45 
  Living Magic ................................. 33 
  Magic Artifacts: Arcane Echoes. . . . . . . . . . . . . . . . .. 108 
  Magical Investigations ......................... 36 
  Magical Sites. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 10 1 
  Magical Sites: Csejthe Castle .................... 102 
  Magical Sites: Elder Grove, The .................. 105 
  Magical Sites: Glamis Castle . . . . . . . . . . . . . . . . . . .. 106 
  Magical Sites: Glass Man's Cave ................. 104 
  Magical Sites: Legendary Places ................. 101 
  Magical Sites: Mount Rushmore ................. 106 
  Magical Sites: Nightland's Belsen ................ 108 
  Magical Sites: Ruins of Adharja .................. 143 
  Magical Sites: Saint Matthew's & St. Anthony's .... 107 
  Principles of Magic (skill) ...................... 9 
  Ritual (myth): Amatory Mass .................... 119 
  Ritual (myth): Beans ofInvisibility ............... 119 
  Ritual (myth): Conjuration of Lucifer ............. 119 
  Ritual (myth): Making Clear the Unseen Spirits ..... 118 
  Ritual (myth): Scorpion Charm .................. 119 
  Sorcerous Proficiencies ......................... 24 
  Sorcerous Proficiencies Table .................... 24 
  Sorcerous Limitations or Weaknesses Table ........ 27 
  Spell Descriptions: Cybermagic .................. 18 
  Spell Descriptions: Fleshsculptor ................. 63 
  Spell Descriptions: Mirror Magic ................. 71 
  Spell Descriptions: Sorcery ...................... 56 
  Spells: Adding Cultural Touches ................. 41 
  Spells: Adventure Hooks ....................... 42 
  Spells: Benchmark Spells (samples) ............... 40 
  Spells: Creation Notes: New & Modified Magic. . . .. 39 
  Spells: Failed Spell Invention Table ............... 38 
  Spells: Figuring out Existing Magic ............... 37 
  Spells: Inventing Entirely New Spells ............. 39 
  Spells: Miscasting Spells ....................... 42 
  Spells: Mood & Atmosphere .................... 42 
  Spells: Spirit Driven ........................... 115 
  Spells: Variants ............................... 38 
  Spells: Variants: Access to Specialized Magics ...... 39 
  Spells: Variants from other O.C.c.s ............... 39 
  Talismans. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 119 
  Too Much Magic/Random Manifestations Table ..... 34 
  Voodoo: The Bossu ............................ 98 
  Voodoo: Enchantments ......................... 114 
  Wild Magic .................................. 27 
  Wrong: Channeller Unexpected Spell Events (2b) .... 15 
  Wrong: Channeller Stripped of power by Source (#3). 16 
  Wrong: Spells Gone Wrong ..................... 43 
  Wrong: Summonings Gone Wrong ............... 44 
  New O.c.c.s & R.C.C.s 
  Acolyte ..................................... 13 
  Channeller O.c.c. ............................. 14 
  Cybermage O.C.C . ............................ 17 
  Fleshsculptor O.C.c. ........................... 20 
  Mirrormage O.c.c. ............................ 21 
  Nemesis R.c.c.s .............................. 23 
  Mystic O.c.c. ................................ 12 
  Sorcerer O.c.c. ............................... 10 
  Denizens of the Nightiands™ 
  Beautiful People .............................. 51 
  Nemesis R.c.c.s .............................. 23 
  Night-Gnomes ................................ 52 
  Nightlands Scorpion Diabolic .................... 50 
  Scuttlers ..................................... 49 
  Vfrawk ...................................... 52 
  5 
  Quentin Milton (Order #26014138)
  
  Quentin Milton (Order #26014138)
  
  Musings from the Author 
  This here is the mortal world, planet earth, the place where you live. 
  There is a lot about this place that you don't understand - the mysteries 
  of science, the paranormal, religion, and big questions like "why are we 
  here." That sort of thing. But at the end of the day, you know enough to 
  get by. You probably understand the basics of physics, you can empa­
  thize with other people and try to understand how they think, and you 
  can probably make a go of understanding politics. That leaves a lot of 
  questions unanswered but, on a day to day basis, it's enough. 
  But in the Nightlands there are immortal beings called Guardians, 
  newly unleashed powers of magic ... Think about it. How would you re­
  act if you were living on Earth after Dark Day? The human race knows 
  nothing, or next to nothing, about these creatures. They, and the recent 
  increase in magical potential, are a complete mystery to everyone. The 
  few people who know anything at all - those who don't accept the of­
  ficial lies about how none of this exists anyway - tend to think that 
  magic is an impersonal force, that the Nightlords are kind of like de­
  mons who have arrived to enslave the planet, and that the Guardians are 
  more like angels unselfishly out for the good of humanity. 
  Maybe. 
  Or maybe not. 
  At best, these opinions are conjecture, at worst, guesswork or des­
  perate hope. No one really knows enough yet to truly understand who 
  or what these powers are, or how they function. Maybe as the years go 
  by (and as we publish more Nightbane supplements) it will become 
  clear that the reality of the situation is actually rather more interesting. 
  Core Ideas: In the following pages you will find new O.C.C.s, new 
  spells, details of two new Brotherhoods, adventure ideas, and more. But 
  as you read through this book, keep these few core ideas in mind. 
  1 .  Nightbane@ is a horror game. G.M.s and .players may wish to 
  play it as a horror-fantasy, a superhero-horror or an earthy-horror game, 
  but the bottom line is that it works best when it is unsettling, tense and 
  uncertain. 
  2. This book is about foolhardy mortals who mess with powers they 
  can't hope to understand. You might call mages "brave," or you might 
  call them "stupid," and while playing with fire has never been so much 
  fun, remember that magic isn't an inert force and magicians aren't sci­
  entists. Make it unpredictable and dangerous. 
  3. The Nightlands™, beyond the Mirrorwall, is a dark and twisted 
  reflection of our own earth. That means that human institutions, events 
  and even many individuals have their own counterparts in the Night­
  lands. Our world and the Nightlords' are as closely related as you are to 
  your own reflection. Play with this idea. 
  4. Magic is alive! That doesn't make it intelligent (plankton isn't ex­
  actly smart, but it's alive), but it does give it a certain autonomy. Also, 
  don't rule out the idea that magic (like other living things) can breed ... 
  This book looks at magic after Dark Day, and, in the appendix at the 
  back, gives a little information on the cosmology of the universe. If you 
  are playing Nightbane (rather than Game Mastering the game) you will 
  have the fun of leaming about much of this during play. Don't ruin the 
  fun for yourself by reading all the way through this book; stop reading 
  at the end of the spell descriptions in Chapter 2. If you're a Game Mas­
  ter, then we hope that this book gives you a whole load of ideas on how 
  to make your Nightbane world a more interesting, thought-provoking, 
  exciting and horrific place. Enjoy. 
  -Kevin Hassall 
  7 
  CHAPTER ONE: 
  Magic After 
  Dark Day 
  One young sorcerer explained magic like this. 
  "OK. You want to know about magic. Sure. Why not. I've got noth­
  ing to lose. 
  "Daft old guys at kids' parties, clever tricks on TV. Hear the audi­
  ence applaud, the kiddies giggle. Old men with gray beards -homely 
  God-look-alikes with dumb names like Gandalf, Merlin, whatever. Fa­
  erie stories and pretty little lies. 
  "Lies. 
  "There's nothing to giggle at here, nothing to applaud. No clever 
  sleight of hand, no harmless fun. Sorcerers tend not to live long enough 
  to get old and gray. Most that do aren't really human anymore. You 
  play with fire ... you know. Friendly father figures these guys are not. 
  "And that's something else: most sorcerers aren't "guys." I guess on 
  balance most are women. Don't ask me why. Maybe it's just that X­
  thousand years of macho posturing makes us men less sensitive. Maybe 
  it's to do with women being people persons - being good at empathiz­
  ing, understanding, talking - because after Dark Day, if you're mess­
  ing with magic you're dealing with "people," or whatever you want to 
  call these things. You aren't dealing with impersonal forces. Weaving 
  magic is more like crafting a person than making a thing, and then half 
  the time you're only doing magic so you can talk to something from the 
  other side. 
  "The other thing about sorcerers is that most people think of us as 
  being wise. Yeah, right. So you take a whole load of something you 
  don't understand, weave it into a shape it was never meant to be, bring 
  the unholy construct to life, and then have the nerve to boss it about. 
  And that's wise? That's dumb. And I know. I'm a damn fine sorcerer, 
  and I've said and done more dumb things than a whole convention full 
  of politicians. 
  "When it comes down to it, most sorcerers kicking about today have 
  only been at it since Dark Day (You probably noticed Dark Day -
  when the sun didn't rise and the rioting was the least of anyone's wor­
  ries). Some found that when the chips were down and the hordes of the 
  Nightlands were baying in their yards, they had powers they never 
  knew they had. Some had been messing with the occult for years, but 
  only now found that they could actually draw on any power. I've heard 
  old hands - the old-timers who knew magic before the Day - say that 
  when the dark came down, leylines shifted and flared, old gods woke, 
  and the whole psychic landscape shifted - whatever all that means. 
  "Anyhow, think about it. Most of us haven't a clue as to what we're 
  doing. We're fooling with powers we can't even begin to understand, 
  with no formal training, no masters to guide us, and have no bench­
  marks or points for comparison. Most of us no more than a few phoney 
  occult paperbacks or some misremembered "tradition." You find a new 
  spell in a grimoire or on the Internet, or you have an idea yourself -
  well, will it work? Only one way to find out - and God help you if the 
  spell doesn't work like it should. For every real, workable spell that's 
  kicking about, there's got to be a dozen that are flawed, mistitled or just 
  don't work. I knew a guy who tried to regrow a severed hand, and he 
  ended up growing an Ashmedai out of the stump of his wrist; I knew a 
  woman who tried to enchant a scrying mirror, and ended up looking 
  into the soul of a Nightlord. Some folk will go to old sorcerers to get 
  spells checked out before they cast them. But like I said, these old-tim­
  ers say that everything's changed since Dark Day, so I'm not too sure 
  they could tell if a new spell would work - and anyhow, how do you 
  know you can trust them? 
  Quentin Milton (Order #26014138)
  
  "Me, no way will I ever use a magic that I don't know for sure is go­
  ing to work. That means that someone I know, and trust a bit, has to 
  have used it first. Some guys like to band together, to join groups where 
  they can work together with other people to investigate magics, share 
  theories, and all that. Work together? Like hell! This is the modem 
  world, and if you're in some big organization, then you've got some big 
  boss - and he's out for himself. You join one of these 'brotherhoods,' 
  sure you get a few bits of advice and tuition, but you're working for 
  some big boss-man whose motives and aims aren't necessarily yours. 
  You get used. Stick with your friends, I say. 
  "So, anyway. What is magic? What is magic! 
  "Beats the hell out of me. I'm just a sorcerer. 
  "They say that there are places on the planet that naturally resonate 
  magical energy, called ley lines: like huge rivers of power. And at each 
  nexus, where they meet, where the rivers form lakes, if you want to 
  think of it like that, then you get serious power. Apart from that, there's 
  some of this energy in you and in me. I've heard of sorcerers who use 
  blood, or huge machines, or mirrors, to fuel their magics. 
  "But that doesn't explain what magic is. There's this thing that I've 
  called magical energy, and there's a lot of it about. Doesn't help, does 
  it? Living things have power in them. Mirrors can be used to draw 
  power from the Nightlands, or from something that stands between the 
  two worlds - what we call the Mirrorwall. And ley lines, whatever 
  they are, have power. But that's all 'where,' not 'what. ' 
  "I've got this theory, though. 
  "When you look in the mirror, what do you see? You see yourself, 
  right? Wrong. You look in a mirror and you see something that looks 
  like you - it looks like a living, breathing person, but it isn't. Now, I'm 
  not saying it's not alive: I've known guys that got killed by their own 
  reflections, so don't go thinking those things aren't real. Point is, you 
  look in a mirror and see a semblance of life, a reflection of life. And 
  whose life? Someone has to cast a reflection for the mirror to throw it 
  back at them. Magic's the same. You cast a speHor you cast a reflec­
  tion, same thing: either way, what comes back at you isn't always what 
  you want, but it carries your image. What we do with magic is to cast 
  ourselves at it - we throw our will, our minds, or personalities at some 
  amorphous, semi-living energy - and we leave an imprint, a reflection, 
  in the magics. 
  "So, if I'm right, we weave life into our magics, and in them we 
  leave little reflections of ourselves. They are, in a perverse way, our 
  children. Little Frankenstein monsters, each is one of our petty conjur­
  ing. I pray to God that I'm wrong about this." 
  What is Magic? 
  In most role-playing games, it is assumed that magic is a dull, static 
  thing - more like a science than anything else. Spells are like invisible 
  equations: say the right words, make the right gestures, think the right 
  thoughts, and as sure as 2+2=4, you will get the same result. Just like 
  clockwork. Magic ... like clockwork?! Where's the mystery, where's 
  the wonder in that? Where's the MAGIC in that? 
  The Nightbane@ RPG is, above all else, a horror game. You can 
  play it in a number of ways - as a dark super-hero game, as a techno­
  magic conspiracy game, as a Clive Barker style fantasy - but whatever 
  way, a sense of foreboding and of mystery is central. That means that 
  magic has to be dangerous, uncertain, and mysterious. 
  So, let's ditch this idea of magic as a science, and have a fresh think 
  about it. Stick with the idea of magic being mental energy (P.P.E.) -
  bits of peoples' minds, which have been tom out and battered into an 
  unnatural shape. We aren't talking about dull mystical energies any 
  more. Now we're talking about abused fragments of peoples' minds. 
  Semi-living structures which might feel, learn, grow, evolve ... rebel ... 
  and who knows what else. Much of the rest of this book is playing with 
  these sorts of ideas. As a Game Master, think about this, and see where 
  your mind wants to take it. The more you think about it, the easier 
  you'll find it to create weird plot twists and adventure ideas. 
  8 
  Magic Since Dark Day 
  On Dark Day, the Nightlands and the mortal world shifted closer to­
  gether. Arcane and magical powers flared, making it easier to cast spells 
  than before, and making new magics possible. At the same time, the 
  Nightlands' proximity warped and changed the mortal world's magics. 
  Most spells invented before Dark Day work pretty well as they did 
  before (though, not always). However, even the most experienced sor­
  cerers - even the immortals, and the near-immortal arch-mages who 
  have lived for centuries - are having problems creating new magics 
  under these new conditions. For less experienced sorcerers, learning a 
  new spell is a hazardous undertaking (see Chapter 3, The Sorcerous En­
  deavor, for details on learning spells). 
  Dark Day also awakened a lot of "dormant" mystical powers in both 
  Nightbane and mortals alike. Mortals with no apparent powers, or who 
  may have had odd hunches, dreams, or insights, now discovered new 
  powers, becoming Mystics. Some people who had dabbled in the occult 
  found that some of those daft old rituals really did have an effect (and 
  woe betide many of them!); under stress, some mortals found that 
  through acts of will they could achieve amazing results, and after Dark 
  Day they managed to formalize their efforts so that they could consis­
  tently achieve the same effects; these became Sorcerers. Others had 
  powers conferred upon them by outsiders, as they fell under the influ­
  ence of family curses, the Nightlords' whims, or the plots of older sor­
  cerers. 
  Belief & Crisis 
  Dark Day terrified people. It was an epic, inexplicable event, which 
  shook all of the cozy assumptions that people had about living in a sta­
  ble, safe, scientifically comprehensible world. 
  Think about it. How would you feel, what would you think, if all of 
  a sudden, day became night and impossible creatures were reported 
  across the world? 
  After Dark Day, people are frightened, so they seek consolation. 
  They are confused, so they look for answers. In other words, they react 
  as they always have throughout history when faced with an inexplicable 
  disaster. Lost people look for leaders, for easy explanations, and for 
  scapegoats. 
  Some people tum to religion for answers. Evangelical Christians 
  preach that Dark Day was the beginning of the end of the world, saying 
  that it was God's punishment and warning to sinful humanity, exhorting 
  followers to embrace their vision of Christian life as a way to save their 
  souls. Islamic preachers talk, in the same vain, about the wrath of Allah. 
  Cults and minority religions spring up daily, claiming that only their se­
  lect followers will be saved from the imminent/commencing cataclysm. 
  More than ever, people are listening to these extremists. 
  Others tum to politics. With the world plunged into chaos, people 
  naturally want strong leadership, law and order, and social control. The 
  death penalty, censorship and martial law have swept back into fashion 
  across the planet. Democracies throughout the West have been replaced 
  (in practice if not in name) by oligarchies, juntas and dictatorships. 
  Vigilantes, militias and religious groups impose their own stem moral 
  and social order where governments do not. The Preserver Party and its 
  young vigilante activists are merely the American manifestation of a 
  global phenomenon. 
  And others, desperate for answers and certainties, tum to new-age 
  mysticism, "revivals" of so-called pagan religion, occultism, or magic. 
  The Occult & Mystical Revivals 
  In their search for answers, many people are turning to occult and 
  new-age groups. To a large extent, this is a continuation of a trend 
  which started in the late twentieth century - with people abandoning 
  science in favor of magical, spiritual and mystical enlightenment. This 
  may lead them to experiment with meditation, psychic powers, pseudo-
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  science, crystals, tarot, ritual magic, geomancy, ouija boards, spiritual­
  ism, and wiccan witchcraft -some of these are therapeutic, some 
  absurd, and some dangerous. 
  Many groups already existed before Dark Day. From Greek and Af­
  rican Mystery Religions, to Freemasonry, to the occult groups of the 
  nineteenth century (the Hermetic Order of the Golden Dawn and the 
  OTO are the best known), people have always sought to find a superior 
  secret knowledge which common folk lacked, and to be members of a 
  privileged fraternity. Throughout the twentieth century the descendants 
  of the occult groups prospered, and along with them, voodoo religions, 
  spiritualism, and "rediscovered" (Le., invented) pagan religions, to 
  name a few. 
  But since Dark Day, more and more people are experimenting with 
  these fringe ideas and practices. More groups exist, and their members 
  are from a broader cross-section of society. And, with magical powers 
  more potent in the wake of Dark Day, many are rinding that some of 
  these paths can really lead them to discovering new powers and in­
  sights. Hundreds of home-published magazines, computer bulletin 
  boards, esoteric book shops and small book publishers have sprung up 
  to support them - even though book shops are watched and raided by 
  the NSB, magazines and books frequently banned, and the bulletin 
  boards closed down on trumped-up charges. 
  Many people dabble with these ideas, but few have the dedication, 
  persistence, sincerity of belief or mental discipline to actually become 
  magicians. Player characters may meet scores of NPCs who mumble 
  mystical clap-trap and claim to understand magic, but who have no real 
  powers. Sorcerers and mystics are still rare, and for each true arcanist 
  there are dozens or hundreds of powerless dabblers. Still, the groups of 
  occultists and new-agers provide a fertile breeding ground for new ma­
  gicians and a forum for discussing and circulating new ideas (and no 
  surprise that the Preservers persecute these groups). 
  CHAPTER 2: Magic O.C.C.s 
  By Kevin Hassall & Kevin Siembieda 
  "[ really hate myself in the mornings. [look like something [left in 
  the kitchen too long. Every morning it's still a shock, looking in this 
  shaving mirror. [ guess that's why women go through that make-up rit­
  ual every day: reflection control, self-mastery, self-confidence. People 
  reckon [ can look pretty good, you know, but my reflection is so ugly in 
  the mornings. 
  "Heavy day ahead. Some fool sorcerer tried to bind his own Neme­
  sis as a Familiar. Basically, tried to make himself his own slave. Bad as 
  guys who try to kill their Nemesis - ugly form o/suicide, that. Bloody 
  mess. And things have been getting worse since Dark Day; a pointless 
  invasion if you ask me. Why can't they just stop messing with us? why 
  do they bother? You know, [ don't even get paid for sorting this out. 
  "Pasty-faced, baggy-eyed mess in the mornings. [' II swear that's not 
  how [ look. Hell, [ hope that's not how [ look. Still, [ guess no one is 
  ever satisfied with their image. Ever wish you could get total control of 
  your appearance? Who doesn't?!" 
  This chapter introduces a number of specialized, magic O.c.c.s and 
  a new R.C.c. for use as player characters and as NPCs. The basic sor­
  cerer and mystic O.C.C.s are outlined in the Nightbane® rule book, 
  and are reprinted below for the players' convenience. Other mystical 
  player characters can be found in other supplements of Palladium role­
  playing games and sourcebooks, such as the Astral Mage o.c.e. in 
  Nightbane® World Book One: Between the Shadows, the Line 
  Walker from the Rifts® RPG, the Blind Mystic in the Mystic China 
  book, the Diabolist and Summoner in the Palladium Fantasy RPG, 
  and so on. 
  A Few New Skills 
  Divination (Technical Category): This is a semi-magical Technical 
  skill, which can be taken by any character with an M.E. of at least 13. 
  This skill allows a character to gain insights into the past, present, or fu­
  ture by manipulating a specific process (by casting bones or rune 
  stones, for example, or reading a person's palm). When the skill is se­
  lected, the player must decide what one process the character is conver­
  sant with (see the description of Divination in Chapter 3 for details). To 
  use more than one method, the skill must be taken repeatedly. In order 
  to make use of the skill, the character must have several minutes (or 
  more) of peace and tranquillity, and exactly what information is gained 
  (probably vague) is at the discretion of the Game Master. Note that if 
  the character is stressed out, under intense pressure, or in pain, he or she 
  9 
  cannot find the calm and focus necessary to divine anything. Whenever 
  the skill is used, the G.M., rather than the player, should roll for it; that 
  way the player won't know whether the character got genuine informa­
  tion, or a false reading. Base Skill: 24% +3% per level. 
  Imitate Voices & Impersonation (Espionage Category): The abil­
  ity to imitate the voice, accent and expressions of another person or re­
  gional dialect. This skill is common among thieves and assassins, as 
  well as demons and other villains. The first number indicates the char­
  acter's ability to change his voice and imitate accents, inflections and 
  expressions from other regions. A successful roll means s/he has dis­
  guised his normaVtrue speaking voice and accent, and convincingly 
  sounds like s/he is from another region or part of the world. 
  The second number indicates the character's ability to accurately 
  imitate the voice, inflections and attitude of a specific person! This is 
  much more difficult, and the character will either need to know the per­
  son being imitated very well, or have spent hours studying him/her. 
  Base Skill: 36%/1 6% +4% per level of experience. 
  Impersonation Note: When combined with the disguise and intelli­
  gence skills, the character is able to completely impersonate a specific 
  person or person of a particular occupation (soldier, knight, wizard, 
  priest, etc.). This is likely to include knowledge of the subject being im­
  personated, military procedure, dress, heraldry/rank, and will usually re­
  quire speaking the language fluently. This means the character can 
  convincingly impersonate a general type of person/soldier/advisor with 
  an accurate disguise, proper action, and language. A failed roll means 
  some element of the impersonation is flawed, most likely some incor­
  rect behavior or character trait, or lack of information about the person 
  being impersonated ("Tell me again what you said that night," etc.). 
  Such "holes" will give the character away sooner or later. Thus, the 
  longer a character remains under the eyes of others, the more likely that 
  something will happen to reveal the character is an impostor. This is fun 
  to role-play, so take advantage of it. 
  Base Skill: 16% +4% per level of experience for a regional disguise 
  of an average local person (farmer, laborer, vagabond, etc.), + 1 2% +4% 
  to impersonate a person in a specific occupation (sheriff, guard, inspec­
  tor, messenger, merchant, priest, etc.), and 10% +4% per level of expe­
  rience to impersonate a specific, known person. 
  Principles of Magic (exclusive to Magic O.C.C.s and Parapsy­
  chologist): Introduced in the Nightbane rule book, this skill allows sor­
  cerers to know and understand the principles of magic, to recognize 
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  ritual paraphernalia and symbols, utter incantations accurately, distin­
  guish genuine esoteric items from fakes, etc. Base Skill: 36% +2% per 
  level of experience for non-mages, but 60% +2% per level for practitio­
  ners of magic. All practitioners of magic get this skill (some O.C.C.s 
  may offer a bonus), except the Mystic who starts as a non-mage 
  (36%+2% per level of experience) and Acolyte (who starts at 50% +2% 
  per level). 
  Sculpting & Whittling (.Technical Category): The art of molding 
  or carving a three dimensional figure, object or design out of clay, 
  stone or wood. The percentile number indicates the quality of tech­
  nique and appearance. Taking the skill twice indicates a professional 
  quality and gets a bonus of + 10%. Selecting it once, indicates a talented 
  amateur. Base Skill: 30% +5% per level of experience. 
  Food For Thought 
  "For four years I have labored under the misapprehension that I was 
  a craftsman, fashioning and creating magics - like a watchmaker, tam­
  pering with unseen mechanisms. But I could not have been more 
  wrong. My creations were not dumb objects, neither predictable nor 
  static. I did not craft. I gave birth - I breathed life. My magics are my 
  children, and oh how prodigal. Do not think that I am being poetical if I 
  tell you that my every careless chant or miswrought ritual pursues me 
  through my nightmares and stalks me through each day. I was never a 
  mechanic. I only wish that I had been a better parent. All children return 
  to claim their inheritance. 
  "There is a power that I draw on, though I cannot tell you what it is. 
  Perhaps I deal with souls. Perhaps I invoke spirits. Or would you be 
  more comfortable if I told you that I deal with Manna, or Essence, or 
  Loa, or Divine Power? All names are masks, formed to hide the truth, to 
  simplify the incomprehensible. Give something a name, and you can 
  believe that you understand it. But I have never understood my 'mag­
  ics.' I have learned the chants and perfected the gestures, studied the 
  signs and symbols, leamed to listen to hidden voices. But, to be candid, 
  in the end I do not know how my enchantments work. I know nothing. I 
  only feel the power flowing through me, and pray - to gods whom I no 
  longer believe in - that I can control it. 
  "We all have power - all of us. All that I have leamed is how to 
  pour out my essence, to take it and to twist it into the forms that I desire, 
  and to replenish my strength by absorbing more from other sources. I 
  have poured out and exhausted my power ... my soul, a hundred times 
  over. I am not the woman that I used to be. But then who am I, whose 
  thoughts are these, and whose voices do I hear sniggering behind my 
  eyes? I have not sold my soul. Rather I have poured it away. I needed 
  no genteel devil to tempt me. My soul is no longer my own, though 
  sometimes we hear it calling to us." 
  -Words from a Sorcerer 
  Sorcerer O.C.c. 
  Excerpted from the Nightbane® RPG; by c.J. Carella, 
  based on RPG rules, magic and concepts created by Kevin 
  Siembieda 
  Sorcerers believe that learned knowledge is the secret to magic. 
  Their approach to wizardry is similar to the methods of scientists and 
  scholars, which depends on the accumulation of information. For many, 
  the mastery of the arcane arts involves the meticulous study of ancient 
  formulas, spells, and incantations. Unlike Mystics, sorcerers depend 
  only on their wits, knowledge and magical energy to achieve results. 
  These modern-day wizards tend to be bookish scholarly types. They 
  are chosen for their belief in the mysterious and their dedication to mas-
  10 
  tering reality with the force of their will. Under their nerdish exteriors 
  there often lies the heart of an adventurer, willing and able to take on 
  any dangers to learn a little more. 
  Some sorcerers succumb to the thirst of power, and become self­
  serving scoundrels who exploit "mere mortals" with their powers. Oth­
  ers try to defend humankind with their hard-learned spells and 
  incantations, usually trying to hide their powers to avoid fear and perse­
  cution. The majority tend to concentrate on learning and become de­
  tached and sometimes even oblivious to the world around them. After 
  Dark Day, however, even the most absent-minded magician knows that 
  supernatural invaders threaten everything they hold dear, and that their 
  "ivory towers" of scholastic knowledge will offer them no protection. 
  Through their studies, Sorcerers have developed mystical senses that 
  let them be attuned to ley lines, nexus points, and other mystical "hot 
  spots." They have also learned of the Nightlands, and some of them 
  know spells and rituals that let them peer into that mysterious world. 
  Most of them know little about the Ba'al and their minions and are now 
  learning the hard way just how dangerous those beings truly are. As stu­
  dents of the occult, Sorcerers have sometimes made contact with Night­
  bane and have even taught a few the arts of magic (see the Nightbane 
  Sorcerer O.c.c. on page 1 1 8 of the RPG). 
  o.c.c. Abilities & Bonuses 
  1. Understand the Principles of Magic: Sorcerers know and under­
  stand the main principles of magic and sorcery, including rituals, sym­
  bols, incantations and paraphernalia. This allows them to distinguish 
  between fake "occult" materials from the real thing, as well as deter­
  mine the general purpose of specific items and even which supernatural 
  forces are involved. Base Skill: 70% +2% per level of experience. A 
  failed roll means the character does not realize or misunderstands the 
  significance of the evidence, dismissing it as fake, or maybe thinking a 
  forgery or charlatan's scribblings are authentic. 
  2. Sense Ley Lines and Nexus Points: The sorcerer's senses enable 
  him to see ley lines, which are invisible to normal humans. The charac­
  ter will "see" the faint traces of psychic energy running down the ley 
  lines or seething at nexus points. Range: Line of sight or one mile ( 1 .6 
  km), whichever is less. 
  3. Initial Spell Knowledge: The sorcerer has the dedication, under­
  standing and powers to focus and concentrate to cast magical invoca­
  tions, read magic, and learn spells. At first level, the sorcerer may select 
  three spells from each magic levels one to four, for a total of twelve 
  spells (three from each). Each additional level of experience, the charac­
  ter will be able to figure out/select one new spell equal to his own level 
  of achievement/experience. 
  4. Learning New Spells: Additional spells and rituals of any magic 
  level can be learned or purchased at any time regardless of the sor­
  cerer's experience level. See the Pursuit of Magic, page 1 24 of the 
  Nightbane RPG and Chapter Three of this book for learning and creat­
  ing new forms of magic 
  S. Magic Bonuses: +4 to save vs magic, +4 to save vs possession, 
  +2 to save vs mind control, and +4 to save vs horror factor. 
  6. P.P.E.: Sorcerers become living batteries of mystic energy. The 
  base P.P.E. of the sorcerer is determined by rolling I D6x l O  and adding 
  it to the P.E. attribute. Add 2D6 P.P.E. per level of experience. 
  Sorcerer O.C.C. 
  Attribute Requirements: I.Q. 1 2, M.E. 10, and P.E. 1 2. 
  O.C.C. Skills: 
  Read/Write/Speak Native Language - 98% 
  Mathematics: Basic (+25%) 
  Computer Operation (+ 15%) 
  Research (+25%) 
  Two Lore skills of choice (+20%) 
  Two languages of choice (+1 5%) 
  One additional technical skill of choice (+ 1 5%) 
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  11 
  Hand to band: basic can b e  selected as one "other" skill, hand to 
  hand: expert at the cost of two "other" skills, or martial arts (or as­
  sassin if an evil alignment) for the cost of three "other" skills. 
  O.C.C. Related Skills: Select ten other skills, but two must be from the 
  science category. Plus select two additional skills at level three, one 
  at level six, one at level nine, and one at level twelve. All new skills 
  start at level one proficiency. 
  Communication: Any 
  Medical: Any (+5%) 
  Military: None 
  Physical: Any 
  Pilot: Any (+5%) 
  Pilot Related: Any 
  Rogue: None 
  Science: Any (+ 10% ) 
  Technical: Any (+ 1 0%) 
  W.P.: Any 
  Wilderness: Any 
  Secondary Skills: The character also gets to select six secondary skills 
  from those listed. These are additional areas of knowledge that do 
  not get the advantage of the bonus listed in parentheses. All secon­
  dary skills start at the base skill level. 
  Standard Equipment: Varies. Most sorcerers own a small library 
  (with books on history, the occult, myths and legends, etc.), a per­
  sonal computer, pocket tape recorder, note pad, magnifying glass, 
  backpack, work, casual and dress clothes, an inexpensive car or jeep, 
  and other useful items. 
  Money: 3D6x l00 +200 in cash, and 3D6xl ,000 in property (includes 
  equipment, vehicle and similar items). 
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  Mystic O.C.C. 
  Excerpted from the Nightbane® RPG; by C.J. Carella, 
  based on RPG rules, magic and concepts created by Kevin 
  Siembieda 
  12 
  Sorcerers with their books and scrolls and complex studies represent 
  one side of the magical coin. The other can be found among primitive 
  peoples, and include New Age gurus, rainmakers, shamans and medi­
  cine men. The magical knowledge of these mystics is intuitive rather 
  than rational. The mystic simply accepts the fact that he suddenly 
  knows something and has learned to trust his feelings and hunches. 
  Where sorcerers research and practice, mystics meditate and disregard 
  formal education in favor of following a "cosmic" or "spiritual" path. 
  They open themselves to the realms of magic, and their magic is no less 
  effective for being granted from outside themselves. 
  Mystics not only have magical powers, but their connection to the 
  natural psychic emanations of the world gives them a number of psionic 
  powers as well. Theirs is the power to sense the presence of the super­
  natural; mystics from a hundred cultures were instantly aware that the 
  world was being invaded moments before Dark Day started. Many of 
  them have chosen to fight the enemy at all costs. 
  For the most part, mystics live in areas/cultures removed from the 
  chaos and materialism of the "civilized" world. In the U.S., many mys­
  tics are Native Americans living on reservation, as well as Caribbean 
  practitioners of Voudoun or Santeria, gypsies, neo-pagans, Taoist mys­
  tics, etc. An individual can be taught the ways of mysticism, usually in­
  volving philosophy, meditation, and an opening of one's mind and body 
  to the world around them. Many mystics claim that one does not learn 
  to become a mystic, but is born with the gift. 
  O.C.C. Abilities & Bonuses 
  1. Psychic Powers: At first level, the mystic gains the following 
  powers: clairvoyance, exorcism, sense evil and sixth sense. Select three 
  additional abilities from the Psychic Sensitive category and two from 
  the Healer category. At levels three, five, seven and ten, select one addi­
  tional power from either of those two categories. Considered to be a 
  major psionic. I.S.P.: I D4x l O  plus the character's M.E. number. Add 
  I D6+ I LS.P. per each additional level of experience. 
  2. Initial Spell Knowledge: Like everything else, the mystic's spell 
  knowledge comes from within the character himself, on an intuitive 
  level. The character spends years pondering about life, his place in it, 
  and how magic might help him find that place in the world. If the char­
  acter's outlook is happy/optimistic, the spells are likely to be of a help­
  ful, healing, protective and defensive nature. If the outlook or goal is 
  power, wealth and prestige, the spells are likely to be of a more aggres­
  sive and offensive nature. A dark view of the world will result in spells 
  that are defensive and revealing, as well as offensive or necromantic in 
  nature. At the end of this period of contemplation, focus and develop­
  ment (usually taking years), the mystic finds himself gifted with magi­
  cal powers. 
  At first level, select a total of six spells from the first and second 
  magic levels. Once selected, they cannot be changed. 
  3. Learning new spells: The mystic will intuitively sense when he 
  or she has reached a new metaphysical plateau (new level of experi­
  ence). At each new junction in life, the character will find the time to 
  meditate on life, his goals, and magic. 
  At second level of experience, the mystic can select a total of three 
  additional spells from levels one, two, and three. Upon reaching the 
  third level of experience, the mystic can select another three new spells 
  from levels one to four. At fourth level and above, the mystic can select 
  two additional spells from any of the levels, up to his corresponding ex­
  perience level. Thus, a sixth level mystic can select two spells from any 
  of the levels 1-6. These new spells (starting at 4th level) can be selected 
  from any magic category: Wizardry/Sorcery, Fleshsculptor, Mirror­
  mage, etc. Unlike the sorcerer, the mystic cannot learn spells inde­
  pendently nor is he likely to read symbols, runes or perform rituals; he 
  is dependent on his intuitive senses to gain all of his magic powers. 
  4. P.P.E.: I D4x l O  plus P.E. attribute number. Add I D6+1 P.P.E. 
  per additional level of experience. 
  S. Bonuses: +1 to save versus psychic attacks, +3 to save vs horror 
  factor, +1 to save vs magic at levels three, six, nine and twelve, and +1 
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  to spell strength (the number others must save against when you cast a 
  spell) at levels four, eight, and twelve. 
  Mystic OoCoCo 
  Attribute Requirements: I.Q. 9, M.E. 9 and M.A. 9 or higher. 
  O.C.C. Skills: 
  Read/Speak Native Language 98% 
  Select one additional language (+ 1 5%) 
  One Lore skill of choice (+20%) 
  Dance (+ 10% ) 
  One Domestic skill of choice (+ 10% ) 
  Hand to hand: basic can be selected as one "other" skill, hand to 
  hand: expert at the cost of two "other" skills, or martial arts (or as­
  sassin if an evil alignment) for the cost of three "other" skills. 
  O.C.C. Related Skills: Select ten other skills, but at least two of them 
  must be technical. Plus select one additional skill at levels three, six, 
  nine, and twelve. All new skills start at level one proficiency. 
  Communications: Any 
  Domestic: Any (+5%) 
  Electrical: None 
  Espionage: Wildemess survival only (+ 1 0%) 
  Mechanical: None 
  Medical: Holistic Medicine only (+ 1 0%) 
  Military: None 
  Acolyte O.C.C. 
  The Acolyte is not a wielder of magic, per se. Perhaps this is be­
  cause s/he is a natural skeptic or cynic, or because s/he lacks the mental 
  discipline to cast magic. However, while the character can never per­
  sonally manipulate magic energy, s/he understands that there are pow­
  ers of some sort (even if s/he suspects that it may be mere trickery, or 
  psychic activity) which are called magic, and which can be very useful 
  indeed. Thus, the Acolyte is a dabbler and assistant to sorcerers, super­
  natural beings, cults and Brotherhoods. 
  As a skilled aide, the Acolyte may help in preparing, cataloging, and 
  storing components, organize libraries and data bases, help in rituals 
  and aid in research. S/he also knows enough about the arcane to recog­
  nize magical objects and texts (see Peripheral Magic Knowledge), and 
  can be invaluable as a diplomat, servant, assistant, researcher, spy, scout 
  and/or bodyguard. Unlike a magician, the Acolyte has not spent years 
  and years learning to deal with magic, so while s/he has a rudimentary 
  understanding and respect for the mystic arts, the character's strengths 
  lay in other areas. 
  OoCoCo Abilities & Bonuses 
  1. Magic Bonuses: + 1 to save vs magic at levels two, five, ten and 
  fifteen; + I to save vs possession, + I to save vs mind control, and + I to 
  save vs horror factor at levels one, four, seven, ten and thirteen. 
  2. Peripheral Magic Knowledge: The Acolyte has a rudimentary 
  understanding of how magic works, including preparations for spells 
  and rituals, the basic purpose/function of the ritual, incantations, and 
  paraphernalia, as well as legends and rumors concerning spells, rituals, 
  people, places and monsters associated with magic. This enables the 
  Acolyte to distinguish between fake "occult" materials and genuine arti­
  cles, recognize enchantments, how to handle and prepare materials for 
  rituals, guess at the basic (and most obvious) meaning/purpose for a 
  magic circle, ritual or component; and some idea of the supernatural 
  forces involved. Base Skill for Principles of Magic: 50% +2% per 
  each additional level of experience. 
  In addition, an Acolyte may select semi-magical skills such as Divi­
  nation (in place of any O.C.C. Related Skill) and any of the lores. 
  13 
  Physical: Any 
  Pilot: Any 
  Pilot Related: Any 
  Rogue: Any 
  Science: Any 
  Technical: Any (+ 10%) 
  W.P.: Any 
  Wilderness: Any (+5%) 
  Secondary Skills: The character gets to select six secondary skills from 
  those listed. These are additional areas of knowledge that do not get 
  the advantage of the bonus listed in parentheses. All secondary skills 
  start at the base skill level. 
  Standard Equipment: Most mystics will own very little, typically a 
  pair of walking shoes, boots, a pair of gloves, a hat, travelling cloths, 
  rain/trench coat, knapsack, backpack, mirror, portable radio or CD 
  player, staff or walking stick and personal items. 
  A few of the more wealth-oriented ones may find themselves 
  owning a huge mansion, a fleet of vehicles and other symbols of 
  wealth and prestige. On the downside, these mystics are very rare, 
  because they were easily found and destroyed during the days fol­
  lowing Dark Day. 
  Money: Average Mystic: 2D6x1 00 in cash and l D6x l ,000 in posses­
  sions. Wealth-oriented Mystic: 4D4xl ,000 in cash and 4D6x l O,000 
  in possessions (includes housing, vehicles and equipment). 
  Quentin Milton (Order #26014138)
  
  3. P.P.E.: The Acolyte starts with the regular P.E. attribute number 
  +2D6 P.P.E., but only gains an extra lD4 points per each subsequent 
  level, starting with level two. 
  4. Psychic Powers: All Acolytes are considered a minor or latent 
  psychic. However s/he does not necessarily start with any psychic pow­
  ers. Any one psychic ability may be selected in place of any one Secon­
  dary Skill, but only when the character is first created (as many as all 
  six of the skills can be traded in for psionics). Additionally, instead of 
  learning a new O.C.c. related skill at later levels, s/he may choose to 
  develop a new psychic ability instead. Initial I.S.P. is limited to M.E. at­
  tribute number plus 2D6. The Acolyte gets + I D6 per additional level of 
  experience. 
  Acolyte a.c.c. 
  Attribute Requirements: M.E. 9 or higher. An LQ. of 9 or higher is 
  handy, but not required. 
  O.C.C. Skills: 
  Read/Write/Speak Native Language 98% 
  Mathematics: Basic (+20%) 
  Computer Operation (+1 5%) 
  Research (+25%) 
  Two Lore skills of choice (+20%) 
  Two Languages (+20%) 
  Two Weapon Proficiencies of choice (Any) 
  Hand to Hand: Basic 
  Hand to hand: expert may be selected in place of one "other" skill, 
  or martial arts (or assassin, if of evil alignment) as two "other" skills. 
  O.C.C. Related Skills: Select eight other skills from the list below. 
  Plus, select two additional skills at level three, and one at levels six, 
  nine and twelve. All new skills start at level one proficiency. 
  Communications: Any (+1 5%) 
  Domestic: Any (+ 10%) 
  Electrical: Any (+5%) 
  Espionage: Any (+ 1 0% ) 
  Mechanical: Any (+5%) 
  Medical: Any (+5%) 
  Military: Any 
  Physical: Any 
  Pilot: Any (+5%) 
  Pilot Related: Any 
  Rogue: Any (+ 1 0%) 
  Science: Any (+5%) 
  Technical: Any (+ 1 0%) 
  W.P.: Any 
  Wilderness: Any 
  Secondary Skills: The character also gets six secondary skills from 
  those listed. None of the additional percentages listed in parentheses 
  apply, and all start at base level. Remember, these skills can be 
  traded in for psionics when the character is first created. 
  Standard Equipment: The Acolyte has few personal possessions; at 
  most a personal computer, television, videocassette player, ste­
  reo/CD player, tape recorder, notebooks, pens and markers, pocket 
  calculator, flashlight, a cheap car or motorbike, a few changes of 
  clothes and a few personal items. 
  Money: 2D6x200 in cash plus a maximum of 3D6x1 000 in property 
  (including car, computer, etc., mentioned above). 
  Note: The Acolyte's master/employer provides for most other basic 
  needs such as room and board (usually stays with or near the em­
  ployer), special work clothes or disguises, special equipment, and 
  special modes of transportation (leased car, plane ticket, etc.). 
  14 
  Channeller O.C.C. 
  Along with the formal sorcerers and knowledgeable mystics, the 
  earth after Dark Day also has a number of "spontaneous" magicians -
  people without any formal training or special insight, but who possess 
  amazing powers. They have no need to focus their minds or mutter in­
  cantations to cast magic. In many cases, they are actually unaware that 
  they are the ones responsible for the weirdness around them. As time 
  goes by, their intuitive powers grow. 
  Such characters may believe that they have unique "innate abilities" 
  (or even superpowers) which make it unnecessary for them to spend as 
  much effort on magic as normal magicians. Most likely, however, they 
  are drawing their power, "Channelling" it, from some other sentient 
  "Source." As examples, the character may have had powers conferred 
  by a powerful Guardian, Ancient Sorcerer, or Nightlord. Or the charac­
  ter may have "inherited" an ancient hereditary connection to a powerful 
  magical site (perhaps the character is the sole surviving descendant of 
  the priests who once operated a certain temple or megalith), or the char­
  acter may benefit from being the descendant (or reincarnation) of a 
  powerful sorcerer. The G.M. may elect to determine the source of a 
  player character Channeller's powers without informing the player. 
  This all adds to the sense of mystery and drama, because the character 
  may never know his mysterious benefactor, good or evil, or whether 
  s/he is being subtly manipulated or used by some dark and/or inhuman 
  force. 
  Many other magic O.C.c.s regard Channellers with concern and sus­
  picion. They ask the question, "If one does not know where his power 
  comes from, how can he know that he's not the pawn or dupe of a 
  higher and monstrous being?" This also means that Channellers are not 
  often welcomed among Brotherhoods of the more studious and learned 
  magic O.c.c.s, including Sorcerers, Fleshsculptors and Mirrormages. 
  Nightbane also regard most Channellers with concern. Note: See 
  number three, Magical Limitations, under the Channeller's O.C.C. 
  Abilities & Bonuses for more about the mysterious "Source." 
  Random Source of the Channeller's Powers 
  The following table is offered as an optional means of determining 
  the Source of the character's powers. G.M.s, either roll percentile for 
  random determination or pick one (or use these as inspiration for your 
  own invention). 
  01-10 Absorbs and directs ambient P.P.E. around him. Reduce the 
  normal O.C.C. bonuses by half and the outside P.P.E. bonus is only 
  I D6x 1 O  points. This character may be a bit weaker but at least s/he is 
  not dependent on a supernatural benefactor. 
  11-15 P.P.E. Vampire! Draws on the P.P.E. of other living beings 
  around him. Disregard the usual P.P.E. Base for this character; s/he also 
  lacks powers #6 and #7. In this case, the P.P.E. Vampire must draw en­
  ergy from those around him. Can take up to 10% of a character's base 
  P.P.E.; maximum amount of 20 P.P.E. points per level of experience 
  from unwilling subjects (human, Nightbane and animals; cannot draw 
  energy from Nightlords or supernatural beings) within a 200 foot/6 1 m 
  diameter, or up to 50% from willing subjects (friends, comrades, fellow 
  believers in a cause, participants in a ritual, etc.; within limits). How­
  ever, the character's personal and permanent P.P.E. base is a meager 
  I D6 points +P.E. attribute number and I D6 per level of experience. 
  16-25 Powers are conferred through an ancient (and unexplained) 
  hereditary connection to a powerful magical site. Possibly directed by 
  the spirit of one's ancestors, people or faith. 
  26-35 Conferred by a powerful Guardian. 
  36-50 Conferred by a Nightlord. 
  51-60 Conferred by a powerful and ancient sorcerer. 
  61-70 Conferred by the spirit(s) of one's ancestors. 
  Quentin Milton (Order #26014138)
  
  71-75 Conferred by a spirit(s) of nature. 
  76-80 Conferred by an Immortal (or ancient dragon). 
  81-85 Conferred by an Astral Mage or other powerful Astral being. 
  86-95 Conferred by a supernatural power: a powerful demon lord, 
  alien intelligence, deity, etc. The Source can be good, selfish or evil, but 
  whose identity may forever remain a mystery to the Channeller. 
  96-00 Conferred by The Dark! The mysterious force that empowers 
  the Nightlords themselves (see World Book 2: Nightlands). However, 
  The Dark does not make its identity known, and the character's powers 
  are insignificant compared to the Nightlords'. 
  O.C.C. Abilities & Bonuses 
  1. Psychic Powers: The Channeller selects one psionic power from 
  the Psychic Sensitive category at experience levels 1 -5. At level six and 
  beyond, the character may select a new power from any psychic cate­
  gory - one each time s/he goes up to a new level. Considered to be a 
  major psychic. I.S.P.: M.E. attribute plus 2D6 at first level, and +2D6 
  per additional subsequent level of experience. 
  2. Spell Knowledge: a) Intuitive Spell Knowledge: The Channeller 
  does not begin with any spells, but starting at level two experience, the 
  character may spontaneously "discover," e.g. intuitively know and re­
  call, one spell. These "discovered" spells are limited to incantations se­
  lected from Wizard/Sorcerer spells levels 1 -6, regardless of the 
  character's current level. Once "discovered" this spell can be recalled in 
  times of need, for self-defense, or upon intense concentration. Discov­
  ered spells are a part of the character's permanent spell casting abilities, 
  much like those of the Mystic. Once s/he knows the spell s/he may con­
  sciously and deliberately attempt to cast it whenever s/he desires. 
  b) Unexpected Spell Events: When under great stress, e.g. in per­
  sonal danger/self preservation or when struggling to save the life of an­
  other person (especially a friend or loved one), the Channeller may be 
  able to cast virtually any type of spell (not rituals)! The G.M.'s decision 
  is final when determining exactly what is a "time of need or great 
  stress" and must approve or even select the spell drawn upon by the 
  Channeller. This ability may be considered an instinctive and often un­
  controlled response to life-threatening, frightening and emotional situ­
  ations. This being the case, the magic may appear without the 
  character's (or the player's) intent, manifesting as a reflex response to 
  the character's desperate situation or emotional state of mind. This 
  means the magic may not be deliberate and may be beyond the charac­
  ter's control. 
  "Undiscovered" spells can be of any level l - I S  and can sometimes 
  include spells normally reserved for other magic O.c.c.s like 
  Fleshsculptor or Mirrormage spells. These spells remain a mystery to 
  the Channeller (they cannot be recalled or reused), because they just 
  suddenly happen. The Channeller is not likely to even know most of 
  these unexpected spells by name! The magic that occurs is typically a 
  subconscious response to a particular threat to, or of serious concern to, 
  the Channeller. 
  Ultimately, the G.M. can decide when and what type of unexpected 
  spell might occur. As a helpful rule of thumb, we offer the following: 
  The success ratio for unknown ("undiscovered") spells not exceeding 
  the Channeller' s current level of experience is 0 1 -60%. Spells one level 
  or higher than the Channeller's current level of experience have only a 
  0 1 - 1 2% chance of occurring (unless the G.M. thinks otherwise). 
  Of course, the Channeller must have sufficient P.P.E. to cast the 
  spell whether s/he knows it or not, and unexpected spell events will 
  bum up P.P.E. whether s/he intentionally wanted the magic to happen 
  or not. However, the P.P.E. used in these unexpected spell events is half 
  that of normal. More trouble: The damage and duration of these unex­
  pected, "undiscovered" spell occurrences are almost always beyond the 
  Channeller's control. This means they happen with the maximum dam­
  age and duration for that spell (equal to the Channeller's current experi­
  ence level). Nor can the Channeller prematurely stop the unexpected 
  spell occurrence by willing it away. Usually it runs its full course on its 
  own. 
  15 
  Quentin Milton (Order #26014138)
  
  3. Magical Limitations & Considerations: All "discovered" spells 
  are limited to spells commonly associated with sorcery/wizardry and the 
  Channeller can never "discover" a spell higher than sixth level. 
  Another unpredictable aspect of the Channeller's abilities is that s/he 
  can accidentally or unwittingly activate and power magical circles, de­
  vices and artifacts that require P.P.E. by unconsciously directing ambi­
  ent (not his own) magic energy to them. 
  Problems conceming the Source: The character's magic is likely to 
  fail (at the G.M. 's discretion) if the Channeller attempts to use it to the 
  detriment of the magic's real Source (e.g. if it is used to attack the being 
  who is secretly channeling power into the character). Likewise, the real 
  Source of the magic can influence the magic being cast by the Channel­
  ler. If it so desires it, the Source can prematurely end a spell's effects 
  before its normal duration has expired (or before the Channeller in­
  tended; much to his surprise), or alter the details of the spell's operation 
  (e.g. shorten or lengthen the duration by as much as 50%, reduce or in­
  crease damage by as much as 50%, limit who is affected, and similar). 
  Since it is the Source (G.M. discretion) who provides the Channeller 
  with his spell casting powers, bonuses and a good portion of his P.P.E., 
  this mysterious benefactor may decide to prevent the character from 
  "discovering"/leaming a particular spell which The Source does not ap­
  prove of, or allow only the "discovery" of spells which it wants its ves­
  sel to possess. Furthermore, the Channeller's magic bonuses disappear 
  should s/he challenge or confront The Source of his powers. Worse, a 
  benefactor who becomes disenchanted or angry with the Channeller 
  may completely withdraw his powers. 
  If at any time the Source withdraws its support from the Channeller, 
  the character loses all O.C.C. bonuses, all P.P.E. supplied from the out­
  side Source, and s/he cannot discover/learn new spells, or gain new psy­
  chic powers. However, Channellers are vessels that attract supernatural 
  forces, so it will only be a matter of time before a new, mysterious 
  sponsor will enter the picture; 3D4 weeks. 
  Note: Channellers may never learn ritual magic, nor take proficien­
  cies or limitations which presuppose a ritual element to spell casting. 
  4. Magic Bonuses: + 1 on initiative, +2 to save vs magic, +6 to save 
  vs possession, +2 to save vs horror factor, and + 1 to save vs mind con­
  trol at levels 1 , 3, 6, 9, 12 and 15. Energy attacks (fire, lightning, elec­
  tricity, and even laser beams) do half damage. 
  S. P.P.E.: At first level the character has a base P.P.E. of 2D6 plus 
  the P.E. attribute number. Add 2D6 per additional level of experience, 
  starting with level two. In addition, the character has a bonus P.P.E. re­
  serve (which functions as normal P.P.E., but comes from the true 
  Source of the character's power and should be recorded separately) of 
  I D6xl O+25 P.P.E. The only exception is the P.P.E. Vampire and Ambi­
  ent Channeller (see the first two entries in the optional random table, 
  above). 
  6. Commune with Spirits: The Channeller may be resistant to ac­
  tual possession, but s/he is sensitive to spirits and can see them, includ­
  ing astral travelers, entities, energy beings, sentient or independent 
  "living" magic, ghosts and similar life essences. To commune, the 
  Channeller must meditate and allow the spirit to enter his body and 
  seize just enough control to speak through him. The spirit hears ques­
  tions and voices from those around the Channeller and can use the char­
  acter's vocal cords and mouth to answer them or issue threats or 
  warnings. Note that answers to questions are not always truthful and the 
  Channeller does not hear or remember anything said while he's en­
  tranced. 
  The Channeller can break contact at any time s/he desires or when 
  s/he senses danger from the spirit or outside sources (within the range 
  of normal senses). Likewise, the spirit can leave whenever it desires, 
  and is forced out at the moment the Channeller breaks his meditative 
  trance. 
  7. Channel Mystic Energy: The Channeller can also draw and re­
  direct or expel mystic energy. This means s/he can dispel or transform 
  negative chi into positive (P.P.E. cost 30); perform exorcism (P.P.E. 
  16 
  cost 10) through the laying of hands and concentration to force out an 
  evil, living energy being (takes six minutes and has a success rate of 
  50% +3% per level of experience); draw P.P.E. from an artifact and dis­
  pel it into the air or absorb it into himself (cannot exceed normal per­
  sonal P.P.E.); or instantly transfer all or part of his P.P.E. into another 
  character or magic artifact via touch (slowly dissipates from living be­
  ings unless it is used within the hour; remains inside an artifact until it is 
  drawn upon). This transferred P.P.E. can be used by the Channeller as 
  long as the character or object is within a 1 00 ft (30.5 m) radius. 
  8. Dowsing: This is the ability to locate fresh water whether it be 
  with a divining rod or by more scientific and logical means. For the 
  Channeller, this is a mystical ability that enables him to sense the move­
  ment of underground and surface water. The percentage number indi­
  cates the success ratio for locating fresh water. A player can roll once 
  every melee to see if his/her character senses water, but must roll two 
  consecutive successful rolls to locate the water source. Base Skill: 30% 
  +5% per level of experience. 
  Channeller O.C.C. 
  Attribute Requirements: M.E. 9 and M.A. 9 or higher. 
  O.C.C. Skills: 
  Read/Write/Speak Native Language 98% 
  Mathematics: Basic (+25%) 
  Meditation (same as the psionic power) 
  Computer Operation (+ 1 0% ) 
  Pilot Automobile (+ 1 0%) 
  Two languages at +15% or one language at +30% may be selected 
  in place of one "other" skill. 
  Select three other skills (+ 1 5%) which reflect the character's pre­
  vious or current employment and background. 
  Hand to hand: basic may be selected as one "other" skill, or hand to 
  hand: expert in place of two "others," or martial arts (or assassin, if 
  of evil alignment) as three "other" skills. 
  O.C.C. Related Skills: Select eight other skills, but no more than four 
  from any one category. Plus, select two additional skills at level 
  three, and one at levels six, nine and twelve. All new skills start at 
  level one proficiency. 
  Communications: Any (+5%) 
  Domestic: Any (+ 1 0%) 
  Electrical: Any (+5%) 
  Espionage: Intelligence and Wilderness Survival only. 
  Mechanical: Any (+5%) 
  Medical: Any 
  Military: None 
  Physical: Any 
  Pilot: Any 
  Pilot Related: Any 
  Rogue: None 
  Science: Any (+5%) 
  Technical: Any (+ 10%) 
  W.P.: Any 
  Wilderness: Any 
  Secondary Skills: The character also gets six secondary skills from 
  those listed. None of the additional percentages listed in parentheses 
  apply, and all start at base level. 
  Standard Equipment: Varies. Most own a personal computer, inex­
  pensive car or jeep, and several sets of clothes, plus other personal 
  possessions (stereo, watch, etc.). 
  Money: 3D6x 100+200 in cash. 3D6x l 000 in property (including car, 
  computer, and similar equipment). 
  Quentin Milton (Order #26014138)
  
  Cybermage O.C.C. 
  17 
  The Cybennage O.c.c. is the magician of the modem age; part ma­
  gus, part mechanic, part psychic and part physicist. The O.C.C. can be 
  used as a player character, but has the disadvantage that Cybermagic is 
  very expensive (financially) to create and maintain. This isn't a problem 
  if the G.M. and player are prepared to spend a bit of time thinking about 
  where all the Cybennage's money is coming from, but it does require a 
  bit of thought. Be careful that this character and his resources don't 
  overshadow the other player characters. Also note that Cybennages 
  who are too flamboyant with their creations, wealth or public persona 
  will attract the attention of the Nightlords and their minions, making the 
  mage a target for integration into the ranks (minions) of the Nightlords 
  or extennination. Likewise, a Cybennage may be recognized and re­
  cruited by Nightbane, freedom fighters, sorcerous cults, and other 
  groups. These groups may also see the mage as a potential ally, com­
  petitor, traitor or enemy, and respond accordingly. 
  o.c.c. Abilities & Bonuses 
  1. Initial Spell Knowledge: Like the sorcerer, the Cybennage be­
  gins with three spells from each magic level one through four (total of 
  twelve spells), but s/he also automatically gets the Fleshsculptor spells 
  of fuse bones, preserve living flesh, and replace flesh (each at double 
  the P.P.E. needed by Fleshsculptors). 
  Each subsequent level of experience, the character can figure out 
  one new spell equal to, or less than, his own level. These new spells are 
  limited to Sorcery /Wizard spells from levels 1 - 1 5  and Fleshsculptor 
  spells from levels 1 -3, only! 
  2. Learning Further Spells: The character may learn any spell or 
  Cybennagic at any time, regardless of level, presuming that a tutor or 
  fonnal textlblueprint can be found. However, the character is likely to 
  find that gaining access to tuition or comprehensibly written versions 
  of Cybennagic is time consuming, expensive and unlikely. 
  3. Casting Spells & Creating Cybermagic: Under nonnal circum­
  stances, a Cybennage may only cast magic spells equal to or less than 
  his level. However, the mage can create Cybermagic (bio-electrical de­
  vices incorporating living tissue, electronic components, and often me­
  chanical or computer parts) equal to a spell of any level. 
  When creating Cybennagic, the magician casts the magic into the 
  specially built "machine," casting the spell as nonnal. The machine then 
  functions to maintain the spell, so that the spell becomes part of the ma­
  chine's function with extended and even limitless duration. Further, the 
  targets of such machines are at -2 to save vs their effects. Turning the 
  machine "on" effectively casts the spell; turning it off ends the effect. 
  Each magical machine/device can only hold one spell. 
  Until the machine is actually dismantled or destroyed, the Cyber­
  mage cannot recover the P.P.E. used to create it (the cost of the spell 
  cast into the machine). See below for more details. 
  Note: The union of magic and machines may make Cybennagic 
  sound a bit similar to Techno-Wizardry as found in the Rifts® RPG, 
  but Techno-Wizards do not enslave or use living creatures or living 
  flesh of any kind. Both are distinctly different areas of magical study. In 
  fact, Cybennagic is more closely related to the Splugorth's Bio-Wiz­
  ardry (see Rifts® World Book 2: Atlantis). 
  4. Magic Bonuses: +2 to save vs magic at levels one and eight, +2 
  to save vs possession, +2 to save vs mind control, and +3 to save vs 
  horror factor. 
  S. P.P.E.: At first level, the character has a basic P.P.E. of I D6x l O  
  +P.E. attribute. Add 2D6 per additional level of experience. 
  6. Psionic Powers: The Cybennage automatically gets the psionic 
  powers of object read (limited only to the purpose and function of an 
  object). mind block and speed reading (telemechanics, as found in other 
  Palladium RPGs, is optional). No additional psionic powers are avail­
  able. I.S.P. is limited to M.E. attribute number plus I D4 per level of ex­
  perience. 
  Quentin Milton (Order #26014138)
  
  Cybermage O.c.c. 
  Attribute Requirements: I.Q. 1 4, M.E. 9 and M.A. 9 or higher. 
  O.C.C. Skills: 
  Read/Write/Speak Native Language 98% 
  Principles of Magic (same as Sorcerer) 
  Basic Electronics (+20%) 
  Basic Mechanics (+20%) 
  Mathematics: Basic (+35%) 
  Computer Operation (+25%) 
  Computer Programming (+1 5%) 
  One modern W.P. of choice 
  Two languages at + 1 5 %  or one language at +30% may be selected 
  in place of one "other" skill. 
  Hand to hand: basic may be selected as one "other" skill or hand to 
  hand: expert in place of two "other," or martial arts (or assassin, if of 
  evil alignment) as three "other" skills. 
  O.C.C. Related Skills: Select ten other skills from the list below. Plus, 
  select two additional skills at level three, and one at levels six, nine 
  and twelve. All new skills start at level one proficiency. 
  Communications: Any (+1 5%) 
  Domestic: Any (+5%) 
  Electrical: Any (+ 15%) 
  Espionage: None 
  Mechanical: Any (+1 5%) 
  Medical: Any 
  Military: Demolitions and Demolitions Disposal only 
  Physical: Any 
  Pilot: Any 
  Pilot Related: Any 
  Rogue: Computer Hacking only (+20%) 
  Science: Any (+ 1 0%) 
  Technical: Any 
  W.P.: Any 
  Wilderness: None 
  18 
  Secondary Skills: The character also gets eight secondary skills from 
  those listed. None of the additional percentages listed in parentheses 
  apply, and all start at base level. 
  Standard Equipment: Most Cybermages own a workshop (anything 
  from the whole of a derelict factory to a pile of tools in the back of a 
  van), several personal computers ( I D4+2; none of which work quite 
  right), a cheap car, van or jeep, casual and work clothes, plus whole 
  piles of bizarre electrical and mechanical components, and petty per­
  sonal possessions (stereo, wristwatch, calculator, etc.). 
  Money: ID6x lO00 in cash. 3D6x2000 in property (including car, com­
  puters, tools, etc.). May also have available funds and/or access to 
  facilities and/or research and development funds via sponsorship by 
  private industry, scholastic institution or Brotherhood, or some simi­
  lar resource, at the G.M.'s discretion. Note, however, that affiliation 
  with any organization is likely to come with some distasteful bag­
  gage: connections with undesirables (evil mages, NSB, Spook 
  Squad, Nightlords, foreign governments, secret Brotherhoods, etc.), 
  guilt by association, restriction of the character's freedom, deadlines, 
  budgets, and any or all of the character's research, data and creations 
  are likely to be owned or co-owned (or stolen) by the sponsoring in­
  stitution. 
  Cybermagic 
  In creating Cybermagic, the Mage charges a part-living machine 
  with magical energy, allowing the machine to maintain a spell over any 
  duration without a conventional power supply. Note that all Cyber­
  magics include living tissue (the enchantments actually prevent this tis­
  sue from dying or rotting) combined with metals, plastic, electronics, 
  and machine parts. Spells which usually cannot affect metal or plastic 
  objects (e.g. fly) can still be cast on/into Cybermagic artifacts. 
  Quentin Milton (Order #26014138)
  
  Each Cybennage device can only hold and project one magical 
  spell; the Cybennage cannot create a multipurpose, multi-magic object. 
  These incredible devices take some time to create and they must be of a 
  certain size and weight. Note that for spells which affect a certain 
  weight or volume of material, and have to affect the machine as well, 
  the machine is assumed to be of zero weight. See the Levitation exam­
  ple below. 
  A machine used for a level one spell must weigh at least one pound 
  (0.45 kg), takes one hour to make, and costs at least $ 1  (probably just 
  using scraps from around the Cybennage's workshop). For a level two 
  spell, the machine must weigh at least 10 Ibs (4.5 kg), take 1 0  hours 
  work, and cost at least $ 1 0  to create. A level three spell, 1 00 hours 
  work, 1 00 Ibs (45 kg) weight, at a cost of $ 1  DO; and so on - adding an 
  extra zero to the cost and hours necessary to build the device per level 
  of the spell. 
  Note that so long as a Cybennage is in charge of the operation, tech­
  nicians with no magical skills may be employed to do as much as 60% 
  of the actual constructionllabor, and no project will take more than 
  1 ,000 man-years of work. A Cybennage can also use supernatural crea­
  tures or other Cybennagic machines to do some of this work as well. 
  So, a Cybennagic machine utilizing a 1 2th level spell would weigh 
  1 ,000,000,000,000 Ibs (equivalent to a small factory), would take 500 
  workers two years to complete, and have a cost equivalent to the entire 
  national debt! 
  In practice, the costs of high-level Cybennagics are theoretical. The 
  real problem is the scarcity of components, which may only be avail­
  able from the Nighlands or Astral Plane, as examples. In practice, rather 
  than spend billions of dollars on a machine, player characters (and NPC 
  organizations) are more likely to risk a series of dangerous missions to 
  other worlds to recover "priceless" components, rather than spend im­
  plausible quantities of cash. Still, any machine over level six is going to 
  cost hundreds of thousands, or millions of dollars to build, which ex­
  plains where some of the Preserver Government's "national security 
  budget" goes - towards funding some very strange "research projects" 
  indeed. 
  Cybermagic Requirements: 
  1. Living Flesh: Always requires a higher life fonn as a major com­
  ponent, i.e. bird, mammal, human, supernatural being or other advanced 
  (alien) life from. Humans, Nightbanes, Nightlords, demons, and any 
  other intelligent beings of flesh and blood (energy beings are not suit­
  able) are always suitable for use in a Cybennagic device. Of course, to 
  function as the living component is constant enslavement and agonizing 
  torture. Often, the human component is mutliated for its use in the ma­
  chine. 
  2. P.P.E.: The P.P.E. cost is the same as the spell, only the magic 
  power and energy is locked into the device, can be turned on and off at 
  will, and used indefinitely (or until the device bums out). The P.P.E. 
  spent on its creation is lost to the Cybennage until the object is disman­
  tled or destroyed. 
  While the device exists undamaged and fully operational, even if not 
  in use for years (locked in the closet), it remains a functioning magical 
  device and the P.P.E. locked inside it is lost to its creator. Yes, this 
  means, theoretically, the Cybennage can drain himself of P.P.E. com­
  pletely, by building too many devices. 
  Using Living Beings: The use of one or more living creatures as 
  components in the device reduces the amount of P.P.E. the Cybennage 
  must personally expend into the device (via spell casting) by half. 
  The P.P.E. Additive: Some creatures used as the "living flesh com­
  ponent" of Cybennage devices can contribute additional P.P.E. to the 
  device. If the creature has over 50 P.P.E. points, all the energy above 50 
  can be used to cast and maintain the spell in the device. This makes 
  Nightbane, practitioners of magic and supernatural beings particularly 
  attractive (at least to evil Cybennages). 
  19 
  3. Spell Modification Considerations: The range may be decreased 
  or increased depending on the nature of the mechanical aspects of the 
  Cybennagic device. For example, a fire ball, lightning bolt or similar 
  energy attack spell could be built into a cannon, rail gun, rocket, and 
  similar. The range would be reflective of the device, so a cannon could 
  fire the blast 3000 to 1 0,000 feet (91 4  to 3048 m) depending on the size 
  and average range of a comparable nonmagical cannon. A rocket would 
  fly its usual range, unleashing its magical payload when it hits. 
  4. Alignment Restrictions: Cybennages of good to unprincipled 
  alignments will never consider enslaving and tonnenting living crea­
  tures, especially intelligent beings, by using them in Cybennagic de­
  vices. As a result, most Cybennages are anarchist or evil. 
  Examples of Cybermage Devices 
  The following sample devices are just that: samples. Each Cyber­
  mage will design their own devices, and each will be different. These 
  examples are simply intended to give players and G.M.s ideas about 
  how specific spells may be put into effect. Inventing your own designs 
  is half the fun, and of course the design of these machines can be used 
  to say something about the Cybennage's personality or to create atmos­
  phere. 
  Levitation: The Chained Doves: This "machine" was created by an 
  evil Cybennage to allow him to move up and down the vertical shaft 
  which led to his underground workshop. The contraption takes the fonn 
  of a thin iron basket, large enough for a human to sit in. It is attached to 
  thirteen chains and a series of computer panels and cables. At the end 
  of each chain, fastened by a large bolt driven through their chests, is a 
  tattered dove. The doves squinn in constant agony, crying tears of 
  blood, but if the correct keys are pressed on the control panel, they take 
  magical flight and drag the basket up or down. The Cybennage was 
  fifth level at the time of casting, and so his creation can carry its own 
  weight plus 300 Ibs ( 1 36 kg) up to 1 10 feet (33.5 m) straight up. It 
  weighs about 40 Ibs. 
  Fly: The Hunter's Wings: This device, created by a Cybennage 
  named Tanya Schiro, is a Hunter's exoskeleton imbued with the Fly 
  spell. The skull is worn as a helmet, while the rest of the body is worn 
  as a suit. The whole thing has been augmented with a tangle of cables 
  and wires, with greasy hydraulic pistons attached to the wings and 
  joints. The sections of exoskeleton were removed from the Hunter while 
  it was still alive, and they remain warm and clammy. The whole con­
  traption weighs about 1 ,000 Ibs (453 kg), and will carry one human­
  shaped wearer (who controls its speed and direction) with up to three 
  other adults clinging precariously to the outside. The armor has an A.R. 
  13 against magic weapons (none against nonnal weapons) and can fly 
  at a speed of 60 mph (96 km). 
  Blinding Flash: The Silver Lantern: First invented by an unknown 
  Cybennage, The Silver Lantern device is created by filling a small glass 
  sphere with bacteria in a sugar solution, and mounting the globe on a 
  small electronic plinth (stand). Various wires run up the outside of the 
  globe from the base, attaching to pins set into the glass. A single on/off 
  switch on the plinth causes the bacteria in the globe to burst into light 
  - with a constant Blinding Flash spell as its magical catalyst. Rather 
  than acting once, instantly, the duration is unlimited, so that anyone 
  within 10 feet (3 m) of the globe may be blinded each round, until the 
  device is turned off. Obviously, even the person who turns the device 
  on is affected. An alternative might be a flash gun that unleashes a 
  blinding flash every time the trigger is pulled. A mystic light bulb can 
  be created in similar fashion using the globe of daylight spell. 
  Call Lightning: The Electro-Cannon: This weapon resembles a 
  cannon or recoilless rifle with a half dozen living electric eels (or 1 -4 
  human brains) built into it, connected with wires and circuit boards in 
  the gun's body housing. It can be mounted on a tank, half-track or 
  truck. A sixth level Cybennage cast a call lightning spell into it so that 
  every time the trigger is pulled (equal to the total number of attacks per 
  melee round; typically 4-6) it fires a lightning bolt-like blast that does 
  9D6 damage! Range: 3000 to 1 O,DOO feet (9 1 4  to 3048 m) depending on 
  the size and average range of a comparable nonmagical cannon. 
  Quentin Milton (Order #26014138)
  
  Cybermagic: Bionic-Grotesque 
  Cybermagic mechanisms can be micronized for use as implants, at­
  tachments and appendages placed into the Cybermage's own body or 
  into the body of another character as a grotesque and deforming form of 
  mystical cybernetics/bionics. 
  Cybermagic bionics require one tenth the weight of a normal Cy­
  bermage device, but take three times as long to build and cost five times 
  more money and two times more P.P.E. ! This means a first level spell 
  Bionic-Grotesque implant would weigh 1 .6 ounces (may be heavier and 
  or larger if the Cybermage so desires or the purpose requires it), take 
  two hours to construct, cost five dollars and double the normal P.P.E. A 
  third level spell implant of a Bionic-Grotesque would weigh 1 0  pounds 
  (4.5 kg), take 200 hours, cost $500 and double the normal P.P.E. 
  In this case, the living component of the magic is the body of the re­
  cipient. Each particular Bionic-Grotesque implant, whether it's an artifi­
  cial eye, ear, lung, weapon hand, etc., has only one magical property, 
  Fleshsculptor O.C.C. 
  The Fleshsculptor is a specialized area of spell and ritual magic 
  similar to the sorcerer, but which focuses on life and flesh. In many 
  ways this is very sensible - as magic is, in a sense, alive. Thus, it is 
  logical to apply its powers to living tissue; and the one thing which any 
  mage has available is his/her own body. However, Fleshsculpting can 
  be a painful and horrific pursuit. Its magic deals with the control, heal­
  ing, and manipulation of both the physical and, to some degree, the 
  spiritual body (the mind, emotions, willpower, morals, etc.). 
  Fleshsculpting has only recently been rediscovered, so there are few 
  practicing mages compared to Sorcerers, Mystics, Mirrormages and 
  20 
  although it may have an additional mechanical property or capability. 
  For example, a camera eye can be magically enchanted to photograph 
  the invisible via the see invisible spell. Its mechanical function also al­
  lows it to take ordinary photos as well, and is likely to have telescopic 
  capabilities and might even allow for the changing of lenses and filters. 
  Staying with the camera eye example, this Cybermage bionic crea­
  tion will be very obvious, disfiguring, and clunky compared to real bi­
  onics. In this case, the camera-eye is likely to look like a camera lens 
  shoved into the person's skull - it's part of what makes the magic 
  work. Cybermagic Bionic-Grotesque will never be obscured or cosmeti­
  cally hidden. In fact, Cybermagic cyborgs are often mistaken as bio-me­
  chanical Nightbane in Morphus, or as technological monsters. Note: 
  Typically, each Bionic-Grotesque implant or appendage will reduce the 
  P.B. of the recipient by one or two points. As many as ten Cybermagic 
  Bionic-Grotesque implants can be used in the human body. Creatures 
  that shape-change or are supernatural in nature cannot usually use such 
  implants or any type of cybemetics. 
  even Cybermages. Typically there are two camps, one (those with good 
  and selfish alignments) who generally hold life and the inner spirit in 
  the highest regard, and who use their magic to help, heal and protect 
  others. These characters are typically idealistic, compassionate, sympa­
  thetic to the suffering of others, have a strong will, and a positive out­
  look on life and people. The other camp is Fleshsculptors who have 
  little regard for the lives and spirits of anybody other than themselves 
  (these mages have an evil alignment, sometimes anarchist). Such foul 
  and/or cold-hearted mages use their powers not to heal, but to bribe, 
  control, manipulate, spy, torture and kill. They are often arrogant and 
  cruel because they can shape, grow or destroy life with their bare hands! 
  The Nightlords count a handful of Fleshsculptors among their Earthly, 
  human minions, and use them as tempters ("I can make you look beauti-
  Quentin Milton (Order #26014138)
  
  ful again"), interrogators and torturers (using disfigurement to extract 
  information). Note: Both good and evil Fleshsculptors usually see 
  themselves as artists whose clay is living flesh (and bone) and whose 
  masterworks are people (whether whole and beautiful or broken and 
  ugly). Both are imaginative and creative, though sometimes in terrible 
  ways. 
  Frequently, the end result of Fleshsculpting magic is permanent, so 
  it must be used with discretion and care. Negate and dispel magic have 
  no affect on most Fleshsculpting magic because the magic portion of 
  the spell or ritual only enables the Fleshsculptor to perform his work 
  (i.e. the reshaping of flesh); once it is done, the physical results are per­
  manent. Only another Fleshsculptor may try to undo or, more to the 
  point, redo/reshape what another has done. 
  o.c.c. Abilities & Bonuses 
  1. Initial Spell Knowledge: Like the sorcerer, the Fleshsculptor be­
  gins with three spells from each magic level one through four (total of 
  twelve spells). Each level of experience, the character can figure out 
  one new spell equal to or less than his own level. These spells may be 
  Fleshsculptor specialist spells and generally available Wizardry/Sorcer­
  ous spells which affect only flesh or the human body. 
  2. Learning Further Spells: Like a sorcerer, a Fleshsculptor may 
  learn spells of any level. However, they are limited to Fleshsculptor 
  spells and other magics which affect flesh (including new spells created 
  by the player and/or G.M.; see Chapter Three). 
  3. Magic Bonuses: + 1  to save vs magic at levels 1 , 4, 8, and 1 2, +1 
  to save vs mind control, +5 to save vs possession, +5 to save vs horror 
  factor and + 1 to save vs disease at levels I ,  2, 4, 6, 9, 1 2  and 1 5 .  
  4. P.P.E.: At first level the character has a basic P.P.E. of 2D4x1 O  
  +P.E. attribute number. Add 2D6 per each additional level of experi­
  ence. 
  Note: Most Fleshsculpting magic requires the mage to physically 
  touch and manipulate the flesh, bone or body in order for it to work. In 
  this sense the character is similar to both an artist and a surgeon (al­
  though a knife is not usually necessary). Most have a good to excellent 
  knowledge of the human body, particularly its physiology. Many are 
  also fond of animals and nature. 
  Attribute Requirements: I.Q. 1 4, M.E. 9 and M.A. 9 or higher, and 
  must be at least a minor psionic. 
  O.C.C. Skills: 
  Read/Write/Speak Native Language 98% 
  Principles of Magic (+ 1 0% ) 
  Mathematics: Basic (+25%) 
  Computer Operation (+ 1 5%) 
  Sculpt (+25%; professional quality) 
  Biology (+25%) 
  Two Medical skills of choice (+ 15 % ) 
  One Lore skill of choice (+ 1 5%) 
  Two languages at + 1 5 %  or one language at +30% may be selected 
  in place of one "other" skill. 
  Hand to Hand: Basic; the physical orientation of the Fleshsculptor 
  provides him or her with the basic hand to hand combat skill. 
  Hand to hand: basic may be changed to hand to hand: expert in 
  place of one "other" skill, or martial arts (or assassin, if of evil align­
  ment) as two "other" skills. 
  O.C.C. Related Skills: Select ten other skills from the list below. Plus, 
  select two additional skills at level three, one at level six, one at level 
  nine and one at level twelve. All new skills start at level one profi­
  ciency. 
  Communications: Any (+15%) 
  Domestic: Any (+ 10%) 
  Electrical: Any 
  Espionage: Detect ambush, detect concealment, disguise, escape art­
  ist and impersonation (new) only. + 10% to disguise skill. 
  Mechanical: Basic Mechanics only 
  21 
  Medical: Any (+ 1 0% ) 
  Military: None 
  Physical: Any 
  Pilot: Any 
  Pilot Related: Any 
  Rogue: None 
  Science: Any (+ 1 0% ) 
  Technical: Any (+5% to most; + 15% to art and photo skills) 
  W.P.: Any 
  Wilderness: Preserve food and skin and prepare animal hides only. 
  Secondary Skills: The character also gets six secondary skills from 
  those listed. None of the additional percentages listed in parentheses 
  apply, and all start at the base level. 
  Standard Equipment: Varies. Any reasonable personal equipment 
  may be selected: A personal computer (portable laptop?), medical 
  bag with basic equipment, art sculpting tools, backpack, selection of 
  clothes, a few books, TV and video, tape recorder, notebooks and 
  pens, 35 mm camera, and an inexpensive car or motorbike. 
  Money: I D6x 1 000 in cash. 4D6xl ,OOO in property (including car, 
  computers, tools, etc.). 
  Mirrormage O.C.C. 
  A Mirrormage uses mirrors and the Mirrorwall as tools. He or she is 
  not obliged to use only raw mental power (P.P.E.), but instead draws 
  power from and makes use of the properties of the Mirrorwall. In prac­
  tice this means that the Mirrormage only has to expend half the normal 
  number of P.P.E. to cast a spell. S/he needs fewer P.P.E. than other ma­
  gicians, because s/he is making better use of the supernatural phenome­
  non called the Mirrorwall. As wonderful as that may sound, whenever 
  P.P.E. is drawn from the Wall it is weakened. A Mirrormage can seri­
  ously weaken its integrity by repeatedly casting powerful magics in the 
  same place: the exact effects of this are left to the devious discretion of 
  the G.M., but can include bringing I D6 Nightlands creatures (or beings 
  from other worlds), attract the attention of a Night Prince or Lord, open­
  ing a temporary dimensional portal (to just about anywhere), and so on. 
  The Mirrormage is limited to dealing with the Mirrorwall, and asso­
  ciated phenomena (calling and summoning, crossing dimensional barri­
  ers, and using reflective surfaces), so s/he may only cast a limited 
  number of spells. Spells and rituals unique to the Mirrormage O.C.C. 
  are listed toward the end of Chapter Four, but in addition, s/he may also 
  choose magic from the following: 
  From this book: 
  Soul in a Bottle (using a mirror instead of a bottle) 
  Open Pathway 
  Psychic Drain (using a mirror as a focus) 
  See Through Lifeless Eyes 
  From the Nightbane® RPG: 
  See Aura 
  See The Invisible 
  Sense Evil 
  Sense Magic 
  Sense Nightbane 
  Sense P.P.E. 
  Detect Concealment 
  Mystic Alarm (if the object Alarmed is in view of a mirror) 
  Ritual: Call Creature of Light 
  Ritual: Call Nightlands Denizens 
  Ritual: Call Nightlord 
  Teleport: Lesser (using a mirror to send the object through) 
  Second Sight (by looking into a mirror) 
  Locate (allowing the caster to see the general area reflected in a mirror) 
  Quentin Milton (Order #26014138)
  
  22 
  Nightlands Portal (starting from a large mirror) 
  Oracle (visions seen in a mirror or reflective surface) 
  Banishment 
  Nightlands Passage 
  Summon Nightlord Avatar 
  Summon Nightlord 
  Talisman (using a mirror) 
  Close Rift 
  Dimension Portal 
  Teleport: Superior (accomplished by stepping through a large mirror) 
  Note: And generally, most summoning and dimensional magic and 
  magic that uses a reflective surface. 
  From Between the Shadows™: 
  Astral Portal 
  Dream Window (using a mirror for the window) 
  Dream Senses (through a mirror) 
  Observe Dream (via a mirror close to the sleeping person) 
  o.c.c. Abilities & Bonuses: 
  1. Initial Spell Knowledge: Like the sorcerer, the Mirrormage be­
  gins with three spells from each magic level, one through four (total of 
  twelve spells). Each new level of experience, the character can figure 
  out one new spell equal to or less than his own level (starting at level 
  two). These spells may be Mirrormage specialist spells, other suitable, 
  generally available spells (see list, above), or new Mirror Magic spells 
  created by the player and/or G.M. (see Chapter Three). 
  2. Learning Further Spells: Additional spells and rituals of any 
  magic level can be learned or purchased at any time regardless of the 
  mage's experience level. See the Pursuit of Magic, page 1 24 of the 
  Nightbane RPG and Chapter Three of this book for learning spells and 
  creating new forms of magic. Mirrormagic spells are found in Chapter 
  Four of this book. 
  3. Magic Bonuses: +1 to save vs magic at levels 1 , 2, 3, 7, and 1 2, 
  +2 to save vs possession, +2 to save vs mind control, +2 to save vs hor­
  ror factor. 
  4. P.P.E.: At first level the character has a basic P.P.E. of I D6x l O  
  +P.E. attribute, plus 2D6 per additional level o f  experience. 
  S. Sense Dimensional Rifts & Portals: Because the Mirrormage is 
  attuned to and concerned with the barrier(s) between planes and uni­
  verses, s/he gains the ability to sense breaks, tears and openings in these 
  barriers. The Mirrormage can tell if s/he is within a mile ( 1 .6 km) of 
  such a breach (a portal, rift, opening of a Pathway, etc.), although s/he 
  cannot tell how the breach has been created nor its exact nature. All the 
  Mirrormage can determine is that the opening is within a mile ( 1 .6 km) 
  and how "big" the break is, so that a major Rift would feel frighteningly 
  big, whereas the opening of a Pathway would be very minor. Within 
  300 feet (90 meters) of the breach, the character can also sense its gen­
  eral direction and rough distance, but still cannot tell exactly what its 
  nature is. Looking into a dimensional opening, the mage can tell 
  whether it connects to the Mirrorwall, Nightlands, Astral Plane, or else­
  where (elsewhere being an unknown location/realm). 
  6. Uncanny Sense of Direction: In the normal world, the mage has 
  the equivalent of the land navigation skill at 98%. S/he can also always 
  tell which way is up, down or sideways, and approximate depth, height 
  or distance from the starting point. In the Mirrorwall, the mage can al­
  ways find his or her way back to where s/he arrived and back to the 
  character's home dimension. 
  Attribute Requirements: M.E. 13, M.A. 9 and P.E. 9 or higher. 
  O.C.C. Skills: 
  Read/Write/Speak Native Language 98% 
  Principles of Magic (no bonus) 
  Mathematics: Basic (+25%) 
  Computer Operation (+20%) 
  Quentin Milton (Order #26014138)
  
  Two languages at + 1 5% or one language at +30% may be selected 
  in place of one "other" skill. 
  Hand to hand: basic may be selected as one "other" skill, or Hand to 
  hand: expert in place of two "others," or martial arts (or assassin, if 
  of evil alignment) as three "other" skills. 
  O.C.C. Related Skills: Select ten other skills from the list below. Plus, 
  select two additional skills at level three, one at level six, one at level 
  nine and one at level twelve. All new skills start at level one profi­
  ciency. 
  Communications: Any (+20%) 
  Domestic: Any (+5%) 
  Electrical: Any 
  Espionage: Detect ambush and detect concealment only (+ 1 0%). 
  Mechanical: Basic Mechanics only. 
  Medical: Any (+5%) 
  Military: None 
  Physical: Any 
  Pilot: Any 
  Nemesis R.C.C. 
  All human beings have a Nemesis in the Nightlands, a person (or 
  creature) who is their opposite and equal. This Nemesis may be a Ba' al­
  Zebul, Night Prince, Hound Master, Great Hound, Ashmedai, Snake 
  Bird, Doppleganger (resembling anyone), Night Gnome or one of the 
  Beautiful People. Most are likely to look (almost) human. The genuine 
  human is always ignorant of the fact that s/he is somehow linked to 
  some Nightlands creature, and the creature is usually equally unaware 
  of the connection. 
  23 
  Pilot Related: Navigation and read sensory equipment only (+1 0%). 
  Rogue: Computer hacking only. 
  Science: Any 
  Technical: Any (+20%) 
  W.P.: Any 
  Wilderness: None 
  Secondary Skills: The character also gets six secondary skills from 
  those listed. None of the additional percentages listed in parentheses 
  apply, and all start at the base level. 
  Standard Equipment: Basic personal equipment only; a personal com­
  puter, a cheap car or jeep, a watch and other petty objects, and cas­
  ual and work clothes, plus a collection of mirrors, lenses and crystals 
  of various sizes and shapes. The character is also attracted to gem­
  stones. 
  Money: 4D6xlOO in cash. 3D6xlOOO in property (including car, com­
  puter, etc.). 
  These creatures are residents of the Nightlands, although after Dark 
  Day they may be sent to or come to Earth on various missions. 
  To construct a Nemesis character, start by determining its basic race. 
  This will depend upon the occupation, personality, and nature of the hu­
  man: 
  So, the Nemesis of a soldier might be a Hound Master or Great 
  Hound, depending upon whether the soldier has command responsibili­
  ties, or is just a grunt; a general might be a Night Prince. 
  Quentin Milton (Order #26014138)
  
  A powerful person, e.g. a politician or the head of a corporation, 
  would have a Nemesis which is a Night Prince. The Nemesis of a fac­
  tory worker might be a Doppleganger. 
  The Nemesis of a sorcerer might equally be a Snake Bird, Night 
  Prince or Night Gnome; possibly a Ba'al-Zebul (Nightlord) if s/he is in­
  credibly powerful or an Immortal. 
  The Nemesis of an Acolyte or Cybermage is likely to be a Night 
  Gnome or Ashmedai. 
  A corrupted human could be just about anything depending on the 
  level of his or her power. 
  Note: Nightbane don't have a natural, living Nightlands reflec­
  tion/double! This may be because of their dual nature to begin with, and 
  may have something to do with why the Nightlords fear them. It also 
  suggests that they may not have a natural link to the Nightlands and may 
  not be indigenous to either the Earth or the Nightlands. 
  Conditions & Abilities 
  Work out the basic statistics based upon this human-Nightlands 
  O.c.c./R.C.c. relationship, but then apply the following special condi­
  tions and abilities. 
  1. The Attributes of the Nemesis should be adjusted so that they are 
  relatively similar to the human whom they reflect. No attribute should 
  be more than 5 points higher or lower than the human's. If possible, the 
  attributes should be more extreme than the human's, so that if the hu­
  man is unintelligent but very strong, then the Nemesis will be really stu­
  pid but exceptionally strong. 
  2. The Nemesis will always be the same level of experience as its 
  human counterpart. When the human goes up a level, so does the 
  Nemesis (or, from the Nemesis' point of view, when it goes up a level 
  so does the human; it's a question of perspective). 
  3. If the human has a good alignment, then the personality and align­
  ment of the Nemesis is as far as possible the absolute opposite of this. 
  If the human has a selfish or evil alignment, then the Nemesis will have 
  a similar or identical alignment, but will ALWAYS be working for goals 
  and causes which are the exact opposite of the human's. 
  4. The Nemesis will have supematural powers which mock, reflect 
  or distort the powers of the human. So, if the human has psychic heal­
  ing abilities, the Nemesis will have physical psionic abilities (destruc­
  tive and offensive ones, of course). 
  5. The tasks, interests and responsibilities of the Nemesis will also 
  reflect (but distort) the tasks, interests and responsibilities of the human. 
  If the human is promoted at work, the Nemesis is promoted by the 
  Nightlords. If the human's job is to run a hospital, then the Nemesis will 
  run some kind of slaughterhouse, prison or torture chamber in the 
  Nightlands. If the human is a keen photographer (making albums of 
  portraits/photos of peoples' faces) then the Nemesis will keep a similar 
  collection, only it consists of skulls or skins tom from faces (probably 
  of enemies). G.M.s should have fun twisting and perverting a character, 
  especially a character of good alignment. 
  Finally, each Nemesis is so closely linked to its human counterpart 
  that if the human dies, the Nemesis will also die. If the Nemesis dies, 
  the human actually feels an inexplicable sense of loss and is depressed 
  for 2D6 weeks (- 1 0% on all skill performance; unmotived). The only 
  exception to this are the near-immortal Night Princes, who become at­
  tached to a different human if theirs dies - but usually after some con­
  siderable setbacks (very bad health, demoted, etc.). 
  There is no obvious or causal link at work in any of this. The Night­
  lords do not promote one of their servants BECAUSE its counterpart hu­
  man was promoted at work. A human does not decide to go out and 
  help the helpless BECAUSE its Nemesis is busy butchering or torturing 
  others. It's just the way that the strange Nightlands reality is - as natu­
  ral and inevitable as gravity. 
  Note: Not every human has a Nemesis, many have zombie-like, un­
  awakened Dopplegangers. Nemeses tend to be reflections of special -
  24 
  important and powerful - people, particularly practitioners of magic, 
  powerful psychics, and leaders. The player characters are likely to be or 
  become such people, so their characters and successes are likely to 
  spawn such creatures. Whether or not they ever meet and clash with 
  their dark reflection is a matter of fate. Most will never meet, but those 
  who do often take an instant dislike to each other. A Nemesis made 
  aware of his human reflection often makes it one of his or her life's goal 
  to interfere with, torment and/or destroy the human (never realizing that 
  killing its human reflection will cause its own destruction). This can 
  make for a bizarre and recurring "Nemesis." 
  Optional Color, Abilities 
  & Considerations 
  By Kevin Hassall and Kevin Siembieda 
  Sorcerous Proficiencies 
  The following Proficiencies may be selected or randomly rolled by 
  players when designing their own characters. Any magic using charac­
  ter (Sorcerers, Mystics, Cybermages, etc.) may select these Proficien­
  cies, and several are also of use to Acolytes. 
  Each Proficiency may be taken in place of a Secondary Skill during 
  character creation. Each is a proficiency, like a Weapon Proficiency, 
  rather than a skill per se. The character does not have a percentage score 
  attached to each, but can automatically make use of any Sorcerous Pro­
  ficiency selected during character creation, as described below. As a 
  rule, human sorcerers should have no more than a maximum of four 
  ( l D4?) 
  Sorcerous 
  Proficiencies; 
  other 
  practitioners 
  of 
  magic 
  (Fleshsculptor, Cybermage, etc.), no more than two; Nightbane sorcer­
  ers should have no more than one; and Acolytes and Parapsychologists, 
  no more than two. 
  If the player has a strong central concept for his or her practitioner 
  of magic and a central idea for how the character's magic should work 
  or appear to work, then the player should select the limitations and con­
  ditions below. If the player doesn't have such a strong conceptualization 
  of the character's powers, then roll these randomly. 
  Further, as a character learns more about magic, with time and expe­
  rience, s/he may learn to specialize in a certain sort of magic or method 
  of casting. In practice, therefore, with the G.M. 's permission a character 
  may gain any Sorcerous Proficiency instead of a new O.C.C. related 
  skill whenever experience level gains would normally allow a new skill 
  to be learned (usually at levels three, six, nine and twelve). 
  The Game Master may also permit characters to double-up on Profi­
  ciencies: that is, to take the same Sorcerous Proficiency twice. In such a 
  case, the Proficiency has its full effect, TWICE, so that if a Proficiency 
  (e.g. Ritual Magic) would normally double spell duration, taking the 
  Proficiency twice allows the character to quadruple spell duration so 
  long as the Proficiency's requirements are met. As a rule, level one 
  characters may not initially double up on Proficiencies, but may select 
  the Proficiency (doubling it up) at a later level (e.g. by selecting a Sor­
  cerous Proficiency in place of a skill at level three). Sorcerous Profi­
  ciencies can only be doubled, not tripled, and individual G.M.s may, of 
  course, wish to be less generous and not allow doubling. 
  Sorcerous Proficiencies Table (Optional) 
  01-10 A Keen Eye: The character has a keen eye for recognizing 
  and identifying authentic books, scrolls and tomes of magic. S/he is also 
  more likely to (or be one of the first to) spot and recognize magical 
  symbols, writings, charms and artifacts. This is as much an innate 
  "knack" or talent as it is the result of years of study and an intense inter­
  est in such things. 
  Quentin Milton (Order #26014138)
  
  . . • • .•• l. ... . 
  . ' .,,...;., 
  ' I !b . 
  11-20 Invisible to Magic: Due to a weird magical deficiency or 
  flaw, the character cannot be detected by normal magical means. At­
  tempts to use magics to see when invisible, scry upon, peer into the 
  mind of, detect the presence of, see the aura of, analyze the words of, 
  domination, sickness, most types of magical damage or any magic that 
  otherwise affects or respond to the character, automatically fails! Mak­
  ing the character effectively impervious to most types of magic! 
  On the downside, the character cannot benefit from benign magic 
  spells such as healings, flight, invisibility, tongues, etc. Nor can s/he use 
  charms and talismans, or devices that require expending P.P.E. Worse, 
  the character cannot cast magic spells or perform rituals (can assist). In 
  effect, magics simply slip through or around the character. Voodoo 
  priests believe that by removing one of a man's two souls, he can be 
  made invulnerable to magic; or perhaps an accident during a sorcerer's 
  training removed the part of him or her which affects and is affected by 
  magic (an ideal justification for an Acolyte). Note: He can be affected 
  by magic that creates a physical effect such as fires, electricity, and en­
  ergy blasts and requires line of sight to attack. This character is also vul­
  nerable to a Fleshsculptor's magic, Nightbane Talents, possession and 
  psionics. 
  The reason why the character has this negative Proficiency is up to 
  the player and/or G.M. It is possible that the character might be able to 
  have the effect cancelled - permanently - at a later date by going on 
  a quest to find the lost portion of his or her soul, or some ancient magic, 
  or an Immortal or supernatural being who possesses the power or 
  knowledge to remove it (a spell, ritual or knowledge he is not likely to 
  teach, but may use to help the character for a price), but whatever the 
  means of the cure, it won't be easy (and don't select a replacement Pro­
  ficiency; once it's lost, it's lost). 
  21-30 Ritual Magic: The arcanist originally developed his or her 
  magic according to strict ritual principles, either according to western 
  ritual occultism, Chinese magic, African Shamanism, Native American 
  Shamanism, etc., or a system of his or her own devising (The player 
  must select one specific "tradition" or manner of ritual). According to 
  these magical systems, all magics must be cast as long rituals ( 1 5  min­
  utes minimum length, or double the normal casting time, whichever is 
  greater), requiring a variety of rare props and/or components such as 
  candles made in a specific manner, parchment, rare inks, herbs, skulls, 
  etc. 
  The character has since learned to weave magics without these trap­
  .-"\1lln1l1!!S (e,g, spell incantations), but gains advantages when dealing with 
  magic in the most familiar and focused manner of rituals. When casting 
  a spell according to the rituals of his or her tradition, the character need 
  only expend half the normal P.P.E. to cast a spell, and all spell ranges 
  and durations are doubled (figured from the end of the ritual). 
  25 
  31-40 Incantation Specialist: The character is a master at spell 
  casting. At the character's initial creation, select a total of four addi­
  tional spells from the magic most appropriate to the character's O.C.C. 
  Selection, are limited to spells level 1 -4. This character is also +5% in 
  figuring out existing spells to add to his repertoire (see Chapter Three). 
  Also add + 1 to the mage's spell strength. However, this mage cannot 
  use any ritual magic whatsoever, and is - 1  to save vs ritual magic! 
  41-50 Mystical Lineage: There are traditions across the world 
  where the powers of a magician are inherited - a family gift or a curse. 
  In some traditions the eldest daughter inherits her mother's powers, for 
  example, and in the months after Dark Day, entire families have discov­
  ered that they share some mystical inheritance. Perhaps the character 
  belongs to one of these families. Perhaps the character and his six broth­
  ers have all inherited the powers of their father (the seventh son of a 
  seventh son; one perhaps being a Sorcerer, the other six being less pow­
  erful Mystics or Acolytes). The character benefits from generations of 
  research, personal journals, theories, observations and books (and possi­
  bly the advice, aid and occasional meddling of other family members, 
  who may provide information, suggestions, assistance, and, in emergen­
  cies, aid. They have their own lives to lead, however, and they are not 
  the character's servants. Moreover, they will expect the character to 
  Quentin Milton (Order #26014138)
  
  help them if they get into trouble - several adventures may follow 
  from this). Note: As the Nightlords begin to destroy the Earth's unco­
  operative sorcerers, entire families of mages and Mystics, in particular, 
  would certainly attract their attention. Bonuses: This Sorcerous profi­
  ciency provides a + 10% bonus to the research skill, and + 10% in figur­
  ing out existing magic and creating "new" or "variant" spells (see 
  Chapter Three). 
  51-60 Sensitive to Magic: The character can "feel" the presence of 
  magical power and energy. The character doesn't have to concentrate to 
  use this power. S/he just gets a horrible intuition that tells him or her 
  that something magical or using magic is close. In the presence of 
  something really magical, like "living" magic, a god or Nightlord, the 
  feeling is so powerful that it will even wake the character from sleep, or 
  cause him or her to mumble even when in a coma. 
  The G.M. should use common sense and discretion when giving 
  hints through this (it's a great way to build atmosphere and drop hints at 
  the same time). 
  As a guideline: The character can not sense the presence of "petty" 
  magic (the casting of spells under level five), a supernatural creature, or 
  Nightbane in human facade. 
  The character can sense the casting of powerful spells (5th level and 
  higher), strong magic forces at about ten yards/meters per level of expe­
  rience, and big, powerful forces (the presence of a ley line, Nightlord, 
  or great magic) at several hundred yards. Furthermore, the mage can 
  feel the presence of magic in objects, charms, talismans, weapons, Cy­
  bermagic devices, and circles by examining them. S/he cannot tell what 
  powers they may hold, but s/he will know that they are enchanted with 
  magic. Likewise, the mage can tell if a person is magically possessed or 
  controlled (only magic possession or mind control). 
  If a character "doubles-up" with this Proficiency, taking it twice, 
  then he or she can get an idea of the direction of the magic energy, 
  rather than just knowing that it's "around" somewhere, and can sense 
  the basic source of the magic, e.g. spell caster, ley lines, nexus, super­
  natural being of immense magical power or origin (Nightlords, gods, 
  demigods, dragons, creatures of magic, etc.). Likewise, when examin­
  ing enchanted/magic objects, the mage can tell whether it is intended to 
  help or harm the user, or whether it is cursed or possessed of an evil in­
  telligence/life force. 
  61-70 Magic Resistance: Spells and supernatural powers which 
  cause injury only do half damage and those that cause disability (mind 
  control, confusion, inflict penalties) have half their normal effect (half 
  any penalties) and duration. This may be due to the character's extreme 
  mental discipline, to special chants which he or she knows, or due to a 
  natural ability (the seventh daughter of a seventh daughter, for example, 
  has been said to be immune to magics). Unlike "Invisible to Magic," 
  this does not prevent the character from benefiting from spells which he 
  or she would like to be affected by or from using magic. 
  71-80 Sensitive to the Supernatural: The character can "feel" the 
  presence of supernatural beings. The character doesn't have to concen­
  trate to use this power. S/he just gets a horrible intuition that tells him or 
  her that something supernatural is close. In the presence of something 
  really nasty, like a Nightlord, the feeling is so powerful that it will even 
  wake the character from sleep, or cause him or her to mumble even 
  when in a coma. 
  The G.M. should use common sense and discretion when giving 
  hints through this (it's a great way to build atmosphere and drop hints at 
  the same time). 
  As a guideline: The character can not sense the presence of magic 
  users, magic items, psychics, Nightbane in human Facade (can sense 
  them in Morphus) and "petty" supernatural beings like Dopplegangers, 
  Nightlands Scorpions Diabolic and Beautiful People. 
  The character can sense the presences of lesser, but clearly super­
  natural beings such as Nightbane in Morphus, vampires, wampyrs, enti­
  ties, ghosts, living magic, minor demons, Hunters, Hounds, Scuttlers, 
  Vfrawk and most other lesser Minions of the Nightlords, at about ten 
  26 
  yards/meters per level of experience, and big/powerful forces (gods, de­
  mons, Guardians, Nightlords, Night Princes, Hound Masters, Ash­
  medai, and other Greater Minions of the Nightlords at 50 yards/meters 
  per level of experience! Furthermore, the mage can feel the presence of 
  supernatural possession in people, animals and objects by examining 
  them. 
  Unless taken as a doubled proficiency, this sixth sense does not 
  identify the exact location, numbers or identity of the supernatural crea­
  ture. If the creature is powerful or there are many, the mage may get an 
  impression as to whether they are near or far. If there are 10 or more, 
  the feeling is simply many. And the best the character can hope in iden­
  tifying them is that they are from the Nightlands, are Nightbane or 
  something else. 
  If a character "doubles-up" with this Proficiency, taking it twice, 
  then s/he can get a general idea of their direction, whether or not they 
  are coming toward him, whether there are a few, many or a great many, 
  and the general composition of the supernatural group, e.g. whether 
  they are Nightlords, Night Prince (and Minions), Nightland Minions, 
  Guardians, Nightbane, Ghosts, Vampires, or other general group (if the 
  thing is unknown to the mage or using cloaking magic, s/he just doesn't 
  know what's coming). If the supernatural predators are a mixed group 
  (more than two different kinds), the mage senses the two most numer­
  ous or powerful and that others may be with them! 
  81-90 Group Casting: The character may cooperate with other ma­
  gicians to cast a spell, so long as (a) all cooperating magicians know the 
  spell which is to be cast, and (b) all have the Group Casting Proficiency. 
  For every magician present, in addition to the one normally required for 
  the spell to be cast, the range, damage and duration of the spell are in­
  creased. So, if a spell could normally be woven by one individual mage, 
  then if two are present (one extra), range, duration and damage are at 
  x2; if three are present (two extra), the range, duration, and damage are 
  at x3; and so on. The maximum number of magicians who can cooper­
  ate in a Group Casting is equal to the level of the highest level magician 
  present; e.g. a level nine magician may lead a total of nine Group Cast­
  ers, a third level mage, only three total. Note: Each of the spell casters 
  participating must pay the normal P.P.E. to fuel the spell. Outside 
  sources of P.P.E. are not applicable for this use. Note also, that other 
  Proficiencies cannot be used. 
  91·00 Artistic. The character has an artistic flair that is apparent in 
  his or her workings and creations of magic. Magic symbols, designs and 
  circles created by this individual are beautifully rendered and perfectly 
  legible. Rituals and ceremonies are performed artfully and with pa­
  nache. The touch of a Fleshsculptor is delicate and precise, creating 
  works of art (whether beautiful or horrific). Cybermages create devices 
  that are impressive or artistic looking. Generally, everything associated 
  with the magician's craft is attractive or impressive on a design/artistic 
  level. Add + 1 to the P.B. and + 1 to the M.A. attributes of the character. 
  Quentin Milton (Order #26014138)
  
  Sorcerous Limitations 
  or Weaknesses (optional) 
  The following limitations may also be selected or randomly rolled 
  by players when designing their own characters. Frankly, if the Sorcer­
  ous Proficiencies are used, so should Limitations & Weaknesses. For 
  every Sorcerous Proficiency, the character should have a Sorcerous 
  Limitation or Weakness. As a rule, humans should have no more than 
  I D4 limitations, while Nightbane magicians should have no more than 
  one. 
  If the player has a strong central concept for his or her sorcerer - a 
  central idea for how the character's magic should work or appear to 
  work - then the player should select these limitations. If the player 
  hasn't got such a strong conceptualization of the character's powers, or 
  if the G.M. deems it best, roll for a random determination of limits. 
  Naturally, as a sorcerer grows in experience, he or she may strive to 
  overcome his or her limitations. Whenever a character has the opportu­
  nity to learn a new skill, (usually at levels three, six, nine and twelve), 
  in place of learning a new skill that character may elect to overcome 
  one of these limitations. This simply means that with time and experi­
  ence, the character has learned enough about magic to work out ways 
  around a natural limitation, or to unlearn a learned limitation. 
  Likewise, with experience (not all experiences are constructive!), the 
  unfortunate may lose his/her grip on reality still further. At levels three, 
  six, nine and twelve, the character may select a new limitation, also 
  gaining a new Secondary Skill or Proficiency at the same time. Some of 
  those below (notably Multiple Personalities and Flawed Sight) are much 
  more common in experienced magicians than in beginners. 
  01-10 Night Powers: Whether it's part of the character's original 
  orientation or a psychological malady, s/he believes that his or her 
  magical powers are, at least in part, fueled by the night. Consequently, 
  the character's spells and rituals are 20% less potent (20% less damage, 
  range and duration) during the daylight hours. Furthermore, the charac­
  ter is + 1 to save vs magic and horror factor during night hours. 
  11-15 Vulnerable to Silver: Weapons made of, or plated in, silver 
  inflict double damage to this character. Whether this is due to some 
  mystical aberration, his magical training, an allegiance to some dark 
  force, or whatever, it is very real. 
  16-25 Ritual Dependence: The sorcerer has developed his or her 
  magic according to strict ritual principles - either according to western 
  ritual occultism, Chinese magic, African Shamanism, or a system of his 
  or her own devising (The player must select one specific "tradition" or 
  manner of ritual). The character can only cast magics in the form of a 
  ritual, which means traditional spells must be converted into ritual 
  equivalents (see Chapter Three for spell variants and modifications). If 
  a full ritual can't be performed, then no spells can be cast. On the up­
  side, all magics cast as a ritual have double the normal duration and 
  range (figured from the end of the ritual). 
  26-40 Bloodmage: In order to cast magics, the character must shed 
  blood, drawing the P.P.E. to cast the spell from that spilt essence. This 
  means that each time s/he casts a spell, either the character must cut 
  himself (e.g. with a knife), losing one hit point, and using any amount 
  of his own personal P.P.E. reserve as the incision is made; or, the char­
  acter may sacrifice other living sentient beings, and draw upon their 
  P.P.E. as they die (usually only an option for those of Evil alignments!). 
  In the latter case, the mage can supplement the P.P.E. of his victim 
  (doubled at the time of death) with his own, because blood has been 
  drawn. 
  41-50 Insufficient Willpower: The character lacks the focus, con­
  centration, confidence or intestinal fortitude to enforce any type of 
  magic that requires a battle of wills. Furthermore, any type of mind con­
  trol or domination magic (compulsion, domination, trance, mask of de­
  ceit, traitorous hand, Mictlantecutli's Command, possession, illusions, 
  and similar) can only be maintained for half their normal duration and 
  any penalties inflicted on the victim are also half. 
  27 
  51-55 Granted Powers: The sorcerer believes his aptitude for 
  magic and subsequent powers are not innate, but rather, conferred by 
  some outside power as a "gift." Depending on the character's philo­
  sophical, religious and/or spiritual leanings, s/he may believe this power 
  may come from God, Angels, the Earth, a Nightlord, Demon lord, 
  Guardian, Immortal magician, Vampire intelligence, or some other 
  source (s/he may have had a profound arcane or spiritual experience 
  that left him empowered - perhaps felt the "hand of an angel" touch 
  his or her soul, or hears voices in nightmares threatening to remove the 
  power if s/he does not "serve" as required). 
  It is also this character's belief that s/he must use this "gift" for some 
  "greater purpose" (good or evil). This belief serves to motivate the char­
  acter and give his or her life purpose and direction. This purpose may 
  be to help others in some specific way, find a specific ancient 
  spell/magic or secret, avenge a wrong (probably on a wide scale, like 
  destroy all Nightbane, or sorcerers, or the Nightlords, etc.), fight the 
  Nightlords, help the Nightlords, shatter the Mirrorwall and merge Earth 
  with the Nightlands, etc. This is the mage's purpose in life - why s/he 
  was given this great "gift." Thus, the mage's powers only work in 
  bringing about this end, so the character cannot cast magic when its use 
  is at cross-purposes or is contrary to his or her goals -life! 
  56-70 Wild Magic: The character's spells and magics work 0 0 .  but 
  not always as expected. There is usually (not necessarily always, but 8 
  out of 1 0  times) something inexplicable, unpredictable and/or inconven­
  ient about the character's spells. The duration might elapse before it 
  should or there's some weird backlash. Perhaps a negate poisons spell 
  sometimes makes the target vomit up the poison, rather than simply 
  cancelling its effects inside the victim's body. Perhaps a target affected 
  by a fear spell acts unexpectedly (shrieking prophecies in a foreign 
  tongue as he flees). A fire ball spell might send a backlash spray of ash 
  or sparks that inflicts I D6 or 2D6 points of damage to the spell caster. 
  Heal Wounds might leave weird purple scars. Call Nightlord may bring 
  the wrong Lord, or may allow him to bring a few "friends" with him. 
  What is going on? Maybe the character has not quite mastered the 
  mental disciplines required to perfectly cast spells, or his training is ir­
  reparably flawed. Or perhaps some outside force (on the Nightlands?) is 
  deliberately sabotaging his or her magics. In the latter case, let the G .M. 
  decide exactly who is doing this, how and why. 
  71-80 Flawed Sight: Although the character is able to deal with 
  powers beyond normal mortals' comprehension, this "shift" in visual 
  perception has meant that he or she cannot focus on the real world so 
  well, or the trauma of discovering his or her magical potential has 
  somehow left him or her "disabled." Often such flaws means the char­
  acter has lost the ability to see in color in the mortal world, although on 
  other worlds (e.g. the Nightlands, Astral Plane, etc.) and in dreams, that 
  ability returns. Another common flawed sight is that whenever the char­
  acter looks at a mirror or reflective surface, he or she now only sees a 
  deep blackness in place of a reflection or the reflection is in black and 
  white. 
  A less common version of flawed sight is that through the charac­
  ters' eyes, all living beings are surrounded by an aura, but the light is so 
  bright or distracting that it's difficult for the mage to make out details 
  and features (although s/he can learn to recognize auras). Another is 
  that all mortals appear as Nightlands creatures - twisted, repellent re­
  flections of what they might look like if they were the denizens of that 
  world - which not only makes it difficult for the character to describe 
  or recognize mortals, but also plays havoc with the character's personal 
  relationships. Worse, creatures from the Nightlands look like 0 0 .  crea­
  tures from the Nightlands, making it difficult to recognize the genuine 
  article. 
  81-90 Blind to the Supernatural: Although the character deals 
  with magic and supernatural forces on a regular basis, s/he tends to be 
  oblivious to them. Thus, the mage fails to recognize authentic magic 
  books, symbols and artifacts, people who are mind controlled or pos­
  sessed, or the Nightbane. The character may even be unsure about what 
  type of creature s/he has seen or encountered (" 0 0 '  was it a Hound or 
  Quentin Milton (Order #26014138)
  
  Great Hound? No. Maybe it was a Hound Master? Hunters have wings, 
  right?" - "vampire or wampyr?" etc.). Likewise, the character is the 
  least likely to notice subtle supernatural beings and phenomena, so un­
  less a magic portal is big and obvious, or the ghost appears right in front 
  of him, the mage won't notice it. Characters and creatures disguised by 
  magic or through shape-changing will completely fool this character 
  with their appearance (their words or actions are another story and may 
  be seen through easily by the same myopic character). 
  91-95 Unnatural Watcher: The character is "haunted" by an un­
  natural creature. This being may be a Nightlands Denizen, a ghost (or a 
  Nightlands Denizen or demon pretending to be the ghost of a lost 
  friend), a Guardian, living magic, or some other ghost-like creature. It 
  resides beyond the mortal world, on the Nightlands or Astral Plane, for 
  example, but it can eavesdrop on the character's conversations 
  (thoughts too?), and open up telepathic conversations or other means of 
  communication with the character at will (it may even appear in and al­
  ter the character's dreams). 
  The Unnatural Watcher may try to persuade the character to perform 
  services for it, and may even repay the character for these favors, but it 
  is unconcerned with the character's safety, and will not perform serv­
  ices for him (it cannot be sent to peer into the room with the closed 
  door, frighten away intruders, spy on an enemy, etc. - it's a pest, not a 
  helper). Many may have their own goals and objectives, which may be 
  to confuse, frustrate and torment the mage, or do things the character 
  would disapprove of, and may actually be working against the charac­
  ter. Similarly, the Watcher may offer (bad) advice and/or observations 
  (intentionally or unintentionally), make suggestions (or tempt), encour­
  age recklessness or cruelty, and try to change the character or his view 
  of things in some way. Neither the player nor the character need know 
  who or what this Watcher is, or what its motives are; the G.M. should 
  work this out in secret. 
  96-00 Multiple Personalities: During a magician's career, s/he 
  often uses up the bulk of his/her P.P.E. pool, becoming terribly vulner­
  able and must face all manner of horrors, both supernatural and of hu­
  man origin. These experiences and feelings can be traumatic, and while 
  they usually result in comparatively insignificant anxiety, mania and de­
  pression, they can lead to more serious problems, including obsession, 
  phobias, psychosis, and neurosis. Under the worst circumstances, the 
  character's mind seeks to protect itself by creating multiple personali­
  ties. 
  Note that it is also possible that some budding, living magic or an 
  essence fragment of some supernatural creature has invaded the charac­
  ters mind to form a separate personality the character thinks is his own 
  (can be good, selfish or evil, friendly or harmful, stable or not). 
  Multiple Personalities 
  Multiple personalities seems to be a popular insanity among authors 
  of fiction and role-playing, but is extremely uncommon in real life. Of 
  course, with the Nightbane setting, we are talking about unusual char­
  acters in fantastic and horrific situations. Most player characters will ex­
  perience terrifying and horrific things that the average person will never 
  experience even a fraction of in their entire lifetime. Associating with 
  and confronting demonic creatures, wielding magic and exploring 
  strange worlds will take its toll. They also face forces, magic, and crea­
  tures that can invade and ravage the mind. All extraordinary circum­
  stances that can affect the mind and create one or more "extra" 
  personalities. 
  One of the more unusual phenomenons are heroes with several dis­
  tinct personalities. Each of these different personalities manifest them­
  selves as a completely different person, with different dispositions, 
  attitudes, and beliefs. This is a much more complex character and will 
  require rolling on several tables. 
  28 
  STEP ONE: How Many Separate Personalities? 
  Roll Percentile Dice 
  1 -30 Two 
  3 1 -50 Three 
  5 1 -65 Four 
  66-89 Five 
  90-00 Six 
  STEP TWO: Who Is The Dominant Personality? 
  This is the main hero personality, so it should be among the most 
  "good " and competent of all the personalities. 
  A. Name: Player's choice. 
  B. �ment: Player's choice of principled, scrupulous or unprinci­
  pled. 
  C. Disposition: Roll or pick from the optional rules section for round­
  ing out one's character. 
  D. Rejects the belief of having a split personality, so he/she does not 
  know about the other personalities. 
  The main personality will be the one most often in control. 
  STEP THREE: Who Are The Other Personalities? 
  A. Name each one. 
  B. ROllfor random alignment of each personality. 
  1 -20 Principled 
  2 1 -35 Scrupulous 
  36-50 Unprincipled 
  5 1 -65 Anarchist 
  66-77 Miscreant 
  78-89 Aberrant 
  90-00 Diabolic 
  C. Personality Quirks/Attitude: Roll for each personality (or choose). 
  C. Personalities of Good Alignment: 
  1-10 Despondent: Withdrawn; curls up into a fetal position and gur­
  gles. Can not fight or take any action. Can not use powers or even 
  communicate. 
  11-20 Coward: Afraid of everything: heights, flying, fighting, knives, 
  guns, etc. Will fight only if absolutely necessary, and then only 
  enough to escape. This character will surrender at the slightest hint 
  of trouble. Super abilities can be used, but only for self-preservation. 
  He may use the powers to help friends, but would rather stay on the 
  sidelines. Penalties: Always the last to attack in a melee round. 
  Skills are - 1 0%. Doesn't know any of the other personalities. 
  21-30 Pacifist: Gentle, merciful and compassionate. This character is as 
  bright and bold as the main personality (maybe even more so), but 
  will not fight. This personality is adamant against fighting for any 
  reason.If confronted he will dodge, parry and try to otherwise inca­
  pacitate a foe, all the while delivering a speech against fighting and 
  cruelty. He can use his powers, but will rarely use them against oth­
  ers. Will NEVER kill, torture or strike out of anger. There are no 
  power or skill penalties. Bonuses: +2 to dodge, +1 to parry and roll. 
  Knows about the dominant personality only. There is a 40% chance 
  that he can be convinced to let the dominant personality back into 
  control, but only under extreme protest (too violent). 
  31-40 Arrogant Warrior: Cold, aloof, snob, but extremely capable and 
  confident (over confident). Tends to be incredibly independent, rude 
  and insensitive. To this personality there are two points of view to 
  everything; the wrong one and his (the only right and logical opin­
  ion). This personality uses his powers and skills as he sees fit; usu­
  ally cold and calculating. There are no skill penalties. Bonuses: 
  + 1 0% on all skills, + 1 to parry. Knows all the other personalities, 
  but will not willingly let any of them resurface. After all they are in­
  ferior to him. 
  41-50 Righteous Indignation: A personality that has a black and white 
  view of the world. Evil must be crushed at all costs. This is a war, 
  thus the end justifies the means. He tends to be judgmental, reaction­
  ary and brutal toward evil. Gentle and compassionate to the good 
  Quentin Milton (Order #26014138)
  
  and innocent. A potentially volatile and dangerous character. There 
  are no skill or ability penalties, nor bonuses. He uses his extraordi­
  nary abilities well. Knows and despises all the other personalities for 
  one reason or another. There's a 50% chance of convincing him to 
  let any of the other personalities out, except the arrogant warrior. 
  51-60 The Normal: A very mundane, innocent, bumbling nerd-like 
  youth (teenager) who knows nothing about super abilities, crime­
  fighting or heroics. He is friendly, but shy, and totally bewildered 
  about super beings. He has no recollection of his other personalities 
  or super abilities. Penalties: Can NOT use his extraordinary abilities, 
  has no combat training (one attack per melee), and only high school 
  equivalent skills and knowledge. This is a normal kid! 
  61-70 The Wildman: An overzealous, gregarious, and extremely hy­
  peractive personality with delusions of grandeur. He is fanatically 
  loyal and dedicated to crime fighting, justice and the American way. 
  He is very reactionary, takes needless risks, and has a complete dis­
  regard for his personal safety. This is a character whose intentions 
  are always 1 00% sincere, but acts without considering the conse­
  quences. Basically, a nutcase with a heart of gold. Penalties: Suffers 
  from the Frenzy condition discussed elsewhere in this section (trig­
  gered by anger or pain). Bonuses: Can use all powers and skills 
  equal to the dominant personality. +4 to roll, +1 to parry and dodge. 
  Add 1 0ft to leaping (up and across) abilities and 20% to climbing, 
  swimming and balancing skill abilities. This personality knows all 
  the others, and can be convinced to let any of them take control if it 
  is for the good of the group or a good cause; 80% likelihood. 
  71-80 Hypochondriac: A personality obsessed with cleanliness, and 
  avoiding injury and disease. He will continually whine about poten­
  tially filthy or germ laden environments, and instruct his comrades 
  about proper eating habits, vitamins, medication and sanitation. If 
  injured in the slightest (one S.D.C.), the personality will whine and 
  moan about it for hours. Penalties: Never takes the initiative, -5% un 
  all skills. Bonuses: + 1  to parry and dodge, and has a paramedic skill 
  with an 86% skill proficiency. Knows all the personalities, but is 
  hesitant to let any take control because they are either too reckless or 
  wimpy and might get hurt. And they are all "so filthy! ! ! ! "  However, 
  there is a 50% chance of being convinced to let any of them take 
  control, except the wildman because "that guy's crazy". If letting an­
  other personality take control is likely to prevent his death or griev­
  ous injury, there is an 88% likelihood of letting out a different 
  personality (player's choic, but the dominant personality is most 
  likely). 
  81-90 Opposite Sex: Pick from or roll on the optional rules Disposition 
  table to determine the general attitude of character. May or may not 
  know of the super abilities; 1 -40% - does not, 4 1 -00% - does 
  know. If she/he doesn't know about the power or abilities, then all 
  skills are -20%, there is no combat skill (one attack per melee), and 
  extraordinary powers can NOT be used. If the personality does 
  know about the abilities he/she knows about the other personalities. 
  There is a 40% chance of it being convinced to let a different one 
  surface. If he/she knows nothing about the other personalities and 
  can not willingly let a different one surface. 
  91-00 The Anti-Super Dude: This personality is against the entire con­
  cept of super powered beings and vigilantism. Consequently, while 
  he knows about the special powers he possesses he will not use them 
  for any reason. Nor will he engage in superheroics. Penalties: - 1 0% 
  on all skills, no combat skill (one attack per melee and no bonuses to 
  strike, parry, dodge or roll). Bonuses: None. Knows about the other 
  personalities, but will NOT let any of them take control! 
  C. Personalities of Evil Alignments: Roll or choose for each personal­
  ity: 
  1-10 Jack the Ripper: A twisted personality that preys on the weak, 
  mostly women. Some demented obsession drives this personality to 
  hurt and torment women. If any opponents are female, she will be 
  his first target. The more she fights, the better he likes it. This is a 
  29 
  sick individual who loves to torture and watch torment. Penalties: -
  1 0% on all skills because he is physically oriented. Bonus: + 1 to 
  strike. Knows about his other personalities, but will NOT willingly 
  let any of them take control. Uses his super abilities and skills well. 
  Prefers blade weapons above all others. 
  11-20 Traitor: A personality that goes with what is always best for 
  him. He will betray a friend or cause for money, revenge, or to save 
  himself. He will sell or steal information, equipment or persons 
  without hesitation. To this personality, everything has a price and he 
  intends to cash in on it. The character is amoral, cold and merciless, 
  taking action that will benefit only him. Completely untrustworthy. 
  Penalties: None. Bonuses: None. He can use all powers and skills. 
  Knows about the other personalities and uses them freely to get his 
  way or save his skin. 
  21-30 Greedy: A personality that craves wealth and fame. He will al­
  ways look for the profit and value of any activity. He is a stingy 
  braggart who always connives to get the most money and all the 
  glory. He tends to be secretive, sneaky, deceptive, underhanded and 
  self-centered. Penalties: None. Bonuses: None. Uses all skills and 
  ---
  powers equally as well as the dominant personality. Although he 
  knows about the other personality. Although he knows about the 
  other personalities he is extremely reluctant to let any of "these los­
  ers" take control (20%) chance). 
  31-40 Kleptomaniac: A compulsive thief who just likes the challenge 
  of stealing. Steals from everybody all the time, just for fun. Penal­
  ties: Has none of the dominant character's skills. Bonuses: Knows 
  -
  ---
  the following skills at the proficiencies listed: Pick Pockets 65%, 
  Pick Locks 55%, Prowl 55%, Disguise 60%, Surveillance Systems 
  50%, Hand to Hand: Basic (2nd level with 4 attack per melee total), 
  Pilot Automobile 88%, Motorcycle 68%. Knows all the other per­
  sonalities and about his exceptional abilities. 
  41-50 Blood Thirsty: A personality that loves to fight, hurt people, tor­
  ture and kill. A sadistic bully who shows no mercy and intentionally 
  strikes to do maximum damage. This is the personality's way of 
  proving his superiority, as well as satisfying his cruel pleasures. Pen­
  alties: -5% on all non-combat oriented skills. Bonuses: + 1 to strike, 
  parry, and dodge, + 1 0 S.D.C. He can use the super abilities well. Al­
  though he knows about the other personalities he will pretend not to 
  and will refuse to willingly let another take control. 
  51-60 Megalomaniac: Arrogant, feels far superior to all others; mean, 
  cold and calculating. This personality is totally self-serving. The 
  means justifies his ends and there is only the wrong opinion and his 
  opinion. Those who ignore or chastise his opinion are either fools or 
  potential enemies. The personality is only a team player in the sense 
  that he can use the team to achieve his desires. Tends to be domi­
  neering (will try to usurp the leadership), insensitive and ruthless. 
  There are no skill penalties. Bonuses: + 10% on all skills. He knows 
  and uses all the skills and powers of the dominant personality. 
  61-70 The Psychopath: A wild, daring, deadly personality who thrives 
  on danger. Nothing is too risky or impossible. Tends to be reaction­
  ary, cruel, and strikes with deadly force. Also likes cat and mouse 
  games, as long as he is the cat. Penalties: Does not know the domi­
  nant personaly's skills. Bonuses: Knows the following skills at the 
  proficiency level listed: Hand to Hand: Expert (3rd level for a total 
  of 4 attacks per melee), W.P. Blunt, W.P. Knife, W.P. Revolver, 
  W.P. Automatic Pistol, W.P. Rifle, Sniper, Prowl 55%, Climbing 
  65/45%, Pilot Automobiles 92%, Motorcycle 72%, Truck 76%, and 
  Escape Artist 45%. Add +20 S.D.C. (applies only when the psycho­
  path personality is in control). Can use all extraordinary powers 
  equal to the dominant personality. Will not willingly allow any other 
  personality dominance. 
  71-80 Opposite Sex: Pick from or roll on the optional rules Disposition 
  table to determine the general attitude of character. May or may not 
  know of the super abilities; 1 -40% _ does not, 4 1 -00% _ does know. 
  If she/he doesn't know about the power or abilities then all skills are 
  -20%, there is no combat skill (one attack per melee), and extraordi-
  Quentin Milton (Order #26014138)
  
  nary powers can NOT be used. If the personality does know about 
  the abilities he/she knows about the other personalities. There is a 
  40% chance of it being convinced to let a different one surface. If 
  he/she knows nothing about the other personalities and can not will­
  ingly let a different one surface. 
  81-90 Hypochondriac: A personality obsessed with cleanliness, and 
  avoiding injury and disease. He will continually whine about poten­
  tially filthy or germ laden environments, and instruct his comrades 
  about proper eating habits, vitamins, medication and sanitation. If 
  injured in the slightest (one S.D. C.), the personality will whine and 
  moan about it for hours. Penalties: Never takes the initiative, -5% on 
  all skills. Bonuses: + 1 to parry and dodge, and has a paramedic skill 
  with an 86% skill proficiency. Knows all the personalities, but is 
  hesitant to let any take control because they are either too reckless or 
  wimpy and might get hurt. And they are all "so filthy! ! ! !" However, 
  there is a 50% chance of being convinced to let any of them take 
  control, except the wildman because "that guy's crazy". If letting an­
  other personality take control is likely to prevent his death or griev­
  ous injury, there is an 88% likelihood of letting out a different 
  personality (player's choic, but the dominant personality is most 
  likely). 
  91-00 The Normal: A very mundane, innocent, bumbling nerd-like 
  youth (teenager) who knows nothing about super abilities, crime­
  fighting or heroics. He is friendly, but shy, and totally bewildered 
  about super beings. He has no recollection of his other personalities 
  or super abilities. Penalties: Can NOT use his extraordinary abilities, 
  has no combat training (one attack per melee) and only high school 
  equivalent skills and knowledge. This is a normal kid! 
  STEP FOUR: When Do The Different 
  Personalities Take Control? 
  The dominant personality is the one who is usually in control. He or 
  she is the main force behind the character and the one who has decided 
  to become a super crimefighter. Another personality takes over under 
  the following circumstances: 
  1. Severe shock or trauma, such as seeing a loved one killed or se­
  riously injured, psionic or drug induced hallucinations, feeling com­
  pletely helpless, or intense pain/torture. In these cases, the personality 
  best suited to handle the situation will take control. 
  2. Coma or near death: Any one of the other personalities will take 
  random control. 
  3. Hypnosis: 50% chance of calling forth a specific personality. If 
  the roll fails, roll to see who takes random control. There is an 80% 
  chance of bringing the dominant personality back into control when us­
  ing hypnosis. 
  4. Telepathic Probe: 65% chance of pulling out a specific personal­
  ity. If the roll fails, roll to determine which personality surfaces to take 
  control. Once the personality is aware that a psionic probe is being used 
  to suppress him and bring out a different personality, he gets a +4 to 
  save vs psionics and is likely to attack the psionic. If he fails to make 
  the savings throw, there is a 65% chance of pulling forth the specific 
  personality desired. 
  5. Hypnotic Suggestion (psionic): Has a small chance of being 
  used to pull out a specific personality (30%). The current personality 
  automatically gets a +3 to save vs psionic attack when hypnotic sugges­
  tion is being used. 
  6. Mind Wipe (psionic): Whenever a mind wipe is being used the 
  current, dominant personality will retreat into the subconscious, auto­
  matically breaking the effect of the mind wipe and bringing out a new 
  personality. Roll for random control. 
  Determining Random Control 
  Determining which personality takes random control is easy. If you 
  have TWO personalities, 1 -3 represents the dominant personality, 4-6 
  the other, secondary, personality. THREE personalities: 1 -2 is the domi-
  30 
  nant, 3-4 a secondary personality, 5-6 the other. FOUR personalities: 1 -
  3 represents the dominant, 4 ,  5 and 6 each represents one of the 
  secondary personalities. FIVE personalities: 1 -2 the dominant, 3, 4, 5  & 
  6 each represents one of the other personalities. SIX personalities #1 is 
  the dominant, 2, 3, 4, 5, and 6 each represent one of the other personali­
  ties. Assign a numerical designation to each personality and roll a six­
  sided die to determine which one is in control. 
  Characters & Contexts 
  There is no set way that characters (PCs or NPCs) will react to gain­
  ing or developing magical powers. Not all will get (willingly) involved 
  in struggles between Brotherhoods or combat evil. Nor should we as­
  sume that all who learn about the Nightlords or vampires will oppose 
  these groups. The world is full of people who can see that a govern­
  ment, organization or group is a menace, but who choose to keep their 
  heads down and let the world get on without them. It's just a sad reality 
  that people often take the easy way, whether they're Germans filling in 
  racial questionnaires in the 1 930s, or Americans watching the environ­
  ment decaying through the 1 990s, or magicians trying to ignore the 
  Nightlords in the 2020s. People have lives to lead, relationships and 
  jobs to maintain, bills to pay, and few are going to launch themselves 
  Quentin Milton (Order #26014138)
  
  into a self-righteous crusade (especially against forces they don't fully 
  comprehend). 
  The way in which characters respond to magical powers, psionics 
  and the supernatural will depend on their personalities, their back­
  ground and the contexts in which they are introduced to them. Magic 
  can be used for a variety of purposes, but will depend primarily upon 
  the magician. For example, magic can be used to heal. If the character is 
  a doctor, then s/he may surreptitiously use magic to augment scientific 
  treatments. If the character is a preacher, then s/he may use these "mir­
  acles" to win peoples' hearts and souls (s/he may even believe that these 
  powers are divinely inspired). 
  Alternatively, magic and/or psionics can be used to affect the way 
  that people think. A psychotherapist might use it in his treatments. Or a 
  stage hypnotist might use his powers to make his/her stage show more 
  impressive and "real." Or an office worker might use magic to make su­
  periors more inclined to give him/her a promotion. 
  You get the idea? 
  Magic need not be used in an "adventuring" or "heroic" context, and 
  need not be used as weapons in grand conflicts. For every "player char­
  acter" type practitioner of magic, who sees his/her powers as tools or 
  weapons in some epic or bloody struggle, there are dozens who use 
  magic in mundane and subtle ways. Check out the short monologue at 
  the end of this chapter for an extreme example of un-player character 
  like use of mind-altering magics. 
  The spells in this book are geared towards "adventurers" in the typi­
  cal sense: player characters and their enemies who will want to use 
  magic in conflicts against each other. It is worth remembering (espe­
  cially if you are a G.M., trying to think up interesting NPCs) that most 
  practitioners of magic are likely to use their knowledge and power (per­
  haps only slightly developed) in selfish, petty, and mundane ways. 
  These inexperienced mages are also likely to be responsible for un­
  leashing dangerous magic beyond their control, summoning dark pow­
  ers (including Minions of the Nightlords and demons), and falling prey 
  (as victims and stooges) to the Nightlords and their minions, demons, 
  vampires, evil Nightbane, experienced arcanists, cults, brotherhoods 
  and other forces. 
  Players may also want to consider the banal uses of their characters' 
  magics. Can the character use any of his/her selected spells in everyday 
  life? What spells would s/he have developed/learned before s/he started 
  fighting the Nightlords or other foes? 
  Plot-Worthy Characters 
  As a final note, players should work with the G.M. to create charac­
  ters who have adventure potential - characters who can be easily slot­
  ted into a plot, who not only have plausible motivations but also have a 
  few weird quirks or personal histories which the G.M. can build upon. 
  There is nothing worse for a G.M. than having to write adventures for a 
  bunch of self-centered psychopaths who will kill anyone so long as they 
  get paid. 
  Some examples? Here we go ... 
  IDEA: The character is an orphan who believes that his great hero 
  of a father was killed fighting an evil enemy. PLOT: But no! As the 
  campaign progresses, the character learns that his father was really sub­
  verted by the evil powers, and is in fact the arch-villain whose plans the 
  characters have been striving to thwart. (Yes indeed, that's the plot of 
  the Star Wars movies. Think about all the ideas you can rip-off ... er ... 
  borrow from other movies, too.) 
  IDEA: The character has a dependent. Say a child, or an invalid fa­
  ther. PLOT: A helpless dependent ... you know, the sort that always gets 
  threatened or kidnapped by the bad guys as they try to blackmail the 
  good guys (the characters) ... and, of course, you might want to find a 
  cure to your poor father's incurable disease (a good plot hook, that), etc. 
  IDEA: The character has been brought up (and trained) by a domi­
  neering mother who still offers (unwanted?) advice and guidance. 
  31 
  PLOT: The mother may have brought the character up to serve an un­
  known purpose or being (good or evil) which she has not yet revealed. 
  Maybe the woman isn't really the character' s  mother (Doppleganger? 
  Ashmedai? Demon? NSB agent?) but is just out to manipulate him/her. 
  IDEA: The character has only the haziest memories of his/her past, 
  beyond a few months ago. PLOT: Perhaps the character's memory was 
  magically removed (for his/her own good? Or to extract vital informa­
  tion which s/he possessed?) Or was just born?! Was actually magically 
  created as part of someone's experiment (Whose? Why? etc.). 
  You get the idea? 
  Interesting Questions 
  When a player works out a character who is a practitioner of magic, 
  s/he should have to think about these few questions, discussing the an­
  swers with the G.M. Some are simply background things to help the 
  player to get an idea of how the character thinks and feels, but some are 
  potentially plot-relevant. 
  1. When did the character first learn that s/he had magical powers? 
  What were the circumstances, and what did s/he feel about it? 
  2. How did acquiring magical powers affect the character's lifestyle? 
  Has s/he changed career, or discarded or gained friends as a result? 
  3. Where does the character think his/her magical powers come 
  from? Not all mages will believe that they are just fuelling the effects 
  from within their own minds, after all. 
  4. If the character had help developing his/her magical powers, how 
  does his/her old mentor or master now relate to the character? What was 
  the relationship while the character was being trained (friends, lovers, 
  teacher and pupil, master and servant)? Does the master still expect obe­
  dience or service? Does the master think that the character has com­
  pleted his/her training? Does the master expect repayment for his/her 
  guidance? Does the master resent or feel betrayed by the character? 
  How did they part company? Is the character fleeing from this master? 
  Will the master provide additional help if required? Were they part of a 
  larger Brotherhood? 
  5. If the character requires significant resources to pursue magic 
  (e.g. a Cybermage needs money and equipment), where does this come 
  from? If someone is supporting a magician's research (which can be 
  very expensive), then why are they doing this? What do they get out of 
  it? Their support isn't out of pure benevolence. 
  6. What does the character want to achieve with his/her magical 
  powers? Does s/he feel that s/he has an obligation to use these talents in 
  a certain way? 
  7. Do magic powers and the possession of secret knowledge make 
  the character feel superior? If so, how superior? Does s/he see ordinary 
  people as fools and cattle to be used and manipulated? 
  8. What contact has the character had with supernatural creatures? 
  With Nightlands or Astral creatures, Vampires, Immortals and others? 
  Were the experiences positive or negative? Why (if at all) does the 
  character feel the need to confront and/or fight vampires, Nightbane, 
  Nightlords and their minions, or others? Why are certain supernatural 
  beings (like Nightbane and Guardians) considered potential allies, 
  friends and comrades (or are they)? 
  The Mundane & the Magical 
  Some Closing Thoughts 
  "[ loved Dark Day. Well, [ mean, actually it scared the crap out of 
  me. But afterwards ... 
  "[ may as well tell you. 
  "[ was never a 98 pound weakling, but [ wasn't far off. [ was just, 
  you now, nothing special. A bit skinny. A bit shy. Girls didn't go for me 
  at High School. [ wasn' t  on the football team, and [ wasn' t  even very 
  clever. Normal. Nothing special. 
  Quentin Milton (Order #26014138)
  
  "As a kid I'd watch Baywatch, or Hercules, or whatever, and I' d 
  think, " that's what / want. " No one was really going to admire my 
  body. / hardly ever got a date, and / sure never got to go out with 
  Pamela Anderson. But / wanted it. / wanted all that so bad. And on TV 
  ... on TV, people got everything that / wanted. They got the fast cars, the 
  big houses, the sexy women. You watch a movie, almost any movie, and 
  the man always gets to kiss the woman, and he gets to keep his job and 
  he gets loads of money, or whatever. 
  "Everyone has loads of money, and everyone gets laid all the time. / 
  know that's true! I' ve seen it on TV. That's what happens. /t just never 
  happened to me. 
  "Well, just before Dark Day I'd lost my job, and my girlfriend (not 
  that she was much of a girlfriend) had left me after she found the maga­
  zines under my bed. / was at a low. / wanted a normal life so bad, but 
  all / got was this crap. 
  "Then, there / was, the day the sun didn' t  rise, looking out my win­
  dow as some ... thing ... chased my neighbor into the alley under my 
  apartment. And / thought, "/ don't want to see this." / mean, / really, 
  really didn't want to see what was about to happen. And that was it. 
  Everything went black. / mean, / was blind. And / panicked. / thought, 
  "/ don't want to be blind, / want to see!" And / could. 
  "So now, / get everything / want. But not just with a thought or the 
  snap of my fingers. Of course you have to work at everything, at least a 
  little bit. But / found / could see what / wanted, feel what / wanted. Af­
  ter Dark Day / could see a woman on the road and want to know what 
  she looked like, under her clothes, and if / concentrated / could see, 
  like, everything. And that was just the beginning. 
  "Right now / might be in this gray office with you, but / can have the 
  life / want. You make me come in here and talk to you every day, but 
  when / go back to my room / can shut myself inside my own head, and 
  live in my world, live the life that I've made for myself. You don' t  know 
  what " brain surgery" means: I' ve totally remade everything inside my 
  head, in a way your microscopes will never notice. But it's more than 
  that. / can go there. /t's real. 
  "I' ve got a life just like TV now. There's this Swedish air-hostess 
  I' m dating behind my wife's back - which is easy enough, . cuz she's 
  off on photo shoots a lot, being a model and all. And I'm just about to 
  buy a Ferrari, which I'm going to leave at my country villa for the 
  weekends ... 
  "You think you're so damn clever, sitting there with your diploma 
  and your smug smile. But twenty three hours a day / live a life you' ll 
  only see on TV. Just get the damned nurse in here and have me taken 
  back to my room. Your reality sucks. 
  - The laments of an amateur Astral Mage Savant 
  Quentin Milton (Order #26014138)
  
  CHAPTER 3: The Sorcerous Endeavor 
  By Kevin Hassall 
  with additional text and concepts by Kevin Siembieda 
  Living Magic 
  In the world of Nightbane, magic is cast by taking the power of a 
  person's mind, P.P.E., and reshaping it into a new form. Magicians may 
  call this "casting" or "creating a spell," but what they are really doing is 
  creating a mental structure, in effect, a MIND. Furthermore, the very 
  nature of most magic suggests some level of consciousness and mind. 
  How else could a simple incantation cause such specialized and often 
  complicated tasks? 
  Usually the spell is a highly structured mental energy, like an invis­
  ible computer program, preset to perform a specific function. What 
  many don't realize is that with time or when an area is bombarded with 
  magic energy, a more powerful magic has a chance to EVOLVE into 
  something more. To become aware of its own existence, perhaps to de­
  velop an intelligence of its own, and maybe even to adapt and change 
  its form! This is a fairly rare occurrence, and typically it's one of the 
  longer lasting and most powerful spells (levels 8th and higher) that have 
  any chance of becoming self-aware. Often magic items exist long 
  enough to develop their own LQ. and even a personality, but this takes 
  decades, and, in general, only spells which have instant/permanent ef­
  fects or last for years will develop in any way. Still, there are Sanctum 
  spells which have outlived their creators and now shelter any passerby 
  who will pay a "toll" of P.P.E.; a Dimension Portal in Los Angeles 
  once opened by the Seekers, which will reopen to admit anyone who 
  can plausibly claim to be a Seeker; a Summon Storm spell which vin­
  dictively roams the world's seas, joyously destroying anything in its 
  path (this spell has, in fact, created a whole theory of philosophy and 
  aesthetics based on the beauty of destruction); etc. 
  Self-aware or intelligent spells might learn to take on a physical 
  form and to moderate and control their effects. They might also develop 
  their own personalities, often based upon their creators' personalities 
  (their P.P.E. was originally part of the caster's mind, after all) and/or on 
  the nature of the spell. This means Curse spells are usually sadistic with 
  evil alignments, an Oracle spell would yearn to learn and gather knowl­
  edge (probably an anarchist alignment), and an energy spell (fires, elec­
  tricity, etc.) will tend to be aggressive and violent, often cruel and 
  destructive (anarchist or evil alignments). This may even extend to de­
  veloping their own philosophies, aims, values, purposes, and even relig­
  ions. 
  Most intelligent, self-aware spells remain invisible, and intangible, 
  but some take on a human form with low, basic, human attributes (typi­
  cally 7- 1 1 ,  occasionally a point or two higher or lower), hit points ( I D6 
  per each level of the spell), S.D.C. (one point per level of the spell), 
  P.P.E. (half that necessary to cast the spell), etc., while some assume 
  other suitable physical forms, from animals to the monstrous (basically 
  the same stats as human forms). Some extreme examples of intelligent 
  magics that have become human (or what passes for human) follow: 
  1. "KING" is an old man who lives in a squalid basement on a city 
  tenement block. The floor of his home has collapsed into the sewer be­
  neath it, and hundreds of rats scuttle out from the tunnels, through the 
  basement and into the alleys beyond. King loves the rats - not so much 
  as a master might love pets, but as a benevolent monarch might love his 
  subjects. They bring him scraps of food and obey his every whim, while 
  he warns them of danger (like city pest controllers) and settles squab­
  bles amongst them. King was originally a level fourteen version (ex­
  tended duration) of the Control Rodents spell. 
  Now in human manifestation, King has the following attributes: LQ. 
  8, M.A. 9 ( 1 8  among rodents), M.E. 8, P.S. 1 0, P.P. 9, P.E. 1 0, P.B. 7, 
  and Spd 1 0, hit points: 47 ( l D6 per level of the original spell, in this 
  case, 1 0th level, although the spell caster was 14th level), S.D.C.: 1 0  
  33 
  (one point per level of the original spell), P.P.E.: 35 (half the original 
  spell), alignment Anarchist; as well as possessing the basic magical 
  power of the original spell, the ability to summon and control rodents. 
  2. "APRIL MAY" is a down and out elderly woman, in a battered 
  coat and woolly hat, who wanders the world, with nothing to comfort 
  her but her knitting. She is always knitting, or darning, or mending. To 
  earn a little money she will knock on doors and ask if there is any 
  mending to be done, worn socks, ripped fabrics ... She lives to knit, 
  mend, close holes in fabrics, because April May was once a carelessly 
  cast Close Rift, mistakenly cast over an area where no Rift existed and 
  left for years to brood (all 200 P.P.E. of her) over the frustration of her 
  situation. So, one spring (in April, or May, she thinks) she just up and 
  left her pointless position, in search of work. And so she wanders, 
  patching holes and mending rips in both the fabric of cloth and the fab­
  ric of reality. In the latter case, she tries to bring peace and closure to 
  people's lives by doing little things to help them (kind words of advice 
  and/or encouragement, etc.), as well as help people avoid portals to the 
  Nightlands and warn them of trouble or minions and monsters that may 
  come from that foul place. She sometimes also shows people the way, 
  out of the Nightlands. 
  Now in human manifestation, April May has the following attrib­
  utes: LQ. 9, M.A. I I  (22 among those who are lost and have holes in 
  their hearts/lives), M.E. 1 0, P.S. 9, P.P. 8, P.E. 9, P.B. 1 0, and Spd 1 1 ;  
  hit points: 7 1  ( l D6 per level of the original spell, in this case, 14th 
  level), S.D.C.: 1 4  (one point per level of the original spell), P.P.E.: 100 
  (half the original spell), scrupulous alignment; as well as possessing 
  magical powers based on the original miscast spell. These include the 
  natural ability to see dimensional openings, recognize dimensional 
  anomalies, recognize creatures from other dimensions (beings not in­
  digenous to earth, including Dopp1egangers, Nightlords and their min­
  ions, Guardians, etc., as well as Nightbanes who are creatures of both 
  worlds) and can perform mirror walk, mirror sight, mirror search, and 
  door way at the same level of proficiency as a 7th level Nightbane (half 
  the original spell level). However, P.P.E. recovery takes three times 
  longer than normal and April May is weak (reduce spd and hit points by 
  30%) whenever she uses more than half her P.P.E. reserve. 
  3. "Mr. PAUL" is the son of God. Of course, theologically all men 
  are the sons of God, but he knows that he, in particular, is God's special 
  son. He was, after all, made and not begotten; created specifically for a 
  purpose - to heal the sick, to minister to the needy. And so Mr. Paul, 
  or Reverend Paul as he is often called, tours the midwest of America, 
  healing the sick with the power of his faith (actually with the power of 
  their faith and P.P.E., but he doesn't know that) and preaching his ver­
  sion of the Good News. Although he sincerely believes that he is on a 
  divine mission, Mr. Paul was originally a Restoration spell, cast to heal 
  a child's terminal illness in 1 9 1 9  and somehow, lived on in that person 
  until their death on Dark Day, when he believes that he was "created." 
  Now in human manifestation (or what passes for human), Mr. Paul 
  has the following attributes: LQ. 9, M.A. 1 2  (24 among those who "be­
  lieve"), M.E. 1 0, P.S. 8, P.P. 9, P.E. 1 2, P.B. 1 1 , and Spd 9; hit points: 
  64 ( l D6 per level of the original spell, in this case, 1 4th level), S.D.C.: 
  1 4  (one point per level of the original spell), P.P.E.: 375 (half the origi­
  nal spell), scrupulous alignment (could have been any good or selfish 
  alignment); as well as possessing magical powers based on the original 
  miscast spell. These include the ability to cast the spells see aura, sense 
  P.PE., breathe without air, negate poisons/toxins, heal wounds, cure 
  illness, purification (food and water), remove curse and negation, all at 
  7th level proficiency (half the original spell level). However, Mr. Paul 
  Quentin Milton (Order #26014138)
  
  unwittingly draws on the P.P.E. energy of the people he heals or the 
  P.P.E. of the "believers" around him wishing to see a miracle of heal­
  ing. This works much like a ritual, with his sermons and prayers ena­
  bling the "believers" to focus on the same goals and temporarily "give" 
  Reverend Paul up to 50% of their own (usually unknown) P.P.E. re­
  serve (2-8 points in the average person). When he occasionally expends 
  his own P.P.E. reserve, recovery takes three times longer than normal 
  and the Reverend feels weak (reduce spd and hit points by 30%) when­
  ever he uses more than half his P.P.E. reserve. 
  Some Question & Answers about Living Magic 
  There is a well of potential here for G.M.s with a taste for the 
  quirky, for intelligent spells to be used as NPCs, or otherwise incorpo­
  rated into adventures. However, use them sparingly and avoid unbal­
  ancing one's game. Note too that when all the hit points and S.D.C. are 
  expended the living spell disappears as if it never existed. The same is 
  true if all the creature's personal P.P.E. is expended. Furthermore, heal­
  ing magic only restores a quarter of the hit points/S.D.C., otherwise the 
  human embodiment will heal at the same rate as the average human. 
  However, most are impervious to disease, poison/toxin, and cold or 
  heat; after all, they aren't completely human. Their magical/supernatu­
  ral nature will be revealed through see aura and sense magic. 
  Pedantic players and G.M.s may have a few nagging questions at 
  this point. For example, does an instant spell have NO duration, or a 
  very LONG duration (the effects are permanent, after all)? Exactly what 
  triggers a spell into becoming self-aware? If a spell takes on a human or 
  physical form, does it have to breathe, eat or drink? 
  Ultimately, all of these questions have the same answer: "It depends 
  upon what is going to make your games more interesting!" 
  Instant spells can generally be considered to have no duration; but it 
  may sometimes make for more interesting adventures to assume that a 
  certain instant spell has an effectively permanent duration. Any logical 
  reason that the G.M. likes, can be used to have spells become self­
  aware. Specific spells that take on a human form are likely to believe 
  themselves human (despite their powers and other abilities) and are 
  likely to need to eat, sleep, etc., while others may perpetuate themselves 
  by other means; e.g. absorbing P.P.E. from other sources. This is up to 
  the Game Master. All that matters is that you have fun creating and 
  playing interesting situations, stories and adventures without getting 
  silly or too unbalancing the campaign. 
  The Dangers of Too Much Magic 
  Magic is a power that is strong enough to affect the fabric of the ma­
  terial universe, the structure of human minds, and even the laws of 
  physics. When this magic loses its sense of purpose - when an old 
  spell's duration expires, or if a half-cast spell is aborted, all this energy 
  doesn't just vanish. It may fade slowly away, but in the meantime it 
  may form new and unexpected shapes and have almost any effect. In­
  evitably, concentrating and releasing large quantities of psychic energy 
  in any one area is bound to have bizarre side effects. So, if large 
  amounts of magic are cast in an area over a long period of time, that 
  place is likely to become infested with stray or random magical effects 
  and psychic emanations. The effects, at the G.M.'s discretion, may be 
  unsettling, horrific, or fantastical. The table below gives a score of sug­
  gestions for G.M.s to use; weird things which can happen in an area as a 
  result of heavy magic casting or old spells expiring in the area. 
  Random Manifestations of Magic 
  To create random strangeness for an area, roll percentile dice and 
  consult the table below. Alternatively, G.M.s may select occurrences 
  which best reflect the magics which have been cast in the area, or which 
  provide suitable atmosphere or handy plot complications. Note: The 
  sites of frequent magical or religious rituals, places of magic like stone 
  megaliths (e.g. Stonehenge), the sanctuary, monastery, and similar 
  places where magic was practiced or great battles were fought using 
  magic, places used (by the Nightlords and others) as a dimensional por-
  34 
  tal, and the location of ley lines and Chinese Dragon Tracks are among 
  the most likely places where such phenomena can be encountered. 
  01-05 One spell once cast here has endured longer than it should, 
  probably by "feeding" on the loose P.P.E. of other defunct spells in the 
  area. This may be a boon to a mage living in the area (a permanent Pro­
  tection Circle would be very useful), but could be very destructive (a 
  Curse that lingers, or an Energy Bolt spell which keeps firing at random 
  would soon destroy the magician's home) or more dangerous still (e.g. 
  a Dimension Portal). Note that the spell need not continue to affect its 
  intended target: it is now beyond the control or original intent of the 
  caster, and its sole desire is to remain active; to this end, it doesn't care 
  who it affects. So, a Curse might affect any one person or a series of 
  people who just happen upon the area. Likewise, the spell may lay dor­
  mant/quiet taking action only when disturbed or angered, or against a 
  particular O.C.C. or race (only strikes sorcerers, clergy or tax collectors, 
  or only against blacks, whites, psychics, Nightbane or the denizens of 
  the Nightlands, etc.). 
  06-09 An old spell in the area has become self-aware and intelligent. 
  It can see and hear all that goes on around it, and strives to gain new 
  P.P.E. to keep itself "alive" (e.g. by killing animals and absorbing their 
  P.P.E. at the moment of death). Lacking solid form, it can communicate 
  only by making writing appear in the dust or dirt, and its P.S. and other 
  attributes are effectively a 1 or 2. In any case, its intelligence is rudi­
  mentary and its main desire is simply to stay alive. 
  10-12 Not merely self-aware, an old spell in the area has developed 
  a human intelligence and has taken on a physical form. See some of the 
  examples above for an idea of what this spell might be like. In effect, 
  this means that the area has a mystical lodger. 
  13-17 The spells cast in the area repeat themselves sporadically and 
  unpredictably, and in minor ways: their duration has expired, but they 
  struggle to keep "alive," to keep active. So, if many levitation spells had 
  been cast in the area, then every few days someone might notice a small 
  object floating in the air, or an object drifting slowly down. Reports of 
  mysterious lights might be the result of Globe of Daylight, and strange 
  sounds the product of the Heavy Breathing spell or horrific illusion, and 
  so on. If Nightlands Passage had been cast here a great deal, then occa­
  sionally, things, animals, and even people are randomly sucked through 
  to the Nightlands. 
  18-23 If most of the magic cast in the area originated from the same 
  source, from one sorcerer, for example, then anyone living or staying in 
  the area starts to have flashes of memory and ideas which are not their 
  own, but which come from that caster's loose P.P.E. and fragments of 
  residual thoughts and memories preserved by the unleashed energy. 
  These may be worrying (images of horrible creatures or bloody rites 
  flashing through the person's mind) or insidious (the person has inex­
  plicable and possibly depraved desires), but might on occasion be use­
  ful (the memory of a page in a book or snatches of conversation, or 
  visions of past danger or enemies). 
  24-28 The area is so charged with magical energy that it literally 
  glows. This may be a constant effect - a nimbus of energy visible over 
  the area - or very dim ambient light, or, more likely, an occasional ef­
  fect, such as strange lights seen in the area from time to time, or shim­
  mering in the sky above. 
  29-31 Strong spells and heavy concentrations of P.P.E. take on any 
  form desired by local mortals. They appear as apparitions, visible but 
  without physical form, for up to three hours at a time. According to the 
  subconscious desires of the people/creatures which live in the area, they 
  might appear as long-lost children, dream-lovers, absent fathers, mon­
  sters expected in the area, and so on. They often appear to and become 
  friends of the lonely or wretched, adopting whatever personalities these 
  folk wish, but although they look solid enough, they have no real form 
  or intelligence of their own. They are figments of the persons own 
  imagination and subconscious. 
  32-40 As in countless folk stories and rustic sayings, the presence of 
  magic has numerous minor, unsettling effects. Bread baked nearby 
  Quentin Milton (Order #26014138)
  
  often refuses to rise and milk curdles, meat spoils and rots 5- 1 0  times 
  more swiftly than normal, flies or gnats or maggots are found in great 
  abundance, babies cry constantly, dogs howl, and most animals avoid 
  the area, and/or similar things. 
  41-48 As the fading magics in the area cling to life, they try to draw 
  health from other things and people in the area. Plants wither and die 
  overnight, people find that it takes weeks to recover from the pettiest 
  ailments, young people living nearby find that their hair is starting to 
  tum prematurely gray, etc. 
  49-54 The magic hangs heavy in the air, making the atmosphere 
  seem muggy, oppressive. Visitors get clammy palms and find that the 
  hairs on the back of their necks stand on end. Strange chills pass 
  through the air. 
  55-59 One or more magics, or residues of P.P.E., inhabit a specific 
  inanimate object or plant, which they then attempt to control. This may 
  be a TV set (the magics changing channels to suit their tastes, or even 
  showing fuzzy images of the past or of other places), a doll (often gone 
  from where you were sure you left it), or a house plant, warping the 
  way that the plant grows to suit their tastes - ever seen a six-foot tall 
  venus fly trap? Or a jet black sunflower? And so on. 
  60-66 The people living around the area are physically or mentally 
  affected by the magics and P.P.E. in the area. If the magics were or are 
  primarily concerned with death or undead, for example, then many peo­
  ple become ill or develop degenerative skin conditions. If the magics 
  were divinational, intended to gather information, then the locals with 
  the highest amounts of personal P.P.E. start to have visions or hear 
  voices. If the magic was destructive, many of the people may become 
  aggressive and violent -the level of violent crimes (rape, assault, mur­
  der) may be unusually high, and so on. Up to several city blocks or a 
  small village or town might be affected if the magic in the area is par­
  ticularly potent or located near or along one or more ley lines. 
  3S 
  67-70 The old spells in the area are lingering on, their P.P.E. form­
  ing into changing shapes as they create simple life forms or ectoplasmic 
  constructs around them as bodies. They may try being house pets, wild 
  animals, diminutive people, or strange protoplasmic entities. They are, 
  in any case, only semi-visible in these forms, and insubstantial: they 
  cannot be felt, and cannot affect the physical world. However, they do 
  talk telepathically to the magician who created them (if he or she re­
  mains in the area), begging for guidance or advice, moaning that they 
  have been set free in the world with no direction or understanding, and 
  generally making the magician feel guilty. His or her negative or posi­
  tive direction (or lack thereof) will help to shape these fledgling beings' 
  personalities, purpose and appearance. 
  71-73 As above, but the spells are beginning to find a way of gain­
  ing a new, human life. They are insinuating themselves into the minds 
  of certain vulnerable folk nearby, perhaps a senile old person living 
  next door, or the mind of the new born baby across the road. Their vic­
  tims are likely to have strange understandings and memories, and may 
  develop multiple personalities. 
  74-78 Poltergeist activity. The P.P.E. remains mindless, but is highly 
  volatile. During prolonged periods of stress for the humans in the area, 
  the P.P.E. becomes agitated, with probably violent consequences. This 
  activity may range from doors slamming to objects being thrown at 
  people, to people being hurled across a room, depending upon the 
  amount of magic and the strength of the spells which remain in the area. 
  79-84 The residual P.P.E. and magical energy of the area acts as a 
  beacon to magical creatures, and creates an intriguing glow in corre­
  sponding areas of the Astral Plane. This often attracts curious creatures, 
  entities, and astral travellers, who are simply intrigued by the place's 
  odd aura. Such visitors need not be a menace. 
  85-88 As above, but the magic has actually attracted one specific 
  creature (or group of creatures) to make its home here. The creature(s) 
  Quentin Milton (Order #26014138)
  
  may not even realize why it is drawn here: it just feels "special," 
  "good," or "safe." This might be a Doppleganger who moves in next 
  door, a rogue Ashmedai living in the cellar, a dozen Scuttlers (described 
  elsewhere) infesting the area, a Rebel Infernal (see Mystic China™), 
  several Dream Ghouls (see Nightbane® 1: Between the ShadowsTM) 
  using the corresponding area of the Dreamstream as a base of opera­
  tions, etc. 
  89-92 The high concentration of magical energy has weakened the 
  Mirrorwall, the barrier between the earth and other realities. Voices may 
  occasionally drift across the barrier, strange images constantly appear in 
  all mirrors, and very occasionally, a person from this area may uninten­
  tionally wander across into the other plane! Crossing over is not possi­
  ble intentionally, however, and seems to require some kind of altered 
  mental state - this is a bad place to take drugs, get drunk, or go sleep­
  walking. 
  93-94 The magics have tom open the Mirrorwall, creating a semi­
  permanent portal to another universe (Nightlands or other). The portal 
  may be open most of the time, or only at specific moments (at the stroke 
  of midnight, only on the nights of the full moon, summer and winter 
  solstice, etc.). For the moment, no one on the other side knows that the 
  portal exists. 
  95-97 The aware P.P.E. is attempting to find form and makes itself 
  incarnate in the form of a small animal (mouse, spider, fly, etc.; nothing 
  larger than a rat or bird). If a lot of P.P.E. has been released in the area, 
  many infestations can become veritable plagues, with hundreds of mice, 
  or thousands of spiders, etc. The P.P.E. is unable to hold any form for 
  long, however, and the animals simply disappear after I D6 hours. 
  98-00 Large amounts of magic in the area have been cast by one ma­
  gician (or Nightbane mage, Night Prince or Nightlord). The residual 
  P.P.E. has coalesced into one mass, which has the personality, attitudes, 
  and know ledge of the magician. For a couple of hours a day, the P.P .E. 
  can even manifest itself physically (with P.E., Hit Points and other 
  physical attributes of only I D6) and has no magical powers of its own, 
  but it actually thinks that it is the magician. It does not create its own 
  plots or plans (yet?), but will react to situations in the same way as the 
  magician and, if "living" in the magician's house, is likely to do annoy­
  ing things like set the video, answer e-mail, write in his or her diary, etc. 
  Should the P.P.E. ever meet the real magician, it is likely to be deeply 
  disturbed and think that there is an "impostor" on the loose. If this hap­
  pens, there is a 0 1 -60% chance that a Doppleganger will awake in the 
  Nightlands, come to Earth and merge with the magical coalescence to 
  form a living double of the mage. At this point, the Doppleganger will 
  either try to kill the "imposter" and continue its life as the magician or 
  leave his home (taking many of the real mage's possessions and cash) 
  to build its own life elsewhere. 
  Magical Investigations 
  Inevitably in the course of their studies and adventures, magicians 
  will stumble upon artifacts or objects, plants or animals, which have 
  magical powers. They will, of course, want to know what these objects 
  or creatures do. 
  In order to discover anything about the thing, the magician must 
  then: 
  1 .  Spend several (2D4) days examining and considering the object 
  or creature. A Cybermage might look at it through weird machines or 
  microscopes; a Mystic might take it into the wilderness and "talk to" it; 
  a Sorcerer might set it in a ritual circle and conjure magics around it ... 
  each magician will probably have their own way of doing this. 
  2. Make a successful Principles of Magic roll OR if s/he does not 
  have this skill, must roll less than his/her I.Q. on 2DlO. If this roll fails, 
  s/he does not learn anything about the item until s/he has learned more 
  of the ways of magic (i.e. gained another level of experience and tries 
  the study again). If the object has several powers, a separate roll must 
  be made to discover each. 
  36 
  3. Have some basis for comparison. If investigating an enchanted 
  item, for example, the magician must already know a spell which is in 
  some way similar to the object currently under scrutiny. For example: If 
  the magician only knows violent magics, and finds an item which heals 
  people, s/he will be baffled by it, because it is nothing like any magic 
  s/he has ever encountered before. As another example: In order to iden­
  tify the properties of a magical poison, the character must either know a 
  spell which creates potions/poisons, or must have a relevant skill (e.g. 
  toxicology or chemistry). If the object is quite alien to the magician, 
  s/he cannot work out what it does or exactly how it works. 
  If the investigation is successful, a magician may discover: 
  I .  What magical effects/properties the object possesses. 
  2. How it is possible to trigger those effects (if it is a trap, how does 
  it work? If it is triggered by a spoken word, then what is that word? 
  etc.), 
  3. What manner of magician created it (Mystic, Sorcerer, Astral 
  Lord, Cybermage, etc.), 
  4. Roughly how old it is. 
  5. What it is made of. 
  6. Roughly how much longer its magical effects will last. 
  7. Whether any person is currently controlling or influencing it, or 
  whether somebody is under the object's power (but it does not tell who 
  such people or beings are). 
  8. How much P.P.E. has been invested in the object. 
  9. If the object can only be used a certain number of times, how 
  often (and when) may it be used, 
  1 0. If the object had other powers which have been destroyed or 
  used up in the last month, and what these powers might have been. 
  Inventing Spells ----
  It is likely that, at some point, player characters will want to invent 
  new spells, either working out existing, standard spells for themselves 
  (those given in this book, the RPG, and others), or creating variations 
  on these (see the guidelines for creating altered versions of existing 
  spells elsewhere in this section), and, with the G.M. 's approval, creating 
  entirely new spells! 
  Game Masters (G.M.s) who find that players pester and bully them 
  to be allowed ridiculous or overpowering/imbalancing spells, should 
  read them the following paragraph: 
  "Ultimately the G .M. is the final arbiter of what spells are accept­
  able, what level they should be considered, the P.P.E. cost, duration, 
  and range, and can make any other details, side effects, or modification 
  that may be necessary for the SUGGESTED spell. Players who argue 
  with, wince at, or otherwise cajole their G.M.s can expect the G.M. to 
  get his own back in a suitably vindictive and unpleasant manner during 
  a later adventure: Don't argue with the guy who controls the world 
  your character lives in - it's unhealthy for your beloved character." 
  Kidding and veiled threats aside, the Game Master is always the one 
  who has the final word on how the campaign is run and what is or isn't 
  acceptable. This means even if a new or variant spell is allowed, and the 
  G.M. later decides it is not appropriate, for whatever the reason, he or 
  she has every right to expunge (eliminate) its future use. Players should 
  try to work with and accept the G.M.'s decisions and not make him/her 
  an adversary. 
  Mystics need not worry about inventing new spells. On reaching a 
  new level of experience they automatically learn new spells, as ex­
  plained on page 1 1 7 of the Nightbane RPG. Likewise, Channellers 
  also learn spells automatically. Neither can create variants or brand new 
  spells; most wizards, sorcerers, and other spell casters who learn and 
  formulate incantations, use rituals and create magical devices/artifacts 
  can attempt to make new spells and spell variants based on existing, 
  known spells. 
  Quentin Milton (Order #26014138)
  
  Rules for Inventing Spells 
  Figuring out Existing Magic 
  37 
  Simple Inventions based on known magic: At each new level, ma­
  gicians have the chance to gain new spells, without the need for tuition 
  or research. They just learn, through experience, how to logically create 
  certain likely magical effects through spell casting. 
  In this way, a practitioner of magic may figure out an incantation for 
  any known spell which ties in with his/her past knowledge and experi­
  ence, i.e. the character's O.C.C. Based on the character's O.C.C., expe­
  rience, 
  observations, 
  understanding 
  of 
  magic 
  and 
  magical 
  experimentation, the character may be able to figure out spell incanta­
  tion or ritual that is appropiate to his O.C.C. - a spell or ritual that is 
  "new" to him, but is something that any practitioner of magic in his 
  O.C.C. is able to learn one way or another. These spells and rituals are 
  generally limited to those presented in the various Nightbane® RPG ti­
  tles (and if allowed by the G.M., other Palladium RPGs). 
  Often, these mages will learn from mentors or ancient grimoires, buy 
  tuition from magical brotherhoods and associations, be taught spells by 
  friends, etc. But from time to time they will want to develop a spell in 
  secret, or will want a magic which no one else seems to know, or will 
  want to avoid the expense or complication of learning from another 
  source. Devising spells on their own, provides the character with a 
  method other than having to grovel before or pay money to more pow­
  erful mages to learn additional spells. The magicians may also want to 
  learn spells which have no bearing upon their experiences, or which are 
  of a higher level than they are, etc. The following rules allow characters 
  a slim chance of puzzling out new spell incantations related to their par­
  ticular O.C.C. Magicians, Sorcerers, Cybermages, Fleshsculptors, Mir­
  rormages, and most spell casters, must work out their spells formally. 
  Sorcerers need their arcane grimoires. Cybermages need their pseudo­
  scientific blueprints, etc. 
  Add the following: 
  The character's I.Q. attribute number. 
  The character's M.E. attribute number. 
  One tenth of his/her Principles of Magic skill (ignoring fractions). 
  The character's level of experience (if 4th level, use 4, if 5th level, 
  use 5, etc.). 
  Now, if the character already knows a spell which is similar to the 
  one currently being figured out, add the level of that spell ( 1 - 1 5; if the 
  character knows several which are similar, then add the highest of their 
  levels). 
  This total number gives the player the percentage chance for work­
  ing out the spell in a month of research and experimentation; approxi­
  mating at least seven hours a day for a total of 30 days. Note: The 
  character can put in four hours one day, 1 1  the next, etc., and even skip 
  a day or two as long as approximately 28 hours are spent studying and 
  developing the spell per every four day period. If there is more than a 
  three day lapse between research and development, the experiment must 
  be restarted from scratch. 
  Penalty: Reduce the final number by - 1 0% for each level above 
  nine. For example, if the final number indicating the chance for success 
  was 34% (i.e. success on a percentile roll of 01 -34), the odds of learning 
  a 1 0th level spell is - 1 0%, giving a 3 1  % chance; an l ith level spell is -
  20%, for a 28% chance for success, a 1 3th level spell is -30%, for a 
  25% chance of success, a 14th level spell, 2 1  % and 1 5th level, a mere 
  19% chance of success. 
  The odds are clearly against the practitioner of magic. Many mages 
  will have to earn a living or perform tedious chores during their days, so 
  the process may actually take longer than a month, due to shorter hours 
  available per day. It is in the nature of epic magics that magicians must 
  struggle for months or years to learn the mighty spells which they crave. 
  Throughout this period, the character studies, experiments, and theo-
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  rizes, casting many little trial magics and leafing through dusty tomes. 
  The character's P.P.E. total is always at half its normal maximum, as 
  the mage is using a lot of P.P.E. to cast experimental magics during 
  his/her investigations. 
  Failure: If the character does not successfully create a working in­
  cantation for an existing spell, more experimentation, trial and error, is 
  necessary. Repeat the above for another month or two. 
  Failed Spell Invention Table 
  Optional Failure Penalty: If it seems appropriate, the G.M. can 
  roll (or have the player roll) percentile on the Failed Spell Invention Ta­
  ble for strange side-affects and danger as a result of the mystic experi­
  mentation. 
  01-05 The P.P.E. released during experimentation causes a powerful 
  magical vortex. The character escapes unharmed, but a whirl of wind, 
  fire and ectoplasm engulfs an area ranging from the magician's desktop 
  (for a level one spell), to his/her workroom (level four), apartment 
  (eight), entire house or half the apartment building (twelve) or even an 
  entire city block (for a level fifteen spell). Local authorities (police, fire 
  services, etc.) will be alarmed and investigate. 
  06-15 The P.P.E. released takes on some kind of form. Roll on (or 
  select from) the Too Much Magic Table described earlier. 
  16-20 The magical experimentation, wild P.P.E., and irrational 
  thoughts in the magician's head have some bad effect on the poor 
  mage's mind. S/he gains a random insanity or similar disadvantage 
  from messing with things that his/her mind wasn't made to understand. 
  21-25 Dismal failure. Whenever the mage tries to cast the spell, a 
  magical implosion knocks him/her (not anybody around him) to the 
  floor and inflicts 2D6 damage. 
  26-35 All this wild P.P.E. and unstructured magic acts as a beacon to 
  attract some curious and probably malignant force or supernatural crea­
  ture - anything from a passing Hunter or entity to an NSB agent, at the 
  G .M. ' s discretion. 
  36-40 The magician is sure that as s/he understands the principles of 
  magic, the spell should work properly - but it doesn't. This may be 
  due to human error or the weirdness of magic, but the magician con­
  cludes that s/he must have misunderstood something about the nature of 
  magic, and so comes to doubt or discount some important magical the­
  ory. Subtract 1 %, permanently, from his/her Principles of Magic skill. 
  41-50 More by luck than judgement, the character actually stumbles 
  upon most of the correct way of casting the spell. The attempt was a 
  semi-success after all! It has half the usual duration and requires 
  I D4x lO% more P.P.E. to cast it, but it works. 
  51-60 The character THINKS that s/he has successfully created the 
  spell. In fact, as s/he may realize when it's actually cast, the spell is sub­
  tly flawed, or has an effect which is not quite what s/he wanted (e.g. in­
  stead of instantly healing a single wound, the spell accelerates the 
  healing process through the target's entire body, or duration is reduced 
  by 1 0% to 70%, or damage is half, or the spell costs double P.P.E., 
  etc.). 
  61-70 The spell is a failure, but the magician has learned something 
  from all the experimenting. Add 1 %, permanently, to his/her Principles 
  of Magic score. 
  71-80 Adventure & Danger! The P.P.E. released, the strange books 
  checked out from the library, the chance interruption of next-door's cat 
  at that crucial moment ... SOMETHING causes a bizarre series of magi­
  cal events which leads - now or in the future - to an adventure of 
  some kind. The details of this are entirely up to the G.M. 
  81-85 Obsession! The more the character uses magic to research, 
  the more the detritus of that magic - stray P.P.E., now wandering 
  around his/her apartment and through his/her mind --drives him/her 
  onwards. After a month, the magician's head is now full of stray P.P.E. 
  (once his/her own psychic power, now just the remnants of his/her frus­
  trated desire driving him/her on to experiment more and more). All of 
  38 
  the mage's time is spent in study. S/he no longer goes to work, washes, 
  speaks to friends, etc. All subsequent months must be spent in study. 
  Hopefully the character has friends who will rescue him/her from this 
  obsession! Getting rid of all the stray P.P.E. (a Negate spell or Channel­
  ler should do it) or several months of psychotherapy should allow the 
  magician to recover completely. 
  86-90 Phobia! Similar to 8 1 -85, above, but in this case, something 
  goes so terribly wrong that it emotionally or mentally traumatizes the 
  mage to the point that s/he abandons trying to figure out that particular 
  spell and will never again try to learn it, even if somebody is willing to 
  teach it to him for free! The mage is terrified of the forces it might un­
  leash when cast. A year of psychotherapy should allow the magician to 
  get over this fear. 
  91-95 Unwanted open channel to the Dreamstream. The experi­
  mentation and studies open a link in the character's mind to the Dream­
  stream. This gives strange visions (sometimes frightening, other times 
  wonderful) and makes him/her vulnerable to visits (and attacks) by the 
  denizens of this strange dimension. See Between the Shadows for de­
  tails. A link to the Nightlands or Astral Plane can be substituted. 
  96-00 Delusions of success! The character THINKS that s/he has 
  successfully created the spell. In fact, as s/he will discover, whenever 
  this spell is cast, something disastrously different occurs. Typically the 
  opposite effect, e.g. a spell designed to detect denizens of the Night­
  lands actually summons one, or a summoning spell just opens a portal 
  and leaves it open or actually dispels/repels that type of creature, a Heal 
  Wounds spell inflicts the equivalent in damage, a Globe of Daylight 
  creates an area of darkness, a Fire Ball creates a ball of water (does one 
  point of damage per level of experience), Locate mentally tells the char­
  acter sought the location of the mage, and so on. 
  Spell Variants 
  Modifying existing spells: The magician can attempt to create a 
  spell incantation that modifies a known spell that relates to his O.C.C. 
  and therefore falls into his area of experience and understandig. For ex­
  ample: The mage may want to create a fire ball spell that does less dam­
  age or even greater damage. Or he may want to create a Globe of 
  Daylight that swirls around in a circle, or magic armor that can be seen 
  and is +1 to the wearer's ability to intimidate (M.A.) or to his horror 
  factor. 
  To determine the chance for success, add the following: 
  The character's I.Q. number. 
  The character' s  M.E. number. 
  One tenth of his/her Principles of Magic skill (ignoring fractions). 
  Penalties: High level spells and equivalent magics have the same -
  10% penalty per level above 9th as trying to figure out existing spells. 
  Reduce the percentage for success by 50%- whenever the modifica­
  tion is to make the spell more potent (does more damage, longer dura­
  tion, etc.) or whenever the modification is the opposite or very alien to 
  its original intent/nature. 
  Bonus: Add 1 0% to the percentage for success whenever the modi­
  fication is to make the spell less potent (does less damage, shorter dura­
  tion, etc.) or whenever the modification is harmonious with the spell's 
  original design, purpose and nature. 
  Note: The mage must spend the equivalent of two weeks per level of 
  the spell desired or equivalent spell level for other types of variants. So 
  two weeks for a level one spell, or thirty weeks for a level fifteen spell. 
  Variant spells are always at least one level higher than the original 
  spell, even if the variation is a minor one. Spells with dramatic vari­
  ation5 will be two to six levels higher. 
  If a magician's attempt to create a variant spell is a failure, s/he has 
  no functioning spell and s/he may not again attempt to convert that 
  magic until more of the arts of magic are learned (i.e. rises to the next 
  level of experience). Additionally, roll on the Failed Spell Invention Ta­
  ble (described previously) for every failure. 
  Quentin Milton (Order #26014138)
  
  Converting Different Magic 
  into Variant Spells 
  Cybennages and Fleshsculptors in particular, may find that they can­
  not use standard spells as outlined in sorcerers' texts and grimoires (this 
  is true of all spells designed and used for the exclusive use of a particu­
  lar O.C.C.; and Nightbane Talents and psychic powers are not available 
  as spells). Instead, they must create their own, new versions of these 
  standard sorcerous spells in order to cast them. Likewise, a Sorcerer 
  might find a weird Cybennage's blueprint or Fleshsculptor's tract, and 
  want to work out exactly how they function so that s/he can mimic their 
  effects as a spell. In this case, the character only has a 1 % chance of 
  success (any such spell would be ranked as an 1 1 - 1 5th level spell). The 
  Fleshsculptor's and Cybennage specialized magics generally cannot be 
  converted into a spell for use by sorcerers and other spell weaving ex­
  perts. However, such attempts mily give the experimenter insight on 
  how to power and/or operate the device, or how to counter or destroy it. 
  Again, the G.M. can limit which spells or special O.C.C. magic can 
  be converted/translated into a spell magic equivalent (if possible at all) 
  or assign additional penalties to diminish success. 
  To determine the chance for success, add the following: 
  The character's I.Q. number. 
  The character's M.E. number. 
  One tenth of his/her Principles of Magic skill (ignoring fractions). 
  Note: The mage must spend the equivalent of one month per level of 
  the spell desired or equivalent spell level for other types of variants. So 
  one month for a level one spell, or fifteen months for a level fifteen 
  spell. 
  If a magician's attempts to decipher and convert these magics fails, 
  s/he has no functioning spell and s/he may not again attempt to convert 
  that magic until more of the arts of magic are learned (Le. rises to the 
  next level of experience). Furthennore, roll on the Failed Spell Inven­
  tion Table (described previously) for every failure. 
  � � 
  • .''< .... 
  , 'I ,,<; 
  t ( 
  ' .
  ... 
  Creation of an entirely "New" Spell 
  Again, it is ultimately the G.M. who decides whether a new spell 
  suggested by a player can be attempted and allowed in the garne. The 
  G.M. will also assign the "level designation" of the new spell and the 
  arnount of P.P.E. necessary to cast it, although players may again offer 
  suggestions. 
  To determine the chance for success, add the following: 
  The character' s  I.Q. number and, 
  One tenth of his/her Principles of Magic skill (ignoring fractions). 
  Penalties: High level spells and equivalent magics have the same 
  1 0% penalty per level above 9th as attempting to figure out existing 
  spells. 
  The mage must spend the equivalent of three weeks per level of the 
  spell desired or equivalent spell level for other types of variants. So 
  three weeks for a level one spell, or 45 weeks for a level fifteen spell. 
  Note: If a magician's attempt to create a new spell is a failure, s/he 
  has no functioning spell and s/he may not again attempt to create that 
  particular magic again until more of the arts of magic are learned (i.e. 
  rises to the next level of experience or s/he acquires 25,000 additional 
  experience points, whichever comes first). Additionally, roll on the 
  Failed Spell Invention Table (described previously) for every failure. 
  39 
  More Notes on Magic 
  Access to Specialized Magics 
  It is possible that practitioners of magic will, at some stage, want to 
  learn a spell or ritual typically reserved for a specialized O.c.c., such as 
  those used by a Mirronnage, Fleshsculptor, or similar. Rather than just 
  deny them all access (these are magics like the ones they use, after all, 
  so they should have some chance of learning them), use the rules above, 
  but also consider the following guidelines. 
  1. No sorcerer may invent an entirely new specialized spell. Only a 
  practitioner of that special magic O.C.C. may do so (e.g. Fleshsculptors 
  cannot invent a new Mirronnagic spell or spell variant). 
  2. Specialized spells figured out by a different magician O.C.C. 
  should be considered to be five levels higher. So, a level two Mirror­
  magic would be considered a level seven spell if a non-Mirronnage 
  wished to learn it. 
  3. A Sorcerer may not take a specialized spell from a different magic 
  O.C.C. as his/her free spell gained upon reaching a new level (although 
  a mystic may if the G.M. allows it). Sorcerers must learn these from 
  texts, tutors, etc. 
  4. Each time that a magician attempts to learn a spell which is spe­
  cific to another sort of magician, s/he must roll under I.Q. on ID20. If 
  the roll fails, the magician may not attempt to learn that spell again until 
  s/he learns more of the arts of magic (Le. goes up a level). 
  New & Modified Magic 
  The spells described here and in the rule book are only the most 
  (comparatively) common selections of the magic available to practitio­
  ners of magic in the Nightbane® Role-Playing Game. For thousands 
  of years, would-be sorcerers from hundreds of cultures and back­
  grounds have been trying to manipulate arcane powers for their own 
  ends. Inevitably, they have created more spells than those listed in these 
  few pages, although many are variations of existing "key" or "bench­
  mark" spells. It is reasonable to assume that humankind has lost or for­
  gotten much more magic than is known in the modem world of the 
  Nightbane. 
  G.M.s should therefore feel free to introduce new or variant spells, 
  either to suit the details of their adventures, or just to keep the players 
  on their toes. Nothing destroys a sense of horror and mystery like a 
  player who says "It's all right, I've read the rules and it says in the spell 
  description that ... " So occasionally, introduce opponents and mystic se­
  crets with unknown magic or spell variants to keep the players guessing 
  and worried. 
  When creating a new spell, however, it is worth asking a few ques­
  tions: 
  1. What is the exact effect of the spell? 
  2. What is the range and duration, and are there any special limita­
  tions? 
  3. Is the spell interesting in tenns of game play? 
  4. Is it balanced (e.g. it's not so powerful or unique that it gives one 
  particular player or the player group too much power, an unfair advan­
  tage or just makes the campaign stupid or boring)? 
  Answering these simple questions will give you an idea of what 
  level, P.P.E. cost, range and duration the spell should be. So: 
  a) Find a spell in the rules or in this book which has a similar effect 
  to the spell you have in mind. This will give you an idea of the basic 
  level, P.P.E., and reasonable duration for the spell. You might consider 
  these "benchmark" spells. 
  If you are thinking of a spell which will render a target immobile for 
  a few melee rounds, then the spell should probably be about level 
  seven, with a P.P.E. cost of 20-30. How is that calculated? Well, the 
  Agony spell (page 1 38 of the RPG) renders a target helpless for four 
  Quentin Milton (Order #26014138)
  
  melee rounds, has a range of five feet per level of experience, costs 20 
  P.P.E., and is level seven. Your spell may be quite different: perhaps 
  briars and black vines shoot from the ground to entangle the target, 
  rather than the victim simply feeling a great deal of pain; perhaps the 
  duration is l D6 or 2D4 melees, rather than a set four melees; or maybe 
  the target doesn't make a standard saving throw, but instead has some 
  other method of escape (e.g. rolling less than P.S. or a dodge). But the 
  fact is that the overall effect is, on balance, equivalent to Agony, so that 
  spell is a suitable benchmark. 
  Having found a suitable benchmark spell, simply increase the level 
  and P.P.E. if you want the spell to be more powerful, and reduce level 
  and P.P.E. if you want it to be less powerful. So, you will notice that in 
  the rule book, Fire Bolt (level four, page 1 32) and Energy Bolt (level 
  three, page 1 30) have very similar effects - except that Fire Bolt has a 
  +4 bonus to hit, and is consequently one level higher and costs a couple 
  more P.P.E. to cast. 
  As a rule, for every advantage that a spell has over a benchmark 
  spell, P.P.E. cost should go up by two points or 20% (whichever is 
  greater) and the spell should be one level higher. For every disadvan­
  tage, knock off 2 P.P.E. or 20%, and reduce the spell by one level. Ob­
  viously, if the advantage or disadvantage is particularly extreme, 
  increase or decrease the P.P.E. and level more severely. 
  b) What about duration and range? Again, use an existing spell as 
  a benchmark. If your new or modified spell has a longer duration or 
  range than the benchmark, then increase level and P.P.E. appropriately. 
  Duration: Most spell durations are either Instant or fall into these 
  brackets: 
  • 
  One melee 
  • 
  Several melee rounds (typically 2-8) 
  • 
  Minutes 
  • 
  Hours 
  • 
  Days 
  • 
  Months 
  • 
  Years 
  • 
  A long, long time. 
  To increase duration by one step, increase the level by one and dou­
  ble the P.P.E. cost. To reduce duration by one, halve the P.P.E. and re­
  duce the level by one. 
  So, as another example, increasing the duration of the "Agony" spell 
  from several melees to "until the day when the seas boil with blood" -
  a long, long time - would increase the spell by six levels and double 
  the P.P.E. cost six times! That's a level thirteen spell costing 1 280 
  P.P.E. to cast! ! Note: A ritual can take I D6+6 minutes to one hour, oc­
  casionally longer, sometimes shorter. Most require components and 
  high amounts of P.P.E. 
  Range: You will find that most spells listed in the rules and in this 
  book have a number of range-brackets that they fall into: 
  • 
  Self only (the caster cannot affect others) 
  • 
  Very near (touch, or within 1 0  feet) 
  • 
  Within combat range (up to 60 or 1 00 feet away) 
  • 
  Long combat range (within a couple of hundred feet) 
  • 
  Sight (up to a mile/1 .6 km) 
  • 
  Long range (up to 1 5  miles) 
  • 
  Extreme range ( 1 5  miles up to several hundred) 
  • 
  Anywhere on the current plane 
  • 
  Anywhere 
  If your benchmark spell can only affect people within 1 0  feet (3 m), 
  say, and your new spell can affect them anywhere, then your new spell 
  (being seven range-bands more powerful) should be seven levels more 
  powerful, and cost over double the P.P.E. to cast. 
  c) Is it interesting? Well, that's the clincher. The point of any role­
  playing game, after all, is to interest and entertain the G.M. and players. 
  Spells which make for a more interesting, exciting, scary, dangerous 
  game, therefore, should be encouraged, especially those which have 
  40 
  built-in plot hooks, weaknesses which clever player characters (or their 
  foes) must overcome or can be exploited, or which have interesting side 
  effects or limitations. Spells which are dull, overwhelmingly powerful, 
  or which promise to ruin adventures, should be discouraged or banned 
  outright. 
  Think about that ultra-long duration Agony spell we just mentioned. 
  A player character magician who knew that spell could just remove 
  from the campaign any arch-villain who just happened to fail one sav­
  ing throw (unless the arch-villain has powerful magic using friends who 
  could dispel the effect). One spell cast, one saving throw failed and 
  that's it. Hardly an epic or even amusing struggle for victory over a 
  great foe! So, don't use it or change it. 
  Make this long duration Agony a Ritual, and reduce its range to 
  Touch. Now things are more interesting. And add a special ingredient 
  for the performance of the Ritual: in order to cast the spell, the caster 
  must have the skull of a man who lived in constant pain for 60 years, 
  and should that skull subsequently be destroyed, the spell will end. At 
  the least this will require a lot of research to find a man who lived long 
  enough, and maybe a bit of graverobbing in a cemetery ("oh, hello offi­
  cer ... I can explain ... honest I can ... "). And then after the spell has 
  been cast, the skull must be protected and kept hidden from those who 
  would save the spell's victim. Now that's much more interesting. 
  d) Ask the G.M.: Ultimately, your Game Master must approve the 
  inclusion of any new or modified/variant spells into his or her cam­
  paign. The G.M. may accept, reject or enforce his or her own modifica­
  tions, side effects, etc. This is the time where the G.M. should adjust the 
  spell (if necessary) to fit with the game; adjust the level of the spell, in­
  crease or decrease P.P.E., duration, range, etc. However, after the G.M. 
  makes what he or she believes are necessary and suitable changes, the 
  player should have the option of either accepting the changes and using 
  the new or variant spell, or not using it at all (presumably because s/he 
  doesn't like or agree with the changes). Players should try to understand 
  the G.M. 's position and work together. 
  Sample Benchmark Spells 
  Listed by the effect of the magic ... followed by the name of the 
  Benchmark Spell and where to find it. 
  Adding A.R. and S.D.C . ... Magic Armor (rule book, page 1 3 1 )  
  Immobilizing an opponent . . .  Agony (rule book, page 1 38) 
  Causing damage in combat ... Energy Bolt (rule book, page 1 30) 
  Curing diseases ... Cure Illness (rule book, page 1 36) 
  Finding an object or person ... Locate (rule book, page 140) 
  Healing wounds ... Heal Wounds (rule book, page 1 35) 
  Increasing attribute scores ... Superhuman Strength and 
  Influencing what others say ... Words of Truth (rule book, page 1 37) 
  Magically spying on distant places . . .  Second Sight (rule book, page 
  1 39) 
  Open a gateway to another plane ... Nightlands Portal (rule book, 
  page 1 4 1 )  
  Rapid movement, avoiding obstacles ... Fly and Swim a s  Fish (supe­
  rior) (rule book, page 1 35) and Superhuman Speed (RPG page 1 35). 
  Removing hit points ... Life Drain (rule book, page 1 38) 
  Example: Zombie: Look at the spell Create Zombie elsewhere in 
  this book. This ritual allows a magician to raise an undead servant or 
  guard, but it has very specific limitations and advantages. The limita­
  tions include: the spell must be cast as a Ritual, the target must be rela­
  tively small (under 600 Ibs/270 kg), the zombie is damaged by sunlight, 
  it takes extra damage from fire, it has no real intelligence, it must have 
  all or most of its flesh intact. The advantages include: It can lie dormant 
  for unlimited periods, it is slavishly loyal to its creator, and it will never 
  attack its creator. 
  Removing each of these limitations would increase the level of the 
  spell by one, and the P.P.E. required by 20% (in this case, 20% of 80 = 
  1 6). So, a non-ritual spell which created animated corpses which were 
  not vulnerable to sun or fire, which required no flesh to remain (the 
  Quentin Milton (Order #26014138)
  
  skeleton alone is sufficient), could be of any size, and had human (3D6) 
  intelligence while remaining slavishly loyal, would be six levels higher 
  (level 15) and cost 1 76 P.P.E. to cast (perhaps higher). It would also be 
  tenninally tedious. Remember question three above, "Is it interesting?" 
  Well, no, this spell isn't interesting, plus it's too powerful, unbalancing, 
  and departs from myth. It has no restrictions, no plot possibilities, no 
  weaknesses, no unexpected consequences, no side effects - nothing. 
  Ditch it! 
  Note: The Create Zombie spell in Nightbane Book 3: Through the 
  Glass Darkly is, in fact, a variation of a spell found in the Palladium 
  Fantasy RPG and other Palladium books - a more "interesting" ver­
  sion. 
  Adding Cultural Touches 
  Spells aren't just sitting there, waiting to be discovered. Rather, gen­
  erations of magicians and dabblers have taken magical powers and 
  struggled to force them into the spells that they want. In other words, 
  spells reflect the needs and wishes of the people who created them, and 
  the beliefs, culture, and spurious supernatural theories which deter­
  mined how those people went about practicing magic. 
  So, for example, the rituals of a Celtic priest (mystic) might have in­
  volved casting a precious sacrificial object into a "sacred" pool during 
  summer or winter solstice. An ancient Egyptian sorcerer would have 
  created spells which require certain Words of Power to be spoken out 
  loud or inscribed. A medieval Diabolist (sorcerer) would have cast his 
  rituals in carefully inscribed circles and pentagrams. A Nuer elder (mys­
  tic) would expect that to be effective, any ritual would involve the sacri­
  fice of a cow. Each time period will have a different outlook and that 
  will be reflected in the magical constructs of the spells, components and 
  rituals. 
  Modem western magicians, as described in the rule book, are prod­
  ucts of their times, too. The modem western world is dominated by Lib­
  eral obsessions with individual freedoms and abilities, as well as the 
  supremacy of the intellect, which in tum, stem from a Christian religion 
  obsessed with the idea of the immortality 
  of the individual 
  mind/soul/identity. Furthennore, this western world has amongst its 
  more distinctive elements, bizarre interests in psychic activities, psycho­
  analysis, etc. It's inevitable that magicians raised in the west will be­
  lieve that magical abilities stem entirely from the enlightened activities 
  of the individual's unfettered mind - whether that's true or not. It's 
  simply a reflection of the times. 
  The point is that many past magicians have not shared the belief that 
  magic comes purely from within the individual. That means: 
  1. That when a modem character comes across an ancient spell in 
  written fonn, for example, it may include requirements (such as uttering 
  certain phrases, sacrificing animals, perfonn only at midnight, etc.) 
  which aren't strictly necessary: the writer found that they were (and 
  probably didn't have to expend so much P.P.E., because s/he wasn't fu­
  elling the spell entirely from his/her own mind) but the player character 
  can eventually leam to do without these extraneous elements. On the 
  other hand, they may be an important series of things that help to focus 
  the mind, so to do without them (as a modem "enlightened" character 
  might want to do) will impair or prevent the magic. 
  2. Ritual spells - which do require props and lengthy mutterings -
  will have a distinctive cultural feel to them. A O.M. can use this to add 
  atmosphere or to add interesting complications. For example, an Afri­
  can ritual might be just what the player characters need right now, but 
  where are they going to get a white sacrificial ox from in the middle of 
  Brooklyn? And how will they explain the butchered carcass to their 
  landlady? 
  The distinctive nature of rituals might also provide clues to the char­
  acters - who might find, for example, that one particular Brotherhood 
  uses only magics of Chinese origin, so that Chinese symbols and scraps 
  of ginseng around a ritual site might suggest that particular Brotherhood 
  as being responsible for the ritual and/or magic unleashed there. Under-
  41 
  Quentin Milton (Order #26014138)
  
  standing who is responsible and what the ritual may have meant, might 
  point to any number of disturbing things to come, impending danger, 
  the Brotherhood's intentions (and possible plans), and so on. 
  3. Other magicians, particularly Immortals, do not think of magic in 
  the same way as most modem player characters, and may not be bound 
  by its rules. This is up to the discretion of individual G.M.s and circum­
  stance, but it is possible that some of these ancient magicians need not 
  actually expend P.P.E. to cast spells, instead fuelling the magics through 
  other means; but on the other hand, they would have some other limita­
  tion. A meditative eastern mystic, for example, may be able to mold 
  ambient P.P.E. through deep concentration, but might require hours to 
  cast a simple spell and years for truly magnificent magics. Voodoo and 
  African-styled mystics, meanwhile, might have no magic powers of 
  their own, but merely have the ability to call up spirits (from the Astral 
  Plane? Nightlands? Elsewhere?) who will perform favors, like fuelling 
  spells or spell-like effects, in return for blood sacrifices or spiritual alle­
  giance. 
  Likewise, the magic of other dimensional beings, aliens and super­
  natural creatures is likely to have a completely different basis in under­
  standing, culture and even physics. 
  Mood & Atmosphere 
  G.M.s should also alter and censor the spells to suit the atmosphere 
  of their campaigns. This may even extend to limiting the players' selec­
  tions of spells for their characters. 
  The point of this is that the way in which magics appear in the game 
  world will affect the atmosphere of your game and also the way in 
  which the players and their characters react to and view magic. 
  Imagine, for example, a scene (perhaps at the start of an adventure) 
  where the player group witnesses some nasty sorcerer killing one of 
  their NPC friends with magic. If the sorcerer bombards the victim with 
  Fire Bolts (rule book, page 1 32), then this is likely to set the scene for a 
  game which is bold, obvious, heroic, and where magics are loud and 
  powerful, and confrontations are direct and face to face. In other words, 
  a supernatural-superhero style game. 
  Now, imagine the difference if, instead, the villain had stood back in 
  the shadows while the victim was consumed by the Maggots' Curse 
  spell. This sets the scene for a game where magic is dark and insidious, 
  thoroughly horrific, where supernatural powers act unseen and conflicts 
  are far more subtle; in other words, a horror-conspiracy style game. 
  By altering the details of the spells, you, as G.M., can affect the tone 
  and atmosphere of the whole game. Of course, this can also be done 
  through the use of strong villains with complex and sinister personali­
  ties, goals and practices. The use of treachery, betrayal, subterfuge, ma­
  nipulation and so on, can contribute to the horror, subtleties and 
  suspense of the campaign and its antagonists as much as the choice of 
  magic. Character portrayal and other storytelling elements will allow 
  for a very rich and potentially diverse gaming experience, from the bold 
  to the mysterious. 
  Ultimately, the G.M. should decide with the players what sort of 
  game is desired, and fiddle with the spell details to suit. You will find 
  that by changing the details of these spells (often details and nuances 
  that don't necessarily change the basic function, range, duration, dam­
  age or effect of the spell), then with a little work and practice, and the 
  compliance of a good group of role-players, you can use magic to effec­
  tively conjure up any sort of atmosphere you want, from brash super­
  heroics, to insidious tension, to nauseating horror! 
  Spells & Adventure Hooks 
  Many of the spells and concepts of magic as presented in this book, 
  can be used to inspire adventures, or elements of adventures. Space pre­
  cludes us from examining the potentials of each spell listed, but here are 
  a few examples to give the G.M. ideas for the use of the spell Friend In 
  The Head: 
  42 
  1. A mystic or sorcerer player character (or a player character who 
  works as a doctor, therapist, or exorcist) is approached by a young man 
  who complains of hearing voices in his head, or, in particular, one 
  voice. The voice irritates and distracts him constantly, criticizing every­
  thing he does. Having recently begun a new career and generally got his 
  life turned around, the man is distraught to think that he might be start­
  ing to go mad. Can the player character(s) get rid of the voice for him? 
  As the player character(s) begins to probe further into the man's prob­
  lems, it soon becomes clear that things are more complex than they 
  seemed. The man has a patchy memory of his past, for example (amne­
  sia? no, it's more complex than normal amnesia) and has recently com­
  pletely changed direction in his life - new girlfriend, new job, new 
  friends. In fact, the "voice" in the back of the man's head is his original 
  personality; the intelligence currently articulating the body is the Friend 
  In The Head spell, which seems to have grown in strength and shows no 
  likelihood of ever fading away. Both "the Friend" and the original 
  man's personality are of good alignment, and well-developed, complex, 
  conscious personalities, and neither "deserves" to be destroyed. Just be­
  cause one mind has grown up more recently doesn't mean that it has 
  any less "right to life." Or does it? There may be complex plots and 
  schemes behind all of this (why was "the Friend" originally implanted? 
  By whom? etc.). This could lead to a full-blown adventure, but the basic 
  problem in this encounter is for the player characters to decide what, if 
  anything, they are going to do about this man with two minds. 
  2. The player characters visit a group of friends or allies, but arrive 
  to discover that they have been attacked and all but one are dead. This 
  one survivor, deeply traumatized, has cast Friend In The Head on her­
  self numerous times, in order to "bring back" her dead lover, children, 
  friends, etc. In other words, she has created magical intelligences with 
  their personalities (as she knew them) and put them into her, own head. 
  Now, she spends all her time introspective, having mental conversations 
  with these voices, and utterly ignores anything happening around her in 
  the real world. If the player characters shake her or shout at her they 
  only distract and irritate her ("Leave me alone! I'm trying to spend time 
  with my children! "  etc.) In order to find out what happened, the player 
  group must either get rid of all the "Friends" (Negate would do it), 
  which will deeply upset or further traumatize their ally (imagine, she 
  has lost her friends and family once, and if the player characters "kill" 
  - destroy - them again, she might break down completely). Or, they 
  may devise a away of coaxing her out of her introspection for long 
  enough to ask her some questions. Of course, the more disturbing the 
  questions, the more likely she is to retreat back into her head, and she 
  will not confront the fact that her family, etc., are dead. Sensitive role­
  playing or some very devious plans should be required here. And who 
  knows where the answers to even a few questions will lead? Note too, 
  that answers don't have to be found now. Discovering later, that a par­
  ticular adversary is responsible might tum an adventure into a quest for 
  revenge, and/or give a villain an increased aura of evil and vileness, or 
  evoke fear ("Will we fall victim to his power?"). 
  Miscasting Spells 
  The original Nightbane® RPG book suggests that once a spell has 
  been learned, it may be successfully cast as often as a sorcerer wishes. 
  This is a conveniently simple method of dealing with magic, particu­
  larly for G.M.s who feel they have enough to worry about without halt­
  ing the game to consider every spell casting. In running a combat 
  encounter, for example, it is important to keep the game moving as fast 
  as possible, and there are always plenty of rules and numbers to worry 
  over anyway. 
  But in other situations, when players are scavenging for clues, or 
  when characters are performing ritual spells, a swift pace is not so vital 
  and G.M.s will not be worrying about rules mechanics. In these situ­
  ations, G .M.s should feel free to make magics unpredictable, volatile 
  Quentin Milton (Order #26014138)
  
  and dangerous, because in this way, players will retain a sense of awe 
  and wonder about magic, and games can be made more tense, uncertain 
  and yes, even frightening. 
  Moreover, G.M.s might want to include episodes in their games 
  where the characters must cast spells which they have not yet actually 
  leamed or mastered. You know the sort of thing, the adventurers have 
  found an ancient scroll in the tomb, which seems to detail a spell which 
  must be cast to seal the portal and save the villagers from the return of 
  the demon ... so and so. Characters may be following instructions, im­
  provising based on an incomplete text, trying to repeat the ritual which 
  they have just clandestinely witnessed, ... you get the idea. 
  There are numerous ways in which spells may go awry. Firstly, 
  chants and intonations may be mispronounced, particularly if they are in 
  obscure languages or involve apparently gibberish words. Game Mas­
  ters may require a language skill roll to successfully repeat an incanta­
  tion, or a Principles of Magic or I.Q. roll if the language is unknown to 
  the caster. It may also be that chants in Latin, ancient Egyptian and 
  other dead languages can never be repeated exactly correctly, since 
  modem sorcerers have no idea how the words were actually pro­
  nounced, and uncharitable G.M.s should keep this in mind if they want 
  to interfere with any ancient ritual of some sort. 
  Spells requiring complex gestures may be miscast by clumsy charac­
  ters (or left out of the written text of the scroll to protect its secrets from 
  "outsiders"). A roll against the P.P. attribute may be required to cast 
  such a spell correctly, or a Principles of Magic or perception roll. Some 
  rituals may omit important steps which seemed self evident to the writer 
  of the grimoire. For example, a medieval sorcerer may have considered 
  it obvious that if Elder wood is cut from a living tree it may cause spells 
  which use it to go horribly wrong - and so while stating that Elder 
  wood is required for a certain spell, that author may have felt it unnec­
  essary to mention the importance of using dead wood. (Perhaps, here, a 
  Principles of Magic roll or a particular Lore skill would be required to 
  avoid making the mistake of cutting live wood.) Astrologers may have 
  failed to mention the necessary positions of the stars for the success of a 
  spell, or the position of the stars may have changed in the night sky with 
  the passage of the centuries. Medieval and Ancient plant names need 
  not always correspond with modem usage, so that an herb named in an 
  old grimoire need not always be the same as the modem herb of that 
  name. 
  There are numerous ways in which sorcerers might misunderstand a 
  spell. G.M.s should not overlook the potential of an aborted or inter­
  rupted ritual magic either: The enemy attack at exactly the wrong mo­
  ment, their bullets shattering the stave which could control the beast 
  which has just been summoned; or a vicious magic has just been cre­
  ated, but before the magician can direct it against a target, he is knocked 
  over and loses concentration, so that the spell starts to roam the area, 
  randomly assaulting people; etc. In the case of rituals and the forces 
  they beckon and unleash (both magical and supernatural), a best case 
  scenario for player characters may be that interrupting a ritual means 
  nothing happens. Unfortunately, things are seldom that easy or safe 
  when using magic. 
  Spell Magic Gone Wrong: Spells may also be miscast as a result of 
  incomplete or inaccurate texts, fumbling with the words of the incanta­
  tion, the sorcerer's mistakes, distractions, and so on. G.M.s will have to 
  decide what mishaps (if any) may result when individual spells are mis­
  cast. These should depend on the power of the spell (worse accidents re­
  sulting from miscasting more powerful spells), and the intended effect 
  of the spell. 
  Examples of such mishaps include: The spell functions with a re­
  duced potency, range or duration; the spell is unfortunately conspicuous 
  or extra-potent in its effect; the caster is disfigured or maimed (can be 
  minor or horrific bums, hands melted, etc.); supernatural creatures are 
  randomly attracted (minor and annoying or monstrous and deadly); the 
  spell seems to gain a mind of its own or perhaps a supernatural creature 
  associated with the site seizes control of the power released and ma­
  nipulates it for its own ends; the spell becomes indiscriminate or ran-
  Quentin Milton (Order #26014138)
  
  dom, or otherwise fails to act in accordance with the sorcerer's wishes 
  (damaging the wrong people, affecting the wrong area, fizzles with a 
  puff of smoke, doesn't work at all, etc.); the spell affects the caster or 
  his immediate vicinity; the power of the magic flows randomly around 
  the caster's body for minutes, weeks or years, causing physical muta­
  tion, insanity, or debilitating pain; the spell "pulls" additional P.P.E. 
  from the spell caster, all of which dissipates harmlessly into the air; the 
  spell's effect "follows" the caster long after he wishes it to cease (such 
  as a spell to cause a single disease which thereafter causes those around 
  the caster to gradually fall ill); or the spell causes a dramatic disturbance 
  (violent lightning storms erupt for an hour to a week, the setting sun 
  turns blood red, the day is lengthened by half an hour, etc.). 
  A particularly disastrous blunder might combine several of the 
  above accidents or effects to nothing at all (the P.P.E. is spent but noth­
  ing happens). The G.M. should always take care to weave the results 
  dramatically (or humorously, if appropriate) into the descriptions that 
  they relate to the players. 
  Summonings Gone Wrong 
  Think about the nature of any spell which calls, summons or other­
  wise attempts to bring supernatural creatures to the magician's location. 
  The essence of such spells is that a tiny human being reaches far beyond 
  his own little planet, and dares to drag immortal or alien races to him 
  across the Mirrorwall or over potentially huge distances. He then has 
  the arrogance to attempt to bind or command such beings. This is 
  clearly a process which courts disaster. 
  G.M.s are encouraged to make such magics suitably perilous to cast. 
  Clearly, incomplete or incorrect spells will not work properly, and nu­
  merous erroneous ceremonies may be preserved in grimoires, their de­
  ceased inventors having never had the chance to correct their 
  shortcomings, or the procedure is inaccurately recorded. Less obvious, 
  even the best of spells may be miscast: Invocations may be mispro­
  nounced, gestures clumsily performed, unsuitable ingredients used, or 
  the ceremony may be interrupted. 
  There are numerous ways in which summonings could go hideously 
  wrong. Occasionally, a ceremony might have no effect at all, but more 
  often, the absence of a visible consequence should cause sorcerers con­
  cern. A miscast Summon Nightlands Denizen ritual, for example, may 
  simply fail to summon one such creature, but more interestingly it may 
  summon several of them (probably too many to Control all), or the 
  thing may arrive somewhere near the casting site, but not at it (much to 
  the regret of numerous innocent locals, perhaps), or it may arrive some 
  days late and seek out the caster (much to his probable shock and em­
  barrassment). Miscast Summon spells may also Summon the wrong 
  type of creature (dangerous and not so dangerous), and spells designed 
  to call upon the spirits of the dead may accidentally contact powerful 
  extra-planar beings or inadvertently open a temporary portal to that 
  world which the spell caster and/or spectators are drawn to or plunge 
  into. 
  And Finally 
  Remember that mishaps and disasters do not only befall player char­
  acters. Their great enemies and competitors might suffer equally from 
  the volatile nature of magic, and there are numerous plot complications 
  and adventure hooks which can be derived from the idea of magics be­
  having unexpectedly. 
  Most importantly, G.M.s should always ensure that players with ma­
  gician characters do not feel picked on or victimized because their 
  spells never seem to work. Miscast spells should probably happen infre­
  quently (perhaps varying with the level of the caster versus the level of 
  the spell; e.g. a 2nd level mage is more likely to fumble a 9th level spell 
  than a seasoned 8th or 9th level sorcerer). Furthermore, if the G.M. is 
  going to have magic go disastrously wrong from time to time, he or she 
  should keep magics unpredictable and have them sometimes work bet­
  ter than expected, or differently (but with good, or harmless, or funny 
  results), rather than just going bad. 
  44 
  G.M.s may occasionally find players who object to any attempt to 
  make the game more interesting, insisting that magics work like clock­
  work and may try to quote various rules to prove their point. You might 
  wonder why they are playing a horror RPG at all (maybe they would do 
  better with a different sort of game ... Chess, perhaps?). But in general, 
  players will respond well to G.M.s who actually try to make the games 
  and stories interesting, so long as they never feel that the G.M. is sin­
  gling them out unfairly, attacking or competing with them. Also bear in 
  mind that such open-ended rules considerations are not for everyone. If 
  the entire group protests about playing with the more flexible and un­
  predictable magic rules, the Game Master should consider abandoning 
  them, especially if they've tried it for several games and everybody 
  hates it. Also, players and G.M. alike must realize that not all G.M.s or 
  players are the same, and some G.M.s might have trouble being fair or 
  maintaining game balance with more open-ended and variable rules. If 
  that is the case, abandon them and find what works for you. The very 
  definition of role-playing is imagination, flexibility and personalization, 
  so go with whatever is most comfortable and fun for the G.M. and the 
  majority of players. 
  Creating Charms 
  You know the scene. The old wizard looks up from his bloody ritual 
  and turns to the young warrior: "Carry this pendant close to your heart 
  at all times. It will protect you from the evil which you must face ... " 
  That's the sort of thing that magicians do, after all, in legend and folk­
  lore, movies and books. And it's nice for player characters to think that 
  they own little magic items -things which may not have mighty powers, 
  but which give them a bit of an edge. 
  So, how does a character in Nightbane create a little trinket like this? 
  Any magician (sorcerer, mystic, Fleshsculptor, etc.) who has 
  reached third level may create a Charm. This requires a brief ritual, the 
  object to be enchanted as a Charm, and (sometimes) the presence of the 
  person who is to use the item. 
  Quentin Milton (Order #26014138)
  
  1 D6 of P.P.E. must be permanently lost to create the Charm. The ob­
  ject's creator may contribute this P.P.E. in person, in which case anyone 
  will be able to use the item, or the person who is to use it must contrib­
  ute the P.P.E., in which case it will only aid him. The amount lost in 
  creating the artifact should be rolled only when it is created; the creator 
  cannot tell in advance how much P.P.E. it will cost. 
  The item must be relevant to its function, and may grant no more 
  than a + I bonus to any roll (+2 only if the mage permanently expends 
  I D6+10 P.P.E.), or +5% if a skill bonus. Such bonuses can be designed 
  to enhance a saving throw roll (vs magic, psionics, possession, horror 
  factor, etc.), an attribute, a skill, or a combat ability (to hit, or damage, 
  etc.). For example, a magician may make a pendant (with one or more 
  mystic symbols or special components) which grants + 1 to save vs pos­
  session, or enchant a gun or sword so that it is + 1 to strike, or a pair of 
  sunglasses which provide the wearer +5% to his Detect Concealment or 
  ambush skill, or to save vs illusion. A gun or sword cannot be made to 
  give a bonus to save vs possession or any other kind of save, because 
  the object doesn't relate to the protection charm magic being bestowed 
  on the object. Nor can any one object have more than one property, or 
  give a bonus to more than one skill or saving roll. 
  A Charm will work indefinitely, any number of times, but will only 
  ever have these very narrow functions. Further, the Charm must be ob­
  viously arcane - covered in runes or engravings, or made from un­
  usual materials (like a skull), and must reflect the creator's O.C.c. The 
  latter means Cybermages may only make weird bio-machines as 
  Charms, Mirrormages must use etched mirrors or highly reflective sur­
  faces, Fleshsculptors must use flesh or bone, and sorcerers, mystical 
  symbols and special components. 
  The bonus from a magical charm has cumulative effects which are 
  added to other modifiers such as O.C.c. and/or attribute bonuses, but 
  multiple Charms do not have cumulative effects. So, one Charm made 
  to protect vs possession will give a + 1 bonus to save, while six charms 
  with the same function, worn by the same person, will still only give a 
  +1 bonus. 
  Note that Charms need not be restricted to obvious forms. Magical 
  rings, pendants and wands are all very nice, but a little creativity should 
  be encouraged. A Fleshsculptor might tattoo charms onto the skin of the 
  recipient for example, or make the pendant out of bones, a skull and/or 
  flesh. A Cybermage may make the Charm grow into the recipient's skin 
  like a bionic implant, or utilize mircochips. Other weirder objects might 
  include: a pocket calculator where all the keys are marked as zero (+5% 
  to Mathematics: Advanced skill), an ornate and apparently incorrect At­
  las (+5% Lore: Geomancy and Ley Lines), a personal stereo or Walk­
  man which always plays static (+1 to save vs mind control, so long as 
  the earphones are worn and the player is on), a virtual reality glove cov­
  ered in mystic symbols (+5% Computer Operation), or even a large 
  rune-covered hammer (+5% Computer Operation, so long as the user 
  batters the computer with the hammer from time to time), and so on. 
  Finally, a "cursed" Charm may be created, giving a -5% or -1 modi­
  fier. 
  Any Charm can be studied and investigated in the usual way by a 
  magician, or the user may discover its curse through trial and error. Ul­
  timately, one should beware of magicians bearing "gifts." 
  Note: For rules purposes, consider each Charm to be an indefinite 
  duration level two enchantment, with l D6 P.P.E. Like any other magic, 
  Charms may become self-aware or intelligent, so that gun that is + 1 to 
  strike might give you +2 against certain people/monsters, but -1 against 
  people whom it doesn't think you should shoot. 
  Familiars 
  The traditional "fantasy" conception of a familiar is as a remarkable, 
  often intelligent animal sidekick - a sort of magical pet with loads of 
  intelligence who, for some reason, remains slavishly loyal to the magi­
  cian. In the world of Nightbane, things are rather more interesting. 
  4S 
  Animal 
  Familiars 
  In order to create a familiar, the magician must first find a suitable 
  animal, and then go through a series of lengthy rituals with it. The exact 
  nature of the process varies from character to character, and reflects the 
  magician's temperament and powers. So, a nature-loving mystic might 
  spend several months with the animal in its natural environment, attun­
  ing him or herself to the beast and coming to empathize with it more 
  and more; a Cybermage might subject the creature to a series of un­
  pleasant surgical procedures; an old-fashioned sorcerer might tether the 
  animal in a magical circle and chant at it for a few weeks. The process, 
  in any case, should take weeks at least, and years at most. 
  During these procedures, the magician is able to alter the creature's 
  fundamental nature, endowing it with magical powers. These modifica­
  tions are permanent, and cannot be dispelled by any means. Additional 
  modifications cannot be made at a later date: the familiar's powers are 
  determined when it is first adopted by the magician. 
  However, instilling these powers in the familiar requires the magi­
  cian to invest a part of his or her own soul in the animal, losing a por­
  tion of his or her total P.P.E. (much as Nightbane "bum off' P.P.E. 
  when purchasing Talents). The psychic energy thus lost cannot be re­
  gained by any means, although the character will obviously gain new 
  P.P.E. as he or she gains new levels. The magician cannot "retrieve" 
  P.P.E. from the animal by removing these powers, and if the familiar 
  dies the magician does not recover this lost P.P.E. A list of abilities 
  which may be instilled into an animal is given below, although G.M.s 
  are encouraged to create new (reasonable) modifications as required for 
  their games. 
  Note that a magician may only have one familiar at a time. Creating 
  a new familiar severs any links with an existing one. A "discarded" fa­
  miliar becomes a free agent, losing all bonds of loyalty to its master and 
  leaving to live out its own life. 
  Finally, note that an animal familiar is, at heart, still an animal, with 
  its same basic abilities, character, instincts, and needs, natural life span, 
  etc.; that is, of course, unless these features are specifically altered by 
  the magician. 
  Familiar Powers 
  Note: All familiars are "tame" - which is to say that even though 
  they might naturally be inclined to flee from or attack humans or their 
  magician master, they are capable of restraining their impulses and gen­
  erally consider themselves to be their master's friend. 
  They also gain the ability to understand their master's spoken words 
  (in any language), and adopt their master's prejudices and agenda, thus 
  seeing their master's enemies as their own, and his friends as theirs, too. 
  Note that this does not make them suicidal, stupid, or slavish. They will 
  not appreciate their lives being put recklessly at risk, and can tum from 
  friends to foes if they feel that they are being abused or taken advantage 
  of. Note: Remember all P.P.E. points spent on instilling these powers 
  are permanently lost to the mage. 
  1. Breath Weapon (2-30 P.P.E. cost): The familiar has a breath 
  weapon which it may use once per melee round. This is a ranged attack; 
  roll to strike as normal, with no bonuses. Maximum range is 30 feet (9 
  m). The creature may breathe gouts of fire, spit shards of bone, exhale 
  acidic fumes, etc., as the magician desires (determine this when the fa­
  miliar is created). Damage is rolled on a number of D6s equal to half 
  the P.P.E. invested, so, if 2 P.P.E. are invested, the creature inflicts I D6 
  damage; if 30 P.P.E., 1 5D6. 
  2. Enhanced Combat Abilities (4-8): Investing 4 P.P.E. points 
  gives the animal +2 on initiative, + 1 to save vs horror factor, and + 1 to 
  Quentin Milton (Order #26014138)
  
  strike, parry and dodge. Investing 8 points provides the previous bo­
  nuses plus +6 to speed attribute and + 1 attack per melee round. All bo­
  nuses are in addition to the animal's natural abilities. 
  3. Enhanced Combat Damage (2-14 P.P.E.): The familiar inflicts 
  extra damage in hand to hand combat (bite, claw, etc.). Oamage is 
  rolled on a number of 06s equal to half the P.P.E. in addition to any 
  normal damage. So, if 2 P.P.E. are invested, the creature inflicts 1 06 
  damage; if 14 P.P.E., 706. If more than 4 P.P.E. are invested in this, the 
  familiar is physically changed by the magic, providing bigger teeth, 
  claws made of steel, etc., and if more than 8 P.P.E. is invested, the crea­
  ture will look quite monstrous. 
  4. Enhanced Healing Ability (S P.P.E.): The animal is impervious 
  to all but the most potent poisons and drugs, impervious to disease and 
  heals at three times the normal rate. 
  S. Human Intelligence (S P.P.E.): The familiar has standard human 
  intelligence, roll 206+7. 
  6. Impervious to fire ( S P.P.E.): Fire and heat does not harm the 
  animal in any way (smoke is a different story). 
  7. Loyal (S P.P.E.): The familiar is slavishly loyal to the magician. 
  It does not care what it is asked to do, nor how much abuse or danger it 
  has to go through to serve its master 
  8. Long Life (S P.P.E.): The familiar will not die of natural causes 
  before the death of its master. Once its natural life span has expired, 
  however, it will live only as long as its master does. 
  9. Mirror Sight (10 P.P.E.): The familiar can see into the Night­
  lands™ by looking into any reflective surface, as the Nightbane talent 
  Mirror Sight, but at will. 
  10. Speech (S P.P.E.): The familiar understands and speaks any lan­
  guage which is also understood and spoken by its creator. 
  11. Tracking (S-10 P.P.E.): The familiar can follow any scent, with 
  an effective tracking skill from 40% (if 5 P.P.E. points are invested) to 
  90% (if 10 P.P.E. are invested; an additional 1 0% per each extra P.P.E. 
  point above five). This works like the track animals skill, but is based 
  upon a sense of smell. + 1 0% to track the scent of its master. 
  12. Telepathic Link (S P.P.E.): The familiar and its creator share a 
  telepathic link, allowing each to speak directly to the mind of the other, 
  so long as they are within a 100 foot (30 m) radius of each other. Even 
  when outside of this range, the two sense what direction and distance 
  away each other is, and can sense each others' emotional state. 
  13. See the Invisible (S P.P.E.): The familiar can see invisible crea­
  tures, forces, etc., as per the level one spell See the Invisible. This spe­
  cial sight is in permanent operation. 
  14. Sense Across Planes (10 P.P.E.): The familiar can see shadows 
  and hear echoes across the Mirrorwall and from other planes. At any 
  time, the familiar can sense the geography and inhabitants (approxi­
  mately how many, how big, etc.) of the Nightlands at the point corre­
  sponding to the present location on earth, and can also sense into 
  corresponding areas of the astral and other planes. When on these 
  planes, the familiar can similarly sense what is happening at the corre­
  sponding point on earth, too. This does not allow the familiar to eaves­
  drop or spy across planes, but does allow it to get an impression of 
  what/who is there. This ability also enables the creature to sense the 
  presence of entities, Astral Beings, invisible Nightbane and other super­
  natural or extradimensional beings (disguises or invisible). 
  IS. Sense Evil (S P.P.E.): The familiar can sense the presence of su­
  pernatural evil; same as the Sense Evil spell. This ability is in constant 
  operation. 
  16. Sense Magic (S P.P.E.): Same as the Sense Magic spell, but this 
  ability is in constant operation. 
  17. Share Memories (10 P.P.E.): The magician and familiar have 
  all of their memories in common. This allows one to recognize people, 
  places, and things seen by the other, or to recall conversations which the 
  other heard, and so on. 
  46 
  18. Share Sight (10 P.P.E.): The magician can see through the fa­
  miliar's eyes at will, simply by closing his or her own eyes and concen­
  trating. No other action may be performed in a melee round when the 
  magician chooses to do this - not even movement or evading attacks. 
  The familiar, similarly, may choose to look out through the magician's 
  eyes. 
  19. Superhuman Intelligence (IS P.P.E.): The familiar has an LQ. 
  of 25, and a near-perfect memory. It can solve math problems at the 
  same speed as a computer, out-argue the world's wisest philosophers on 
  matters philosophical, and learn foreign languages in a matter of min­
  utes. It can even use a computer (to a limited degree) equal to a Com­
  puter Operation skill at 80% proficiency. 
  20. Superhuman Hit Points (5-1S P.P.E.): Investing 5 P.P.E. 
  points gives the animal an extra 12 hit points, investing 10 P.P.E. dou­
  bles the animal's hit points and investing 15 P.P.E., triples it. 
  Note: Mortal, Earth familiars are limited to reptiles (including 
  snakes), birds and mammals. Fish, amphibians, and insects cannot be 
  used as a familiar. Also see Nightlands Familiars. 
  Sample Animals 
  Note: For the basic stats of over 200 different animals and animal 
  types, get a copy of Palladium's Monsters & Animals, 2nd Edition, 
  which also includes over 1 20 monsters. Although the book is part of the 
  Palladium Fantasy RPG series, both the (fantasy) monsters and animals 
  can be used with any Palladium RPG, including Nightbane®. 240 
  pages, only $ 1 9.95 - available at stores everywhere or from Palladium 
  Books via mail order. 
  The following handful of animals are excerpted from Monsters & 
  Animals, 2nd Edition. 
  Birds 
  Crow/Raven 
  Size: 1 7-22 inches (0.4 to 0.5 m) 
  Hit Points & S.D.C.: 206 
  P.P.E.: One point. 
  Damage: Claws 1 04, bite/peck one or two points. 
  Attacks Per Melee: 3 
  Bonuses: +2 on initiative, +2 to strike (prey) and +4 to dodge 
  Natural Abilities: Fly 
  Speed: 66 flying and 4 running. 
  Average Life Span: 8- 1 2  years 
  Habitat: Open country, farmland, open woodland. 
  Notes: These widespread birds associate in pairs and small groups 
  of 204, except in winter when they gather in huge flocks to fly to com­
  munal roosts. Members of the crow family are among the most intelli­
  gent birds. They are smart, observant, cunning and aggressive, 
  scavenging animals that eat seeds, grains, corn, fruit, garbage, small in­
  sects, and carrion. There are over 100 species of crow. 
  Eagle: Booted or Bald 
  Size: 2 1/2 to 3 1/2 feet tall (0.75 to 1 m); 9- 1 5  pounds, wingspan: 7- 10 
  feet (2. 1  to 3.0 m). 
  Hit Points: 406+ 10 
  P.P.E.: Two points. 
  Attacks Per Melee: 3 
  Damage: Talons do 206+2 points of damage, bite does 204 damage; 
  dive attacks do double damage. 
  Bonuses: +2 on initiative, +4 to strike, and +4 to dodge. 
  Natural Abilities: Fly, exceptional vision (2 miles/3.2 km), nightvision 
  400 feet, prowl (silent swooping attack) 64%, track by smell 46% 
  and track by sight 80%. 
  Speed: 50, but can reach speeds of 88 to 1 10 (60 to 75 mph) in bursts 
  lasting 204x 1O minutes. The eagle can dive at an astounding speed 
  of 220 ( 1 50 mph/241 km). 
  Quentin Milton (Order #26014138)
  
  Average Life Span: 1 5  to 30 years 
  Habitat: Seacoasts, rivers, lakes, dense forests and mountain forests. 
  Hawk: Red Tailed 
  Size: 1 8-24 inches (0.4 to 0.6 m) 
  Hit Points: 3D6+4 
  P.P.E.: One point. 
  Attacks Per Melee: 3 
  Damage: Talons or bite does I D6 points of damage; dive bomb attack 
  does double damage. 
  Bonuses: +3 on initiative, +3 to strike, and +4 to dodge. 
  Natural Abilities: Fly, prowl (silent glide attack) 65%, exceptional vi­
  sion (can see a foot long rabbit at a distance of up to 2 miles/3.2 
  km), nightvision 300 feet (9 1 .5 m), track by smell 66%, and track by 
  sight 80%. 
  Speed: 77, but can reach speeds of 1 10 (75 mph/120 km) in bursts last­
  ing 2D4x l O  minutes or 220 ( 1 50 mph/240) in dives. 
  Average Life Span: 8- 1 5  years 
  Habitat: Varied; desert, forest, mountains. 
  Canines --------------
  Guard Dogs 
  Size: Body: 3-41-2 feet (0.9 to 1 .4 m); tail: 1 2-19 inches. 
  Weight: 30-60 pounds ( 1 3 .6 to 27 kg) 
  A.R.: Not applicable. 
  Hit Points: 3D6+4 
  S.D.C.: 2D6+ 10 
  P.P.E.: 3D6 
  Attacks Per Melee: 3 
  Damage: Bite does 2D4+2 points of damage; claws do one point of 
  damage. 
  Bonuses: +3 on initiative, +4 to strike, +2 to dodge, and +3 to save vs 
  horror factor. 
  Natural Abilities: Nightvision 30 feet (9 m), prowl 45%, track (by 
  smell) 80%, swim 65%, can leap 4 feet ( 1 .2 m) high and 6 feet ( 1 .8 
  m) long, and like most canines, can perform a leaping pounce. 
  Speed: 50 (35 mph/56), maximum speed is 55 (37.5 mph/60 km). 
  Average Life Span: 12-18 years 
  Habitat: Domestic. 
  Behavior: These dogs are used as guardians and protectors, as well as 
  companions. Mated pairs remain together for life. The female gives 
  birth to a litter of 3 to 8 pups after a gestation of 8 weeks. 
  Note: Breeds include German shepherd, Doberman pinscher, and 
  boxers. 
  Terriers 
  Size: Body: 1 -31-2 feet (0.3 to 1 m); tail: 6- 1 2  inches. 
  Weight: 12-30 pounds (5.4 to 1 3 .6 kg) 
  A.R.: Not applicable. 
  Hit Points: 2D6+2 
  S.D.C.: 2D6 
  P.P.E.: 3D6 
  Attacks Per Melee: 2 
  Damage: Bite does l D6 points of damage. 
  Bonuses: +3 on initiative, +3 to strike, +4 to dodge, and +3 to save vs 
  horror factor. 
  Natural Abilities: Nightvision 30 feet (9 m), prowl 45%, track (by 
  smell) 65%, swim 60%, can leap 3 to 31-2 feet (0.9 to 1 m) high and 
  5 feet ( 1 .5 m) long, and like most canines, can perform a leaping 
  pounce. 
  Speed: 44 (30 mph/48), maximum speed is 50 (35 mph/56 km). 
  Average Life Span: 1 2- 1 8  years 
  Habitat: Domestic. 
  47 
  Behavior: These dogs are used as pets and to kill rodent pests. Mated 
  pairs remain together for life. The female gives birth to a litter of 3 
  to 8 pups after a gestation of 8 weeks. 
  Wolf: Gray 
  Size: Body: 3-41-2 feet (0.9 to 1 .4 m); tail: 1 2- 1 9  inches. 
  Weight: 50- 1 00 pounds (23 to 45 kg) 
  A.R.: Not applicable. 
  Hit Points: 4D6+6 
  S.D.C.: 2D6+20 
  P.P.E.: 5D6 
  Attacks Per Melee: 3 
  Damage: Bite does 2D6+3 points of damage, claw I D4 damage. 
  Bonuses: +3 on initiative, +5 to strike, +4 to dodge, and +5 to save vs 
  horror factor. 
  Natural Abilities: Nightvision 30 feet (9 m), prowl 50%, track (by 
  smell) 88%, can smell prey one mile ( 1 .6 km) away, swim 65%, can 
  leap 3-4 feet (0.9- 1 .2 m) high and 8 feet (2.4 m) long, and like most 
  canines, can perform a leaping pounce. 
  Speed: 50 (35 mph/56), maximum speed is 55 (37.5 mph/60 km). 
  Average Life Span: 1 4-20 years 
  Habitat: Tundra, steppe, open woodland and forest. 
  Behavior: This intelligent animal usually associates in family groups or 
  packs of 6 to 30 members, although they often hunt alone or in pairs. 
  The pack hunts together, cooperating to run down prey such as deer, 
  elk, moose, ox, or wild horses, and they also eat small animals. 
  Wolves can be partially domesticated, but remain dangerous because 
  their jaws are twice as powerful as domestic canines and they tend to 
  be large and aggressive. 
  Felines 
  Domestic Cats 
  Size: Body: 1 ',4-3t.4 feet (0.35 to 1 m), plus tail: 12 inches (0.3 m). 
  Weight: 6-25 pounds (2.7 to 1 1  kg) 
  A.R.: Not applicable. 
  Hit Points: 2D6 
  P.P.E.: 2D6+3. 
  S.D.C.: 2D6 
  Attacks Per Melee: 2 
  Damage: Claws do I D4 points of damage; bite does 2 points of dam­
  age. 
  Bonuses: +2 on initiative, +3 to strike, +2 to parry, +3 to dodge, + 1 to 
  save vs horror factor. 
  Natural Abilities: Keen vision and sense of smell, nightvision 40 feet 
  ( 1 2.2 m), climb 70%, prowl 70%, swim 40%, can leap 5 feet ( 1 .5 m) 
  high and 6 feet ( 1 .8 m) long. 
  Speed: 16, with bursts of speed 22 for I D4 minutes. 
  Average Life Span: 8- 14 years. 
  Habitat: House pet. 
  Note: There are a large variety of domestic cats from small to large, 
  short hair to long hair. 
  Leopard, Panther & Jaguar 
  Size: Body: 4t.4-61-2 feet ( 1 .3 to 2 m), plus tail: 31-2-41-2ft ( 1 . 1  to 1 .4 m). 
  Weight: 1 25-200 pounds (57 to 91 kg) 
  A.R.: Not applicable. 
  Hit Points: 4D6+ 10 
  S.D.C.: 3D6+1 6  
  P.P.E.: 6D6+20 
  Attacks Per Melee: 3 
  Damage: Claws do 2D4+4 points of damage, bite I D6+2 points of 
  damage. 
  Bonuses: +4 on initiative, +5 to strike, +3 to parry, +4 to dodge, +4 to 
  save vs horror factor. 
  Quentin Milton (Order #26014138)
  
  Natural Abilities: Nightvision: 600 feet ( 1 83 m), climb 90%, prowl 
  90%, track by smell or sight 50%, exceptional hearing and eyesight, 
  and can leap 12 feet (3.6 m) high and 40 feet ( 1 2.2 m) long. 
  Speed: 22, with spurts of speed 50 (35 mph/56 km) for 104 minutes. 
  Average Life Span: 1 0- 1 5  years. 
  Mountain Lion (Cougar/Puma) 
  Size: Body: 3Y2-5',4 feet ( 1  to 1 .55 m), tail: 24-34 inches (0.6 to 0.9 m) 
  Weight: 1 50-300 pounds (67.5 to 1 35 kg) 
  A.R.: Not applicable. 
  Hit Points: 4D6+ 10 
  S.D.C.: 2D6+20 
  P.P.E.: 6D6+30 
  Attacks Per Melee: 3 
  Damage: Claws do 2D6 points of damage and the bite does 2D4 dam­
  age. 
  Bonuses: +3 on initiative, +6 to strike, +4 to parry, +3 to dodge, and +4 
  to save vs horror factor. 
  Natural Abilities: Nightvision 200 feet (61 m), climb 89%, prowl 85%, 
  swim 44% and can leap up to 20 feet (6 m) high and 40 feet ( 1 2.2 
  m) long from a standing position. 
  Speed: 22, with bursts of speed 44 (30 mph/48 km). 
  Average Life Span: 1 2-20 years. 
  Habitat: Swamps, grasslands, forests and mountain sides. 
  Ocelot 
  Size: Body: 3-4',4 feet (0.9 to 1 .3 m), plus tail: 1 1 - 1 6  inches. 
  Weight: 50-80 pounds (23 to 36 kg) 
  A.R.: Not applicable. 
  Hit Points: 6D6 
  S.D.C.: 2D6+ 10 
  P.P.E.: 4D6+3. 
  Attacks Per Melee: 3 
  Damage: Claws do I D6+2 points of damage and a bite does I D4 dam­
  age. 
  Bonuses: +2 on initiative, +3 to strike, +2 to parry, +3 to dodge, and +2 
  to save vs horror factor. 
  Natural Abilities: Nightvision 600 feet ( 1 83 m), climb 85%, prowl 
  85%, swim 35%, and can leap 1 2  feet (3.6 m) high and 20 feet (6 m) 
  long. 
  Speed: 22, with bursts of speed 33 (22.5 mph/36 km). 
  Average Life Span: 8-14 years 
  Habitat: Humid forest, bush, marshy areas. 
  Behavior: Ocelots resemble a pint-sized leopard. It is generally a noc­
  turnal predator that emerges at night to hunt small mammals, birds, 
  and snakes. It is a very secretive animal and rarely goes into open 
  country. 
  Other Animals of Note -----
  Rattle Snake: Diamondback 
  Size: 3-8 feet (0.9 to 2.4 m) 
  Weight: 3-12 pounds (1 to 5 kg) 
  A.R.: Not applicable. 
  Hit Points: 2D6 
  S.D.C.: 1 06 
  P.P.E.: One point 
  Horror Factor: 12 
  Attacks Per Melee: I 
  Damage: Bite does ID4 points of damage. Venom does ID6+1 points 
  of additional damage for every melee for 2D4 melees, unless a suc­
  cessful save vs poison is made each melee. 
  Natural Abilities: Prowl 80%, swim 40%, climb 70%, nightvision 30 
  feet (9 m), heat sensor in its "pit" organs enables the snake to see the 
  heat signature of its prey (+2 to strike) even in total darkness. 
  48 
  Speed: 8 
  Average Life Span: 8-16 years 
  Habitat: Woodlands and farmlands. 
  Note: The characteristic rattle is a warning it uses whenever the 
  snake feels threatened. The rattle can be heard up to a distance of 60 
  feet ( 1 8.3 m). 
  Brown Bat 
  Size: Body: 2-3 inches, wingspan: 10- 1 5  inches (roughly 0.3 m), plus a 
  small tail that measures 2-2Y2 inches. 
  Weight: 3-6 ounces. 
  A.R.: Not applicable. 
  Hit Points: 1 04 
  S.D.C.: 1 04 
  P.P.E.: 1 04 
  Horror Factor: 8; most people are frightened by these harmless crea-
  tures. 
  Attacks Per Melee: 2 
  Damage: Bite does one point of damage. 
  Bonuses: +1 on initiative, +3 to strike, and +4 to dodge flying. 
  Natural Abilities: Fly, nightvision 60 feet ( 1 8.3 m), keen hearing and 
  sense of smell and echo-location. 
  Speed: 2 crawling, 27 flying. 
  Average Life Span: 1 -4 years. 
  Behavior: This bat eats nearly all types of insects which they either 
  catch in the air or scoop up from the ground. In colder climates, they 
  hibernate and often migrate long distances to suitable places. Young 
  are born from April to July. 
  Vampire Bat 
  Size: Body: 3-4 inches, wingspan: 6-7 inches (roughly 0. 1 5  m). 
  Weight: 3-5 ounces (0.2 kg) 
  A.R.: Not applicable. 
  Hit Points: 1 D6 
  S.D.C.: 1 04 
  P.P.E.: 1 04 
  Horror Factor: 12; people are frightened by bats. 
  Attacks Per Melee: 2 
  Damage: Bite does I D4 points of damage. 
  Bonuses: +2 on initiative, +3 to strike and +2 to dodge. 
  Natural Abilities: Track by smell 45%, heat sensor to find veins with 
  warm blood, fly, nightvision 60 feet ( 1 8.3 m), keen hearing and 
  sense of smell and echo-location. 
  Speed: 3 on the ground, 22 flying. 
  Average Life Span: 1 -4 years. 
  Behavior: The vampire bat is the only mammal which can be called a 
  parasite. Like most bats, it hunts at night. It generally lands a few 
  feet away from its victim and then crawls over to it. With its sharp 
  teeth it makes a small incision on a hairless or featherless part of the 
  animal. The bat's tongue is then formed into a tube through which 
  saliva is pumped out to inhibit clotting, and the blood is sucked in. 
  Vampire bats generally feed for a half hour each night on cattle and 
  other animals, rarely humans. These animals transmit a number of 
  diseases, including rabies. A single young is generally produced af­
  ter breeding. 
  Rat: Black (common) 
  Size: Body: 8-12 inches (roughly 0.3 m) and an 8-1 0  inch tail. 
  Weight: Up to 2 pounds (9 kg). 
  A.R.: Not applicable. 
  Hit Points: I D6+2 
  S.D.C.: 1 06+2 
  P.P.E.: 2D4 
  Horror Factor: 10; people are startled and repulsed by rats. 
  Attacks Per Melee: 2 
  Damage: Bite does 1 D4 points of damage. 
  Quentin Milton (Order #26014138)
  
  Bonuses: +2 on initiative, +2 to strike, and +4 to dodge. 
  Natural Abilities: Nightvision 200 feet (61 m), swim 65%, climb 70%, 
  acrobatics 35%, and prowl 80%. 
  Speed: 1 1  
  Average Life Span: 2-4 years. 
  Behavior: This animal is found everywhere humanoids are and is the 
  cause of many diseases, such as plague, typhus, and rabies. Its diet 
  ranges from insects and carrion to plants and garbage. 
  Nightlands™ Familiars 
  The huge advantage of taking familiars from the Nightlands is that 
  they already start with a spread of supernatural abilities and most are 
  much more intelligent (if not a bit demonic) than Earth animals. Magi­
  cians may imbue them with additional abilities from the list above, the 
  same as Earth animals, but costs 20% more P.P.E. The only restriction 
  is that the magician cannot choose to make the creature Loyal. Of 
  course, the Nightlands creatures possess their innate, natural abilities 
  "for free." 
  But, there is no such thing as a free lunch, as they say. Nightlands 
  familiars have immense disadvantages. 
  First, most denizens of the Nightlands will not bow down to a leader 
  whom they consider unworthy. That means that a Waste Coyote will 
  only serve a magician who has immense resilience, absolutely no fear 
  of anything, and a psychotic brutality which even most player charac­
  ters couldn't aspire to. An Ashmedai, meanwhile, would only serve a 
  magician who was manipulative, sadistic and duplicitous (perhaps a 
  particularly nasty serial killer or a diabolic mage). Magicians who dis­
  appoint Nightlands familiars won't merely be deserted; they will prob­
  ably be betrayed, robbed and/or shredded by their disgruntled sidekicks. 
  Secondly, Nightlands familiars are typically predatory, even when 
  human in appearance. Furthermore, what makes them suitable as famil­
  iars and minions is that they are emotionally twisted and usually have a 
  "follower" mentality and are subservient to beings who are more pow­
  erful than they. Most are Minions of, and servants to, the Nightlords. 
  Third, the familiar is likely to develop its own side-lines and "hob­
  bies." A Scuttler (below) will sneak around and investigate the local 
  area on its own, while an Ashmedai will go out and hunt a few people 
  whenever it gets bored. 
  More importantly, the Nightlands familiars' primary loyalty is rarely 
  to a human or any mortal magician. Most will be secretly reporting back 
  to their Nightlord superiors at every opportunity, and many will betray 
  or manipulate the magician whenever possible to further their true mas­
  ters' agendas. While normal animals have no reason to betray a magi­
  cian, Nightlands familiars often have every reason to do so, and many 
  are as intelligent as any human. These creatures are commonly used as 
  familiars, slaves, servants and minions by Nightlords, Night Princes, 
  and, to a lesser degree, by Emperor Crabs, Immortals, and the occa­
  sional Demon Lord. 
  The following are petty denizens of the Nightlands which might 
  serve mortal or Nightbane magicians as familiars. G.M.s should also 
  find plenty of opportunities to introduce them into Nightbane adven­
  tures in their own right as curious or predatory monsters out on their 
  own, and as spies, assassins and minions of the Nightlords and Night 
  Princes. Note: In addition to the creatures described on the following 
  pages, the Lizard King, Waste Coyote, Ashmedai, Trappers, Slitherers, 
  Shadow Scorpions and Gaunt Steeds can also be used as Nightlands Fa­
  miliars. The Snake Bird, creatures of the Astral Plane and Dream­
  stream™, werebeasts, vampires, Nightbane, humans, demons and most 
  beings with an intelligence equal or superior to a human, cannot be used 
  as a familiar, even by Nightlords. 
  Scuttlers 
  49 
  Quentin Milton (Order #26014138)
  
  Scuttlers 
  In appearance, scuttlers naturally resemble horseshoe crabs with far 
  too many legs, and an indeterminate number of tentacles which can pro­
  trude from beneath their soft shells to grab or investigate items around 
  them. Although they have neither eyes nor ears they can "see" perfectly 
  in daylight or pitch blackness, and they have fair hearing (not quite as 
  good as a human's). 
  Scuttlers have rudimentary intelligence, and can speak telepathically 
  to any person or creature it chooses within 2 meters (6 feet): only those 
  it wants to speak to can "hear" its speech. 
  Scuttlers can squeeze through the smallest cracks, can outrun most 
  humans, and can see through thin barriers such as doors (though not 
  thick walls or metal) and clothing (to look for concealed items, etc.) 
  Scuttlers also have the ability to Cross Over to the earth through any 
  mirror or reflective surface, so long as their destination has had some 
  regular or continuous magical activity in the recent past; in other words, 
  they can cross freely into places on leylines, sorcerers' laboratories, the 
  sites of major rituals, etc., but not to entirely mundane places like a 
  playground, bus stop, average home, etc. They can cross back to the 
  Nightlands via any reflective surface. 
  Curious and obedient, they often Cross Over to investigate interest­
  ing magical areas, or to spy on significant mortals, either of their own 
  volition or on the orders of their Nightlord masters. Although they can 
  be cruel, most are abject cowards. Able to disguise themselves as mun­
  dane animals in the mortal world, Scuttlers usually adopt an appearance 
  suitable to their size and environment, such as black cats, ravens, foxes, 
  coyotes, etc., but the animals always have red eyes. 
  Mortal sorcerers may bind Scuttlers as familiars, due to their ability 
  to Cross Over and their potential as spies. Nightlords use them in ex­
  actly the same capacities. 
  Alignment: Any Evil 
  Attributes: I.Q. I D6 (low human intelligence; cunning and cruel), 
  M.E. 2D6, M.A. ID6, P.S. I D6+ 1, P.P. 3D6+2, P.E. 2D6, P.B. I D6, 
  Spd. 3D6+6 
  Size and Weight: Around eight inches (20 cm) in length, and weighing 
  about 7 lbs (3 kg). 
  S.D.C.: 2D6 
  Hit Points: Equal to P.E., plus I D4 per level of experience. 
  P.P.E.: Equal to M.E. +4D6 
  Horror Factor: 10 in natural form. 
  Natural Abilities: Communicates telepathically, Cross Over at will, 
  squeeze through any crack, climb walls and ceilings like an insect 
  (equal to climb skill 98/90%), and change its appearance (as above). 
  Combat: Two attacks per melee, scratching with its many claws for 
  just I D4. 
  Bonuses: Attacks against a Scuttler are at -2 if it is stationary, or -8 if 
  it's moving; due to its small size, speed and erratic movement. +3 on 
  perception rolls and + 1 to save vs poison. 
  Average Life Span: About forty years. 
  Experience Level: Average I D6; use Nemtar experience table. 
  Typical Skills: Track humans, track animals, land navigation (+ 10%), 
  surveillance (trailing) +30%, prowl (+40%), swim (+1 5%), all Lore 
  skills. 
  50 
  Nightlands Scorpions Diabolic 
  The Nightlands Scorpions Diabolic have a variety of physical forms, 
  ranging from large black scorpions (usually two feet/0.6 m long), to 
  oversized tarantulas with too many legs, to black foxes with snakes' 
  heads instead of tongues. These are the minor predators of the Wastes, 
  eating Scuttlers and other small creatures, and have lethal venoms. As 
  one might guess, these strange shape-changing creatures are far differ­
  ent and more powerful than the simple arachnids (spiders and scorpi­
  ons) of Earth. 
  Magicians may prize them as familiars, as they can make lethal as­
  sassins, but their sadism and love of the hunt makes them uncon­
  trollable. They refuse to eat dead food, but love hunting and catching 
  their own dinners, while on earth favoring neighborhood cats, babies 
  left unattended in strollers, stray dogs, sleeping hobos, drunks, campers, 
  etc. 
  They are not foolhardy, and avoid busy areas and large prey, only at­
  tacking creatures larger than themselves (e.g. adult humans) if the vic­
  tim is helpless (e.g. sleeping, drunk, or hurt) and alone. 
  Alignment: Any Evil 
  Attributes: I.Q. I D4+ 1 (low, predatory human intelligence), M.E. 
  2D6+5, M.A. I D6, P.S. I D6+6, P.P. 3D6+ 1 ,  P.E. 3D6, P.B. I D6, Spd. 
  3D6 
  Quentin Milton (Order #26014138)
  
  Size and Weight: Usually about two feet (60 cm or 0.6 m) long, weigh-
  ing around 85 Ibs (40 kg). 
  S.D.C.: 6D6 
  Hit Points: P.E. +2D6, + I D6 per level of experience. 
  P.P.E.: 2D6 
  Horror Factor: 12 as scorpion or spider, 8 for others. 
  Combat: Two attacks per melee: usually one with a claw, and one with 
  a poisoned stinger/bite, but dependent upon its current physical 
  form. Base damage is 2D6 for bite, claws and stinger (the stab of the 
  stinger), but the venom from the stinger (or bite in spider form) does 
  an additional ID6 damage per melee round for up to the next ten 
  melees. The victim may roll to save vs lethal poison once per melee. 
  Once a successful roll is made, the venom does no further damage; 
  until the roll is successful, the unfortunate takes I D6 damage each 
  melee round. 
  Bonuses: Automatically saves vs horror factor, +2 on initiative. 
  Average Life Span: About eight years. 
  Skills: Detect ambush, escape artist, tracking, counter tracking (humans 
  and animals), land navigation, swim, and prowl; all get a + 1 0% bo­
  nus. Plus climbing 96/86% (all surfaces except the smoothest and 
  slickest like glass) and wilderness survival (+20%). 
  Experience Level: 1 -6 level; roll l D6 for random determination or use 
  the Snake Bird experience table (Nightbane® RPG pg 233). 
  The Beautiful People 
  The Beautiful People want it all - fun, fame, wealth, power - and 
  woe betide anyone who gets in their way. Originally from the Night­
  lands, many despair of finding anything to suit them in the Nightlords' 
  realms, and soon migrate out into the Astral Domains and other dimen­
  sions. Many can be found in the Casino of the Damned, hanging onto 
  the arms of other gamblers, or wagering chips which they have conned 
  or scrounged from other dupes. Others serve as ambassadors or diplo­
  mats for less socially accomplished races, while .still others resort to 
  murderous plots and confidence tricks to win the accolades which they 
  desire. 
  Appearing as gorgeously attractive humans, these creatures are not 
  only greedy and proud, they are inhumanly vain. Six hours per day is 
  spent grooming, applying lipstick (the Night-Gnomes make especially 
  beautiful lipsticks for them, from the blood of murdered children), 
  washing hair, etc. They are also connoisseurs of fine foods and wines: 
  they don't care what culture it comes from, just so long as it's the best. 
  It is said that they cannot actually taste anything, but can sense and en­
  joy the PRICE of a meal or drink. 
  A sorcerer might find many uses for a Beautiful Person as a famil­
  iar/bound servant. These include diplomat, spy, con-artist, assassin, 
  thief, or agent/representative (often to trick, con and lure libidinous ene­
  mies into traps), or for carnal pleasure. However, whatever role this 
  creature plays, the sorcerer will have to be incredibly wealthy to satisfy 
  its tastes, and still it would want more ... but even more is never enough. 
  Alignment: Any Selfish or Evil 
  Attributes: I.Q. 2D6+4, M.E. 2D6+ I ,  M.A. 4D6, P.S. 3D6, P.P. 
  3D6+ 1 ,  P.E. 3D6, P.B. 2D6+12, Spd. 3D6 
  Size and Weight: Same as a human. 
  S.D.C.: 2D6 + 10 
  Hit Points: Equal to P.E., plus I D6 per level of experience. 
  P.P.E.: 2D6 
  Horror Factor: Not applicable. 
  Combat: Hand to Hand Assassin, standard damage. 
  Average Life Span: Same as a human. 
  Experience Level: Average ID4+2; use the Nemtar experience table. 
  Typical Skills: All domestic skills +30%, intelligence + 1 0%, interroga-
  tion techniques +5%, prowl +10%, streetwise (+4%), art (+10%), 
  and two W.P.s of choice, plus three of choice from either Espionage 
  or Rogue skill categories, and two from either the Physical or Tech­
  nical skill categories (no bonuses for these additional skills). 
  Quote: "I don't just want more. I want it all!" 
  51 
  Quentin Milton (Order #26014138)
  
  Night-Gnomes 
  The night-gnomes are short, androgynous humanoids, with leprous, 
  rotting flesh and exaggerated features, usually hunched in stature and 
  with deformed limbs. They are alchemists and inventors, brewers and 
  chefs, serving the Nightlords in their kitchens and laboratories. They are 
  the Nightlands' versions of scientists and vivisectionists, constantly 
  striving to create weirder and more powerful alchemical concoctions, to 
  breed fiercer animals, to develop crueller metals for the Hounds' weap­
  ons, etcetera. Indeed, it is said that each Night-Gnome corresponds to a 
  human scientist following similar interests (though twisted, of course), 
  coming into existence at the start of the scientist's career (they are ap­
  parently born as adults by being cooked up in a cauldron by their fel­
  lows) and dying when that scientist dies. 
  No project is too obscure for them, and they are never troubled by 
  moral scruples. In fact, the more pointlessly academic, unpleasant, and 
  cruel a project is, the more interested they become. 
  On a mundane level, sorcerers might find them useful servants and 
  chefs (though it's best not to ask what the ingredients were in today's 
  dinner), but they are also invaluable as chemists and poison-makers. 
  More than a few sorcerers have been poisoned by their Night-Gnome 
  familiars, however. 
  Alignment: Any Evil 
  Attributes: I.Q. 2D6+2, M.E. 3D6, M.A. 2D6, P.S. 2D6, P.P. 2D6+ 1 ,  
  P.E. 3D6, P.B. 2D6, Spd. 2D6 
  Size and Weight: Typically 4 feet tall ( 1 20 cm/1.2 m), weighing about 
  1 20 Ibs (54 kg). 
  S.D.C.: 3D6 
  Hit Points: Equal to P.E., plus ID6 per level of experience. 
  P.P.E.: 4D6 
  Horror Factor: 8 
  Combat: Hand to Hand Basic, standard damage. 
  Bonuses: Automatically save vs horror factor, + 1 to perception rolls, +4 
  to save vs possession, +4 to save vs poison and disease. 
  Average Life Span: 60 years 
  52 
  Experience Level: Average I D6+ 1 ;  use Snake Bird experience table. 
  Typical Skills: Cook +30%, fishing, forensic medicine +20%, holistic 
  medicine +10%, medical doctor, pathology +25%, toxicology +30%, 
  biology +20%, botany, research, chemistry +20%, chemistry: ana­
  lytical +20%, Principles of Magic (same as sorcerer), lore skills 
  (various, +10%), hunting, preserve food (+10%), skin and prepare 
  animal hides, palming, and W.P. knife. 
  Quote: "If you insist on screaming while I do this, then please make 
  it an intellectually stimulating scream." 
  Vfrawk 
  The Vfrawk (Vi-frawk) are an apparently independent race, rare 
  even in the Nightlands. Each Vfrawk is a shapeless blob of flesh, yel­
  lowish in color and with purple-black veins running across its throbbing 
  surface. Eyes, tendrils, and less easily defined features and orifices are 
  scattered across the Vfrawk's surface, although it entirely lacks useful 
  limbs. Each creature actually moves by floating through the air, levitat­
  ing. 
  The Vfrawk seem to need no food or water, but, when scavenging, 
  they occasionally eat the brains of other dead creatures. They seem, in 
  fact, to metabolize some power from the brains of their victims; P.P.E., 
  perhaps, or something less tangible? Perhaps they actually eat ideas or 
  experiences? Or wisdom? Growing larger as they eat more, and they 
  eventually divide in two to reproduce. 
  By strange coincidence (or maybe not), there was once a Nightlord 
  named Vfrawk, whose goal was to hoard knowledge, to learn all secrets 
  of the universe. When he was killed, it is said, his huge brain was shred­
  ded by his assailant and spread throughout the Nightlands. 
  In any case, it is clear that the Vfrawk have their own secret agenda, 
  possibly involving the future reunification of their race into one individ­
  ual mind, and although they could provide magicians with vast amounts 
  ) 
  -. .J 
  Quentin Milton (Order #26014138)
  
  of information and advice, their loyalty is always to their own race and 
  their priority is always to collect new information for themselves. 
  It is possible that each of these creatures somehow correspond in the 
  Nightlands to a secret society or conspiracy on earth, appearing after a 
  secret society has divided and scattered, and each of its surviving de­
  scendants gathers arcane knowledge for its own ends, while in the 
  Nightlands these creatures share a similar fate. If such is the case, only 
  when these secret societies are united will the Vfrawk be reunited; or 
  perhaps, only when the Vfrawk are made whole again will the earthly 
  conspirators settle their differences and unite. 
  Alignment: Miscreant 
  Attributes: LQ. 4D6, M.E. 4D6, M.A. 3D6, P.S. 1 D6, P.P. 1 D6, P.E. 
  1 D6, P.B. 1 D4, Spd. 1 D4 
  Size and Weight: Usually about one foot (30 cm/O.3 m) across, weigh­
  ing 30 lbs (14 kg). 
  S.D.C.: 1 D4 
  Hit Points: Equal to P.E., plus I D4 per level of experience (typically 
  42) 
  P.P.E.: 8D6+40 
  Horror Factor: 10 
  Natural Abilities: By eating the brain of a dead person or creature, they 
  learn all that s/he knew, gaining all skills, memories, etc. They all 
  Magical Divination 
  Divination is the supposed art of gleaning facts about the past, pre­
  sent or future from apparently random or unconnected phenomena -
  interpreting symbols, signs, or omens, for example. The following notes 
  should help G.M.s deal with the new skill, Divination, introduced at the 
  start of the last chapter. 
  Standard Divination Tools: Characters with the Divination skill 
  may select any of the following methods (one method only each time 
  that the skill is selected). Note that the information received from each 
  type of divination will differ. So, reading someone's palm can give a 
  great deal of information about that person, but reveals nothing about 
  broader issues, while divination by watching flocks of birds or clouds 
  reveals only general information about major events in the vicinity. 
  Characters cannot, under any circumstances, make use of each oth­
  ers' divination techniques. For example, a mystic who is so at peace 
  with nature that she "knows" things by listening to the wind, isn't going 
  to be able to pick up a sorcerer's tarot pack and divine from it, or even 
  recognize omens and portents in animals or clouds. 
  Aeromancy: Gleaning information by watching local weather con­
  ditions (wind, clouds, etc.). 
  Animals: The character can interpret "natural omens" involving ani­
  mals, gaining information by watching the behavior of cats, the flights 
  of birds, etc. 
  Astrology: Working out horoscopes based on the current positions 
  of the stars, a person's birth time and date, etc. 
  Bibliomancy: Opening a book at "random" and just happening to 
  find an appropriate phrase or sentence there. Traditionally, the Bible has 
  been used for this, but the classics, Shakespeare, a strange arcane tome, 
  etc., might all be options. 
  Casting Objects: Throwing objects onto a cloth or the ground, 
  drawing conclusions from the positions or patterns that they fall in, etc. 
  The diviner should select a particular type of object - e.g. Rune Stones, 
  salt, Yarrow stalks (as in I-Ching), hazel twigs, acorns, bones, blood, 
  etc. 
  Cartomancy: Using a deck of playing cards. 
  Crystal Gazing: Looking into a crystal ball, in good circus side­
  show tradition. 
  have a degree of precognition (knowing, instinctively, if danger ap­
  proaches, and from what direction), and their flesh is deadly poison­
  ous (anything eating any part of one must roll to save vs lethal 
  poison at 
  -5 to save or die) and the Nightlands' predators have 
  learned to leave them alone. Can also slowly fly/levitate and speak 
  telepathically (range 30 feet/9 meters) without effort or expending 
  LS.P. 
  Combat: None. Two actions per round. 
  Bonuses: Automatically save vs horror factor, immune to magical and 
  psychic effects which target its mind. 
  Average Life Span: Immortal (live until slain). 
  Experience Level: All Vfrawk are 1 2th level. 
  Typical Skills: All lore skills, principles of magic, cryptography, lan­
  guages (many and obscure, e.g. Greek, Akkadian, Coptic, Assyrian, 
  Aztec), and similar arcane and cerebral skills, all to at least 90%. 
  Quote: "Yes, I know the answer. But you wouldn't understand it." 
  Note: If they can cast magic, they don't, not even in self-defense. 
  As a Nightlands familiar, these enigmatic creatures will perform 
  simple tasks, particularly spying, research, warn of impending danger, 
  and offer (limited) advice about magic and numerous other matters. 
  Quentin Milton (Order #26014138)
  
  Palm Reading: Getting information about a specific person from 
  examining their palm. Incidentally, other historical diviners have used 
  similar techniques to gain information while examining the bumps on a 
  person's head (popular with England's Queen Victoria), or the lines on 
  the soles of their feet. 
  Pyromancy: Divination by staring into a fire, listening to its sound, 
  watching the shapes of the flames, watching how certain leaves or 
  bones bum in the fire, etc. 
  Tarot: Cartomancy, using special Tarot cards. 
  Unusual Divination Methods 
  Historically, people have used loads of weird methods for divination 
  - boiling and then examining a donkey's head is hard to beat for 
  weirdness. Player characters should, within reason, be allowed to create 
  their own methods of divination - and the more atmospheric the better. 
  For example, a magic using character might amputate his own left 
  hand, and then inscribe the hand's bones with mystic symbols in order 
  to use them for divination. 
  Keying in a divination method to a character's background or psy­
  chology is also a nice idea. As examples: A character who hates the 
  Nightlords because they have stolen her baby might have a Divination 
  skill which involves gaining information by watching and/or listening 
  to babies; a really disturbed villain might perform divination by disem­
  bowelling teddy bears and soft toys; a nature-loving mystic might go 
  out to the woods and "talk" to the birds or examine the shapes and 
  movements of worms, etc. 
  Optional Rules for 
  Preserving Game Balance 
  The idea is that, like most skills, Divination will only be used very 
  occasionally - once or twice per playing session, at the most (some­
  times weeks may pass without a Divination). Players who insist on 
  making divinations about everything ("Hey, we just met someone, let's 
  see what my Tarot cards say about her") are as much of a pest as thiev­
  ing characters who can't walk past a door without picking the lock, or 
  mercenaries who shoot every civilian who crosses their path. 
  Most methods of Divination are no threat to game balance. You 
  can't use palmistry (reading someone's palm) without their permission 
  (unless you tie them up or shoot them first, of course), and divination 
  by watching weather phenomena requires several minutes to hours of 
  contemplation outdoors. But if a G.M. finds that players are pestering 
  them for constant Divinations, they should introduce any of the follow­
  ing rules modifications: 
  1. Attempting any divination requires the expenditure of 5 points of 
  P.P.E. Without this expenditure the attempt automatically fails. 
  2. Each divination must be preceded by a period of quiet contempla­
  tion (say one hour), or even a longer period of fasting and meditation. 
  3. A diviner using cards, stones, or some similar objects, must al­
  ways use exactly the same objects. A cartomancer, therefore, can't just 
  pick up any pack of cards - it has to be her own, special cards. If these 
  objects are lost or destroyed it will take months for the diviner to "get 
  used to" a replacement set. 
  4. Players who choose particularly atmospheric methods, or who 
  choose methods with their own disadvantages, should receive bonuses 
  to their skills. So, for example, above it was suggested that a sorcerer 
  might use the bones from his own left hand for Divination: this is not 
  only good and nasty - perfectly suited to a horror game - it is also a 
  real problem for the sorcerer (he only has one hand now) and if the 
  bones were ever lost, they could not be replaced; so the character might 
  receive a bonus of as much as +20% to his skill (although +4- 10% will 
  be more common). G.M.s should also consider rewarding characters 
  whose divinations are particularly in keeping with their personalities 
  (e.g. a professional gambler who bases his divinations on an evening of 
  watching a roulette wheel, or a computer-boffin who creates complex 
  54 
  programs to generate random messages and symbols), or which add to 
  the sense of drama and tension in a game. Such bonuses are purely at 
  the discretion of the G.M. 
  Random Divinations 
  Trying to run a game of Nightbane, G .M.s may find themselves with 
  little time to work out complicated Divinations for the player characters. 
  If all else fails, pick whichever ideas from this list seem most appro­
  priate and improvise a response based around these. If a character jails a 
  Divination skill roll, s/he either gets no insight or the G.M. can roll a 
  ten-sided die once or twice and consult the following table to give a ran­
  dom answer, modifying the result to make sense with the character's 
  question/search for insight. 
  1. A Mysterious Stranger: The reading foretells the approach of an 
  individual who will bring (pick one) new meaning, help, danger, ro­
  mance or passion, insanity or the wrath of the Nightlords. 
  2. A Journey: The reading suggests a movement - either a change 
  of place, or an emotional journey (insanity?), or a "voyage of discov­
  ery" - again, pick one. 
  3. Find Protection: The questioner must take care, make sensible 
  precautions, be cautious, or defend him or herself. This could refer to 
  anything from a petty crime to a bitchy argument, to the manifestation 
  of a Nightlord. This Divination is always apt for player characters, espe­
  cially those pitted against evil. 
  4. Wisdom: The questioner must exercise restraint, good judgement, 
  self-control, etc., etc. 
  5. A New Situation: Changing circumstances, new information, 
  new friends or allies, or arrival in a new location, new opportunity -
  pick one - requires flexibility, confidence, initiative; pick one. 
  6. Potential: The reading unoriginally suggests that the key to suc­
  cess is knowing your own limits, using your initiative, putting yourself 
  first, making the most of your talents, taking a stand, and similar; pick 
  one or several. 
  Quentin Milton (Order #26014138)
  
  7. Friends: The reading advises that friends, loyal colleagues or 
  family are your only hope/your greatest danger; in trouble, can help you 
  - as appropriate. 
  8. As You Reap •.• : The reading stoically advises that the outcome 
  of present events will depend upon steps which have already been taken 
  (bargains 
  made, 
  enemies 
  eamed, 
  creatures 
  summoned, 
  harsh 
  words/threats, plans, etc.). Or it may wam that one should carefully 
  consider (or reconsider) one's current plan for action for it may bring 
  disaster, danger, sorrow, death, etc. 
  9. Be True to Yourself: You will succeed in your endeavors if you 
  stick to what you know, are true to your principles, act virtuously or 
  selflessly - pick one or more that are appropriate. 
  10. Flux: Everything hangs in the balance, everything changes, your 
  old life must be cast aside and a new life begun, you cannot depend on 
  anyone or anything, all of your beliefs may be proved false, etc. Pick 
  one: most are true in the world of Nightbane. 
  Note: Remember, Divination and its impressions are usually vague 
  and general, as are the bringers of new portents. A "stranger," for exam­
  ple, could be somebody as insignificant as a panhandler, a taxi driver, or 
  a sales clerk. A "journey" could be interpreted as almost anything from 
  a trip abroad, going to the Nightlands, or across town, to an adventure, 
  discovery, self-discovery, or finding religion. 
  Full Readings 
  G.M.s may feel daunted by the prospect of inventing Divinations -
  and especially future predictions - for player characters or even NPCs. 
  However, most player characters have fairly predictable futures (mind­
  wrenching insanity, pain and death, struggle and triumph, etc.), and so 
  constructing realistically ambiguous and/or general predictions is fairly 
  simple. 
  The following reading is a simple Palmist's prediction for a typical 
  player character, and with a little alteration, might be the precise predic­
  tion of a Tarot or Cartomancy reading. 
  "The line of Saturn is broken, patchy, suggesting that your fate is not 
  a simple, steady path, and that there will be periods of flux and uncer­
  tainty where only your own actions and imagination will determine 
  your fate - and here, where it crosses the Line of Apollo, we see that 
  you must rely upon and strike up partnerships with others. The Line of 
  Apollo is very strong: Your life is to be extraordinary, and you have the 
  potential to achieve a great deal. Your health line starts well, but it be­
  comes chained around your present time; several markings indicate pe­
  riods of ill-health, probably indicating periods spent in hospitals, or 
  recuperating after accidents or operations. The mount of Saturn, by your 
  second finger, is well developed, which is very rare. This area relates to 
  mystical or spiritual matters and the importance of religion and study. 
  The small lines on it suggest an excess or confusion of powers or ideas. 
  The Lunar area is also well marked, suggesting a great deal of move­
  ment, change and travel - the unusual." 
  Personalizing each reading should also present few difficulties. For 
  example, a character with a high M.E. might be told that "you have 
  great courage and strength of mind, and this will be very important to 
  you in the times ahead." Another might be told that "a woman will be­
  come very important to you in the time to come, but I cannot tell how, 
  or whether her importance will last" - as some woman, in some sce­
  nario, is bound to be important as a victim or villain, or in the charac­
  ter's personal life. The importance of friendship, reason, intuition, 
  leadership strength of will, goodness and evil may be equally empha­
  sized; a life of struggle may be foreseen, temptation, a conflict that will 
  challenge one's morality or identity, etc. 
  Other authenticating touches include predictions about promotion, 
  triumph, hardship or disaster in a character's career (the G.M.s can eas­
  ily engineer the character's promotion or sacking), and predictions of a 
  death in the family or among friends and acquaintances (also easily in­
  vented by a G.M.). 
  55 
  Divination through Sacrifice 
  Occasionally, in the past, people have believed that secret informa­
  tion may be gleaned from the dissection of a sacrifice. This kind of divi­
  nation - though not "common" - deserves a mention, as it fits so 
  easily into the world of Nightbane. While it may seem intuitively un­
  likely that dark, profound secrets may be revealed through playing 
  cards or palmistry, it would seem quite fitting that Night Cultists, Nec­
  romancers and other maniacs might seek illumination through blood 
  sacrifice. 
  Historically, most sacrifices have been of animals (though it is vari­
  ously alleged that the ancient Greeks, Egyptians, Celts and Aztec slew 
  humans in these ways) and two main methods were used to gain infor­
  mation: Either the sacrifice's writhing could be interpreted as it died 
  slowly, or (more commonly) the beast might be dissected and its in­
  nards scrutinized for markings and abnormalities (usually the liver or 
  intestines were examined, though other body parts were sometimes used 
  instead, such as the shoulder-blade). Diviners with more gruesome 
  imaginations might devise more unpleasant methods of interpreting a 
  sacrifice, such as examining the bumps and features of the brain-pan or 
  interpreting the squirming intestines while the sacrifice still lives. Other 
  methods might also plausibly be used, such as watching the patterns 
  formed by blood as it runs across the ground from the sacrifice. Many 
  historical divinations were quite bizarre. 
  Usually it is not enough to simply sacrifice any animal. Rather, there 
  are strict rules governing which individuals might be suitable sacrifices. 
  Sometimes particularly exemplary breeds may be kept for sacrifice, or 
  sacrifices are picked after a careful physical inspection (perfect health 
  or unusual markings being required). In some cases it is considered nec­
  essary that the sacrifice ate only certain types of food, remained isolated 
  or indulged in certain activities in the days immediately prior to its 
  death (add bonuses to the divination roll, bigger bonuses for bigger re­
  strictions). 
  It is plausible that certain unspeakable fraternities, in inaccessible lo­
  cations, might subject intended sacrifices to long periods of confine­
  ment, perhaps in total darkness, and with certain special foods and drink 
  (only bread and water for a human? or a diet of blood and raw meat? or, 
  for an animal, only the flesh of its own siblings?), perhaps with certain 
  preliminary rituals and mutilations. The sacrifice might have to be car­
  ried out on a particular date, and afterwards precautions may have to be 
  taken to prevent the sacrifice's spirit returning to avenge itself on its 
  killers. Plot hooks and adventure ideas are easily created from these 
  situations. 
  Quentin Milton (Order #26014138)
  
  CHAPTER 4: New Spells 
  This chapter introduces a host of new spells for magicians, including 
  general spells (for sorcerers, wizards, mystics, etc.) and specialized 
  magics for the new O.C.e.s. Note that those marked "ritual" means a 
  ceremony and possibly components are required. A typical ritual will 
  take I D4+4 minutes to execute, sometimes longer (G.M.'s discretion if 
  the amount of time is not specifically noted). 
  See notes on tweaking spells to create slightly different effects and 
  on inventing your own entirely original magics. 
  Sorcery/Wizardry Spells 
  Alphabetical List of "new" Sorcerer Spells by Level 
  Level One 
  Reanimate Flesh (4) 
  Level Two 
  The Knowing Candle (5) 
  Life Plant (8) 
  Level Three 
  Bloodward (5+) 
  Level Four 
  Scarlet Pepper ( 1 0) 
  Traitorous Hand (10) 
  Level Five 
  Destroy Dead Flesh (3+) 
  Spirit Attack ( 1 5) 
  Level Six 
  Call Ectoplasm from Others (20) 
  Watching Enchantment (40) 
  Level Seven 
  The Druid's Head (40) 
  LEVEL ONE 
  Reanimate Flesh 
  Range: Touch 
  Duration: One hour 
  Saving Throw: None 
  P.P.E.: 4 points 
  Level Eight 
  Draught of Life & Death (50) 
  Soul in a Bottle (50) 
  Level Nine 
  Create Zombie (80) 
  Friend in the Head (75) 
  Level Ten 
  Fatal Growth (95) 
  Level Eleven 
  Destroy Undead Flesh (100) 
  Level Twelve 
  Mictlantecutli's Command ( 1 50) 
  Open Pathway ( 1 70) 
  Level Thirteen 
  Psychic Drain (200) 
  Level Fourteen 
  Maggots Curse (500) 
  Level Fifteen 
  Someone Makes Them (920) 
  With this spell, a mage can animate and control up to 15 Ibs (6 kg) 
  of dead flesh. It's important to note that this magic cannot be used to 
  animate and control the entire body of any one creature, even if it's a 
  tiny animal like a frog or mouse. Instead, it is used to animate a body 
  part such as a hand, arm, foot, or the jaw of a head. The reanimated 
  flesh can then be given simple verbal instructions by the caster ("grab 
  this," "swallow this," "go there", "come here", "stop," etc.). The spell 
  may have been invented to create a sort of temporary assistant for cere­
  monies and research ("hold this vial," "point that there," "keep this 
  book open"), or as a means to frighten people. However, the spell also 
  has more imaginative uses. Think about the word "handcuffs", for ex­
  ample, especially if the animated hand or arm is bigger than human size. 
  Note that the reanimated flesh of a human hand or foot has 2D4+2 
  S.D.C., an arm and hand has 2D4+6 S.D.e., a human-sized head 2D6+4 
  S.D.C., internal organs (a beating heart, a squirming liver, etc.) have 
  I D6 S.D.C.; giant-sized limbs have twice the S.D.C. of human-sized 
  counterparts. Note: Since the spell animates flesh, the body part cannot 
  be dead more than 72 hours or it will not work. 
  LEVEL TWO 
  The Knowing Candle 
  Range: 100 feet (30 meters). 
  Duration: 4 melees (1 minute) per caster's level. 
  Saving Throw: None 
  P.P.E.: 5 
  The magician creates the enchantment around a lit candle (or lan­
  tern, or electric flashlight even). The flame (or light) then bums lighter 
  or darker depending upon its proximity to supernatural creatures, spells, 
  psychic effects, etc. So, the sudden flaring of the light might suggest a 
  spell being cast within the candle's range, or the flame might get slowly 
  brighter as a supernatural creature gets closer and closer to it, or the ma­
  gician might use the light to work out where a hidden magical artifact is 
  (the light growing as s/he moves closer to it, and dimming as s/he 
  moves away). The exact brightness of the light depends on the light's 
  proximity to the supernatural effect or creature, and the power (level 
  and P.P .E.) of that effect or creature. 
  Life Plant 
  Range: Touch 
  Duration: Special (see below) 
  Saving Throw: None 
  P.P.E.: 8 
  The mage casts this spell on a seed or seedling, which is then 
  planted by another person. The plant which grows from this then re­
  flects the development and activities of the person who planted it. As 
  Quentin Milton (Order #26014138)
  
  examples: While the person is healthy the plant flourishes, but any ill­
  ness or wound will lead to discoloration or wilting on the plant. If the 
  person turns towards evil (has or develops an evil alignment) the leaves 
  of the plant tum dark, and any fruit it bears will be bitter, and if s/he 
  commits acts of violence then blood-red flecks will appear on it. Fur­
  thermore, wherever the person is in the world, the plant's leaves will 
  tum to face that direction, when gone to another dimension the leaves 
  point down, and when the person dies the plant dies too. 
  LEVEL THREE 
  Bloodward 
  Range: Touch 
  Duration: Variable 
  Saving Throw: Special: see horror factor. 
  P.P.E.: 5 points per hour of duration. 
  This spell allows a mage to inscribe a protective symbol onto a per­
  son or object, by using a little of his/her own freshly drawn blood. 
  Drawing the blood (whether by knife or syringe) causes one hit point of 
  damage to the spell caster. 
  The symbol itself may be a crucifix, Norse rune, occult Chinese 
  symbol, or anything else appropriate. Any evil supernatural creature 
  wishing to approach within 1 0  feet (3 meters) of the ward must save vs 
  a horror factor of 15. Further, if inscribed onto a person, it gives a +1 
  bonus to save vs any magical or mind control effect. The symbol must 
  be visible to have any effect, and although the blood dries quickly (by 
  the end of the spell's casting), it can still be removed with water, fire, 
  and any number of things. 
  Unless prematurely removed, the duration of the ward can be deter­
  mined by the mage when casting the spell. There is, in theory, no limit 
  to the duration, but when first created, the caster must specify how long 
  it will remain active for and must spend five P.P.E. per hour of its in­
  tended duration. 
  LEVEL FOUR 
  Scarlet Pepper 
  Range: Touch 
  Duration: Special 
  Saving Throw: None 
  P.P.E.: 10 
  This spell allows a magician to take a handful of fire, transforming 
  the flames into red crystals just as he or she touches them and casts this 
  spell. The flames remain as crystals for so long as they remain in the 
  caster's hand, and for 2D lO (or l D20) hours thereafter. Note: The G.M. 
  should roll this duration secretly, so the magician (player character) 
  cannot tell how long the spell will last. Of course the mage can activate 
  the flames whenever s/he wants prior to the end of the crystals' dura­
  tion. 
  When the spell expires, the crystals tum back into flames. The fire 
  created from the crystals is strong enough to inflict l D6 damage and set 
  fire to any flammable substance with which it is in contact. The spell it­
  self is not dramatic, but with intelligence and cunning a magician can 
  create explosive effects, convenient distractions, and countless acts of 
  petty revenge and destruction (think, for example, about pouring the 
  powder into a car's fuel tank, or sprinkling a few handfuls around a 
  room). 
  Traitorous Hand 
  Range: 30 feet (9 meters) 
  Duration: One melee ( 1 5  seconds) per level of experience 
  Saving Throw: Standard 
  P.P.E.: 10 
  57 
  Through this spell, an arcanist can take control of a part of another 
  person's body. Used subtly, this might be intended to cause a slight 
  twitch in a finger ("I didn't mean to shoot! The gun just went off!") or 
  more blatantly to control a whole limb (e.g. to make a knife-man attack 
  himself or drop his weapon). The spell can be used to take control of a 
  stomach or bladder too (e.g. to cause a stomach cramp or vomiting, or 
  loss of control), or the tongue (to prevent speech or cause mumbling), 
  and eyelid (to blink or twitch), but cannot be used for such refined ac­
  tions as affecting breathing, vocal chords, heartbeat, blood circulation, 
  etc., or to seize control of a pair of hands, arms, legs, etc. 
  LEVEL FIVE 
  Destroy Dead Flesh 
  Range: 10 feet (3 meters). 
  Duration: Instant (see below) 
  Saving Throw: None 
  P.P.E.: 3 points per 100 lbs (45 kg) of target's weight. 
  This spell utterly destroys the dead flesh of one carcass or corpse, up 
  to 600 lbs (270 kg) in weight. The flesh smolders for several minutes 
  (taking one minute per 100 lbs/45 kg), and crumbles into a black ashen 
  residue which then evaporates. Very handy for destroying the evidence 
  of fights and murders, or for covering up the destruction of supernatural 
  creatures. Has no effect upon magically animated or otherwise "un­
  dead" flesh. Casting the spell requires the expenditure of three P.P.E. 
  points per 100 lbs or part thereof of the target's weight, usually costing 
  6-9 P.P.E. to destroy most human bodies. 
  Spirit Attack 
  Range: 30 feet (9 meters). 
  Duration: Instant 
  Saving Throw: None 
  P.P.E.: 1 5  
  This spell can be used to launch attacks on any supernatural creature 
  which has no physical form (including entities, spirits, intelligent magic 
  essences, astral beings/travelers, and the denizens of the Dream­
  stream™). The caster must know where the target creature is, or must 
  make a very fine guess, but can use this spell to inflict l D4x l O  points of 
  damage on any one known target. If the target does not have hit points, 
  then the damage done is inflicted to the creature's P.P.E. total, although 
  the creature will heal this psychic damage with time. 
  The spell can, of course, be used to "attack" some sorts of spells, or 
  the psychic manifestations which sometimes follow from spell casting. 
  However, these "living" spells, too, will heal this psychic damage un­
  less utterly destroyed, and this attack can only be used on "living mag­
  ics" which have no physical manifestation. So, for example, it could not 
  be used to destroy an enchantment in an object (unless the object were 
  first physically obliterated), or to destroy an undead creature (as the 
  magic is safely interwoven with the undead's physical form), etc. 
  The spell always has some physical or visual manifestation, and so it 
  cannot be cast secretly. In some versions this involves fingers of light­
  ning dancing from the hands of the casting mage to the target; in others, 
  the caster's eyes become reflective, showing an image of the target; in 
  others, a shard of bone or energy appears in the mage's hand and is 
  thrown at the target as the spell casting is completed (automatic hit); 
  G.M.s and players are encouraged to create their own suitably atmos­
  pheric visual effects for this spell (and others). 
  Quentin Milton (Order #26014138)
  
  LEVEL SIX 
  Call Ectoplasm from Others 
  Range: 20 feet (6 meters). 
  Duration: Instant (see below) 
  Saving Throw: Standard 
  P.P.E.: 20 
  This spell forces P.P.E. to manifest in physical form as a translucent 
  glob known as "ectoplasm". This ectoplasm may come from any source 
  or sources within range s/he may force his/her own P.P.E. to take physi­
  cal form; the caster may draw P.P.E. out of any or all of the other peo­
  ple or animals within the area; or it may be drawn from physical 
  supernatural creatures in range. P.P.E. cannot be drawn from ambient 
  magic energy, spells, enchanted objects, supernatural creatures without 
  physical form, or creatures that are not native to the caster's world (Le. 
  human and Nightbane casters can't cast the spell on Nightlands crea­
  tures), or people or creatures which are immune to either magical or 
  psychic effects or who are practitioners of magic themselves. 
  Ectoplasm oozes from those from whom it is being drawn, spilling 
  from their fingers, eyes, or orifices (mouth, nose, etc.). It is usually a 
  translucent white gel, but it may appear black (especially if drawn from 
  an evil source), blood red, sickly yellow, etc. Ectoplasm pours from the 
  contributors at a rate of 2D6 points of P.P.E. per melee round, and con­
  tinues to gush out at this rate until the pawns have only one point of 
  P.P.E. remaining. At this point, the outpouring stops; the last point of 
  P.P.E. is never taken by this spell. This is an uncomfortable and restrict­
  ing experience for those from whom the ectoplasm came, and who may 
  find that they are too busy unleashing goo to actually do much else: all 
  skills are effectively at -40% while ectoplasm is being drawn from 
  them, plus Spd is halved, and all combat rolls are subject to a -5 modi­
  fier. 
  The spell caster can then use and control the ectoplasm, same as the 
  psionic power, for four minutes per level of experience, after which 
  time it "evaporates," retuming to the people or creatures from which it 
  came (their P.P.E. recovering twice as quickly as usual). 
  The spell may be used by magicians either to impress others, inca­
  pacitate enemies, or extract and use ectoplasm from others for their own 
  purposes. 
  Watching Enchantment (Ritual) 
  Range: 1 000 feet (305 meters) 
  Duration: One Year. 
  Saving Throw: None 
  P.P.E.: 40 
  This ritual requires the sacrifice of a cat, dog, or similar tame ani­
  mal, the spirit of which merges with the magic of this spell and thereaf­
  ter patrols the area in which it was killed, watching for supernatural foes 
  and mundane dangers. This spell will warn its master if a supernatural 
  creature, entities, group of armed men, strangers, malignant enchant­
  ment, possessed people, and other similar threats approach. It also 
  learns to distinguish individuals from one an other (and so can tell fre­
  quent friendly visitors from strangers). Note that the enchantment may 
  only be set over an area (an alley, a house, a basement, backyard, etc.), 
  and can only "see" one thousand feet (305 m). It may not be set to 
  watch a moving vehicle or specific object. 
  While the spell is in effect, and while the caster is within 100 feet 
  (30.5 m) from the point where the ritual occurred, he or she instinc­
  tively knows when danger approaches, and has an idea of how great the 
  danger is. The watching spirit never actually "speaks" to the spell 
  caster, but as a result of its presence, the mage's hands become clammy 
  or his or her hair stands on end when danger approaches. 
  In theory the enchantment lasts for one year, but in practice it may 
  linger longer. The magic gains the temperament and personality of the 
  animal sacrificed to create it, and unusually loyal or loving animals may 
  58 
  loiter longer as enchantments (2D6 months). Keeping the corpse of the 
  sacrificed animal in the area is also supposed to extend the duration of 
  the spell (3D6 weeks). 
  Note that such enchantments, like real animals, are usually very ter­
  ritorial; a Watching Enchantment created in an area where another al­
  ready exists will be driven away, and will end up watching another, 
  random area - finding a new master and a territory of its own. It has 
  also been known for watching enchantments to "adopt" new masters af­
  ter the end of the spell duration or following their creators' deaths, lead­
  ing to rumors of benign hauntings and watchful ghosts. 
  LEVEL SEVEN 
  The Druid's Head (Ritual) 
  Range: Touch 
  Duration: Special 
  Saving Throw: Standard 
  P.P.E.: 40 
  This ancient Celtic ritual involves taking the head of a corpse and 
  embalming it in cedar oils to bind the ghost (spirit essence) of the de­
  ceased into the preserved head. A ghost which does not wish to be 
  bound may make a standard saving throw. Thereafter, the bound ghost 
  may look out through the eyes of its head, listen through its ears, smell 
  through its nose, and speak in a hoarse whisper through its mouth. 
  However, the spirit is under no obligation to cooperate with or serve the 
  spell's caster, and although being stuck in a mummified head is likely to 
  be an unpleasant and tedious experience for the trapped ghost, it can 
  feel no physical pain through its flesh. A devious spell caster, however, 
  can cajole or persuade a trapped ghost to speak to him or her, and many 
  vindictive magicians might simply bind a ghost to its head as a way of 
  tormenting it. The spell lasts until the head is physically destroyed. Its 
  hit points are its I.Q. number times two. 
  LEVEL EIGHT 
  Draught of Life & Death (Ritual) 
  Range: 1 00 feet (30.5 meters) 
  Duration: 30 minutes to take effect; permanent results. 
  P.P.E.: 50 
  This spell allows magicians to take the illnesses and wounds from 
  one character and transfer them into the body of another! Rather easier 
  than having to actually heal damage and eradicate diseases. 
  The sorcerer brews a potion of poisonous herbs and animal venoms, 
  mixed with milk and blood, powdered bones, and various other ingredi­
  ents (antibiotics often appear in modem mixtures, for example, while 
  medieval mixtures include mandrake root). The sorcerer then adminis­
  ters this to two people, one injured, the other healthy. During the next 
  30 minutes, one character (specified by the caster) is "cured" of all 
  physical illnesses and diseases, and regains 6D6 hit points (up to but not 
  exceeding his/her natural maximum). The second individual, however, 
  gains all of these illnesses or wounds, and loses an equal number of hit 
  points. The two subjects must be within 1 00 feet (30.5 m) of each other 
  when they drink the draught and for the whole of the 30 minutes that 
  follow. If they wander more than 100 feet (30.5 m) apart, the magic 
  fails. 
  Soul in a Bottle (Ritual) 
  Range: Touch. 
  Duration: Permanent (see below) 
  Saving Throw: Standard 
  P.P.E.: 50 
  Quentin Milton (Order #26014138)
  
  By means of this spell, the caster extracts half of the "soul" (psychic 
  energy) of the victim (who may choose to resist, making a saving 
  throw), and stores it in some suitable glass receptacle (bottle, jar, etc.). 
  As a result, the target loses half of his/her P.P.E. and LS.P., some 
  memories are "foggy" and skill performance is - 1 0%. In the future, 
  whenever the character would gain additional P.P.E. or LS.P. (e.g. when 
  going up a level), s/he only actually gains half the usual number of 
  points, as the other half is siphoned off to the bottle. Furthermore, the 
  split character cannot Astral Travel. 
  The spell is usually used to protect the character, by taking part of 
  his/her "soul" and keeping it somewhere safe and far away. The person 
  therefore gains a +5 bonus to all rolls to save vs any magic, illusions, 
  mind control, empathic attacks and possession. 
  On the downside, psychic and magical effects may also be cast on 
  the person's mind by casting them on the half of the soul in the bottle 
  with NO special bonuses to protect it (standard saves) - so woe betide 
  the target if the bottle ever got into the wrong hands. Further, the mage 
  who initially cast the spell can gaze into the bottle to send dreams and 
  telepathic messages to the target, and can read his/her current surface 
  thoughts, giving the sorcerer a sort of crystal ball into the mind of the 
  split soul. Finally, if the receptacle (bottle, jar, etc.) were ever broken, 
  then the person's half-soul would be released to find and re-enter 
  his/her body. However, if the physical portion of the body is not within 
  1 000 miles (1 600 km), or worse, not in the same dimension, the splin­
  tered half is likely (01 -60%) to get lost and doomed to wander the 
  world in search of its other half. In this spirit form, the essence fragment 
  can fly (speed 20), hover, think and observe, but cannot affect the 
  physical world. It can only communicate with Channellers, astral be­
  ings, and psychic beings with sensitive powers (telepathy, empathy, 
  etc.). After ID6x lO years, this spirit/essence fragment fades away, ef­
  fectively dying (all penalties remain in force). To locate his other half, 
  the physical half of the person must get within 100 miles ( 1 60 km; auto­
  matically sensing and finding each other). Channellers, Mystics, Astral 
  Travellers and psychic sensitives may be useful in helping to locate the 
  splintered essence. Note: Once separated, the one half does not know 
  what the other is experiencing. 
  LEVEL NINE 
  Create Zombie (Ritual) 
  Range: Touch 
  Duration: 24 hours per level of experience, but the zombie is only ac­
  tive 1 0  hours per day. 
  Saving Throw: None 
  P.P.E.: 80 per each zombie created. 
  This ritual allows the caster to animate a corpse as an undead ser­
  vant. The body's flesh should be mostly intact and relatively "fresh"; 
  dead for less than a two weeks. Some decomposition or bullet holes are 
  no problem, but dismemberment or serious decomposition renders the 
  corpse useless. The corpse has the same statistics as it did in life except 
  that: 
  1 .  It has only animal intelligence ( l D6); no desires or dreams. Effec­
  tively has no M.A., M.E. or alignment (its actions typically reflect those 
  of its creator/master). 
  2. Add + 1 D6 to the P.E. and P.S. attributes. 
  3. Reduce the original P.P., P.B., and Spd. attributes to half. 
  4. It has no skills, except for Hand to Hand: Basic and land naviga­
  tion 75%. 
  5. It has normal base hit points for a first level human (regardless of 
  its actual nature), and 35 S.D.C. 
  6. Zombies regenerate physical damage at a rate of 6 points per each 
  hour of being dormant, but cannot regenerate lost limbs. 
  59 
  Quentin Milton (Order #26014138)
  
  7. Zombies are impervious to horror factor, possession, mind con­
  trol, cold, poison and disease. 
  The zombies are capable of understanding the caster's instructions in 
  any spoken language. They cannot read, understand any other person's 
  words, or follow complex orders. "Destroy anyone else who enters this 
  room," "Go down into the village and kill everyone," "Protect me," and 
  "Enter the house and bring me the blonde-haired child, alive," are the 
  limits of their ability to comprehend. With time, however, zombies cre­
  ated by powerful magicians may begin to develop greater intelligence, 
  along with their own personality quirks, often becoming quite unstable, 
  unreliable and even dangerous. Normally, these creatures are slavishly 
  loyal to their creators, whom they will never try to harm. 
  Note: It's not only humans who can be animated in this way. Dead 
  Nightbane, Hunters, cattle, horses, etc. -anything up to 600 Ibs (270 kg) 
  in weight may be animated by this spell. 
  Damage Notes: The zombie takes little damage from piercing 
  weapons and firearms (e.g. only 4 points from a 4D6 bullet or stabbing 
  attack from a pole arm) but it suffers normal damage from explosives, 
  acid, hacking and bludgeoning weapons, and unarmed attacks (punches 
  and kicks). It suffers double normal damage from fire-based attacks. It 
  is also damaged - burned - by sunlight. So, exposure to a few rays of 
  sun (through chinks in a shuttered window, for example) inflicts 4D6 
  damage on the zombie, while exposure to full sunlight inflicts 2D6xl O  
  damage per melee round (almost inevitably enough to destroy i t  imme­
  diately). 
  Limitations: The zombie will function for a period of time up to 10 
  hours per the caster's level, but this need not always be at a stretch. At 
  the zombie's creation, the caster can determine under what circum­
  stances the undead slave will function, and these conditions cannot later 
  be amended. So, for example, the spell caster might order that the zom­
  bies will rise up and attack when anyone, apart from their creator, enters 
  the chamber that they are in. Or s/he might ordain that they should be 
  active only between dusk and dawn. Note that while inactive, the zom­
  bies do not seem to be undead, but ordinary corp'ses (though they are 
  still magical, as the spell still lingers on them). They may also slowly 
  decompose (depending upon environmental considerations), and may 
  theoretically fall apart before the spell's duration expires. 
  Extending the Magic: 10 hours before the duration of the magic is 
  about to elapse, the original creator can keep the zombie alive (well ... 
  functioning) by expending another 80 P.P.E. per each zombie. This will 
  keep the creature(s) functioning for another 24 hours per level of the 
  creator. 
  Friend in the Head 
  Range: 60 feet 
  Duration: Uncertain 
  Saving Throw: Standard 
  P.P.E.: 75 
  This spell creates a magical intelligence. An enchantment with its 
  own I.Q. and personality which is placed in the head of the target sub­
  ject. If the victim makes a saving throw, then the intelligence cannot get 
  into his/her mind, but instead wanders free; perhaps as a "ghost," or 
  perhaps entering a more vulnerable person such as a drug addict, mental 
  patient, the empty physical body of an Astral Traveler, or inhabiting the 
  head of an animal. 
  The conjured intelligence cannot take control of the person whose 
  head it inhabits, but it can "talk" to them - they hear its voice in their 
  own mind. It can also eavesdrop on their surface thoughts and feel their 
  emotions and anxieties. 
  The personality (harmful or helpful) of this so-called "friend" is de­
  termined by the spell caster at the time the spell is cast and may be 
  genuinely helpful and benevolent, or attempt to distract, confuse, tempt, 
  or make promises or suggestions on behalf of its creator, or badger, tor­
  ment and/or harm the poor soul. 
  60 
  If the voice shouts, shrieks, laughs, nags, belittles, or otherwise at­
  tempts to distract or confuse, the victim's concentration is divided and 
  the character suffers -3 on initiative and perception rolls, - 1  on all other 
  rolls, and -5% on all skill performance during this period. The voice 
  may also keep the unfortunate awake for hours on end, which will lead 
  to fatigue and an additional - 1 0% skill penalty. If designed to harm its 
  victim, it might give phoney information and unhelpful advice, and/or 
  constantly tempt the victim into dangerous, stupid, emotional and evil 
  courses of action. 
  On the other hand, the voice (with its own I.Q. rolled as normal on 
  3D6) may make helpful suggestions, act as a vocal conscience, provide 
  information (things it remembers from experiences since its creation) or 
  may consider problems on the person's behalf (it has no skills, how­
  ever). 
  The voice will typically linger for a number of days equal to its vic­
  tim's M.E., before fading away. Particularly strong willed individuals 
  (with M.E. over 1 9) may make a saving throw every 24 hours to get rid 
  of it. A successful save vs psionic attack/influence will end the magic. 
  Victims with an M.E. of 8 or less, may find the voice of this "friend" 
  lasts much longer than this; at least double, but possibly for months, 
  G.M. 's discretion. If the character comes to appreciate and embrace the 
  voice, it may, at the G.M. 's discretion, remain indefinitely; in all likeli­
  hood becoming a permanent schizophrenia insanity (hears voices ... one 
  anyway). 
  Initially, the voice's objectives and personality are fixed by the spell 
  caster, who may intend the voice to mislead, advise, taunt, confuse, or 
  infuriate the target. However, if the voice lingers for a year or more, it is 
  likely to start developing its own personality and objectives, picking up 
  new ideas (and skills at a rate of one every six months) from its host's 
  thoughts, or striking up a complex relationship with the victim. In some 
  cases, where the victim's M.E. is particularly low (6 or less), the 
  "friend" (the magical intelligence inside the head) may in time, become 
  strong enough to become the dominant personality, actually controlling 
  the body, with the original human personality reduced to a whining 
  voice in the back of its own mind. In other cases, despite its original 
  malignant intent, the "friend" may come to respect and like its intended 
  victim and actually become a "friend" that helps rather than harms. Of 
  course, in other instances, the voice may, despite its host, continue to 
  torment him/her and cause trouble (but not enough to kill the victim, for 
  if that person dies so does the "friend)." 
  LEVEL TEN 
  Fatal Growth (Ritual) 
  Range: 100 feet (30.5 meters) 
  Duration: Special: until victim is slain or magic is negated. 
  Saving Throw: Standard 
  P.P.E.: 95 
  When this spell is cast, the bones of the target person begin to grow 
  very rapidly, expanding, forming spines and spikes, twisting and gener­
  ally causing all manors of deformity. This is extremely painful (the vic­
  tim must roll to save vs pain, 16 or higher, or fall over, too pained to 
  even move). 
  The first melee after the spell is cast, the target takes I D6 damage. 
  The next melee this is doubled to 2D6, then the next to 4D6, then 8D6, 
  then l 6D6 and so on, until his/her body simply rips itself apart (Note: 
  The Fleshsculptor's spell to heal living bones can only be used to stop 
  the damage from exceeding 4D6 hit points per melee round, delaying 
  the inevitable. Negate magic and remove curse will stop it instantly, but 
  any damage sustained till that point remains). Damage is inflicted every 
  melee round from the time that the spell is cast until the target dies, and 
  is inflicted straight to hit points, S.D.C. and armor having no effect. 
  Quentin Milton (Order #26014138)
  
  However, the spell has four major drawbacks: 
  1. The high P.P.E. cost. 
  2. The target must be within sight or the caster must have some ob­
  ject intimately associated with the target (a stolen wedding ring, or vial 
  of blood, for example). 
  3. The spell has a fairly short range, so that the mage must get quite 
  close to the target, and then perform the ritual uninterrupted. The ritual 
  takes 1 D6+6 minutes to perform. 
  4. This magic will not work against other magicians, Nightbane, su­
  pernatural beings (including the Nightlords and Minions of the Night­
  lords), energy beings, astral beings, creatures of magic and similar 
  inhumans. Likewise, mortals protected by a Bloodward are also imper­
  vious to this magic. 
  Note: The spell caster can stop the magic at any time, causing the 
  bones to return to normal, but all damage suffered by the victim re­
  mains. 
  LEVEL ELEVEN 
  Destroy Undead Flesh 
  Range: 30 feet (9 meters). 
  Duration: One melee round per level of experience. 
  Saving Throw: Standard, each melee round. 
  P.P.E.: 100 
  This spell works exactly like Destroy Dead Flesh, causing a carcass 
  of up to 600 lbs (270 kg) in weight to smolder, crumble and evaporate. 
  The spell, however, also works on undead flesh. So, the spell inflicts 
  1 D6x1O damage per melee round on the undead (vampires, zombies, 
  animated corpses, etc.). The target takes damage each melee round until 
  either it saves vs the spell (roll once per round) or the spell ends. If the 
  spell is still active when the target "dies," all of its flesh is then de­
  stroyed the following round by the magic. 
  LEVEL TWELVE 
  Mictlantecutli's Command 
  Range: Touch 
  Duration: Until the skin is destroyed. 
  Saving Throw: None. 
  P.P.E.: 1 50 
  Note: This magic will not be used by characters of a good or unprin­
  cipled alignment. 
  This ritual, originating amongst the Aztecs, provides an extreme 
  method of gaining command over another's magics. 
  The sorcerer must capture the magician whose magics he intends to 
  control, and in an hour long ritual beneath the mid-day sun, flay the 
  skin from the still living victim. The skin must be taken largely intact, 
  and it is in this skin that the enchantment is laid. Its original owner's 
  death (flaying will kill him) provides some or all of the P.P.E. for the 
  enchantment (doubled at the moment of death). 
  The skin may then be worn as an over-skin by another magician, and 
  it will not naturally rot or decay. Hair still grows on its scalp, and it still 
  sweats in the sunlight. Magically disguised by this skin, all spell knowl­
  edge known by the deceased sorcerer is now available to the magician 
  wearing his or her flesh. This will also work to control any ongoing 
  magic or magical servants which serve and obey the deceased mage. So, 
  zombies will obey the commands of the person wearing their creator's 
  skin as if that person were their creator; familiars, too, will obey the 
  new skin's wearer; etc. Of course, magics which have their own I.Q.s 
  may notice the strange orders being given to them by their master(?), 
  and react accordingly. 
  61 
  Open Pathway 
  Range: 20 feet (6 meters) 
  Duration: 1 D6 melee rounds 
  Saving Throw: None 
  P.P.E.: 1 70 
  This spell allows a magician to call up and "open" a Pathway be­
  tween his current location to any other known location on any other 
  world or plane. The caster must have visited the place, or have an ex­
  tremely good description of it. The Megaverse is a big place, and if the 
  mage is at all imprecise about where s/he wants to go, then the odds are 
  that s/he will end up somewhere s/he doesn't like - somewhere similar 
  but entirely wrong. The only restriction is that the spell caster cannot 
  open a Pathway to a location on the same world or plane as his current 
  location. 
  These "Pathways" are in fact living entities of some sort, and the 
  spell bears more resemblance to a summon magic than a planar travel or 
  teleport spell. There are several dozen pathways in existence, each with 
  its own personality and appearance, and each with its own Open Path­
  way spell. If a magician wants to be able to call up a number of path­
  ways, he will have to learn multiple versions of this spell. Knowing 
  how to open one Pathway is sufficient, in any case, as any Pathway can 
  lead between any two locations. 
  Each Pathway is a little world to itself, with a clearly marked path (a 
  road, path, or river, for example) snaking through it. Wandering away 
  from the marked path is very dangerous, as wayward travelers could 
  stumble off into any number of worlds or planes. Usually, to help guide 
  people through, each Pathway creates an "embodiment" of itself to 
  guide or carry travelers. 
  When the spell is cast, the Pathway "opens" at a random point 
  within 20 feet (6 m) of the caster. It remains open for 1 D6 melees, and 
  anyone may enter the gateway during that time. In theory, large objects 
  such as vehicles may also enter, depending upon the size of the open­
  ing, which varies from pathway to pathway. Travelling through the 
  Pathway usually then takes several minutes. 
  Example Pathways 
  1. Cyncjak, (A young Pathway): Cyncjak (sink-jack) is a "young" 
  Pathway, just a few hundred years old. Its entrance is always unassum­
  ing and unostentatious, blending in with the surroundings. It might ap­
  pear as a simple door in an urban wall, or a narrow cave mouth in a 
  mountain. 
  Inside, a featureless humanoid form waits expectantly for whoever 
  opened the Pathway - the featureless humanoid is a reflection of the 
  immature pathway's uncertain embodiment. It tries to take a character's 
  hand to lead him through, but its grip is tight and nervous, as if it 
  wanted to hold the character for its own comfort as much as to guide 
  him. Throughout the journey, the young embodiment tries to form into 
  several coherent shapes, but maintains none for long. It might try the 
  shape of an oversized punk-rocker, a Hitler Youth recruit wearing a 
  Mickey Mouse mask, a young girl dressed as a whore, a small friendly 
  mongrel dog, a gossamer-winged faerie, a dopey-looking cartoon 
  dragon, a grotesque giant teddy bear, and so on. All the while it will re­
  peatedly and uncertainly ask the character(s) "where am I meant to take 
  you?" "where do you want to go?" "am I doing all right?" Occasionally 
  the embodiment turns on the character(s) and swears at them, telling 
  them that it's sick of guiding them and that they can find their own way, 
  but then immediately repents and begs their forgiveness. 
  In places, the Pathway can appear as a narrow bridge over a bottom­
  less ravine, in others, as a rocky path between an unscaleable cliff and a 
  sea of magma, or it can follow a beach between a desert and a raging 
  ocean. In another place it skirts the edge of a graveyard, or it passes 
  through an empty but noisy school and then an office teeming with si­
  lent workers. 
  At the end of the path, the character(s) emerge from an opening as 
  simple and discreet as that through which they entered. 
  Quentin Milton (Order #26014138)
  
  In order to open Cyncjak, the magician must offer up a bribe such as 
  a handful of candy, a comic book, a doll, or a child's toy, or something 
  similar. Somewhere inside the Pathway there is a little room, like a 
  nursery, where it stores these treasures. 
  2. Khasticx (An aging Pathway): Khasticx's (cas-ticks) entrance 
  appears as an open grave near to whoever opened the Pathway. The 
  headstone bears their name(s). They must leap into this pit to enter the 
  Pathway. 
  Through the grave the group drops hundreds of meters into a broad 
  river of blood under a red sky. As they flail in the river, a skeletal hand 
  grabs each and drags them onto a creaking, leaking, old shallow­
  draught boat. The embodiment cannot be bothered to maintain a 
  friendly appearance, and now stands before them as Charon, the mythi­
  cal Ferryman of the Dead. 
  Along the Pathway the river broadens, opening into an endless ar­
  chipelago of little islands, dotted with treacherous reefs. Sometimes 
  passengers glimpse figures on the barren black islands, their faces con­
  stantly shifting, but often resembling people whom the player characters 
  have killed in the past. The embodiment is a poor conversationalist, 
  blandly responding to any statements with "If that's what you say," or 
  "Who am I to argue?" 
  After an immeasurable period of time, a wooden jetty appears in the 
  distance. Time becomes indistinct through this pathway, and all watches 
  and similar devices stop while inside it. Once all the characters are all 
  off the boat and on the jetty, then the river, the embodiment and all of 
  the pathway, fades away with a sound like a distant baby's cry. The 
  Pathway just leaves the group standing at their chosen location, along 
  with a small silver coin embossed with a wheel - the Buddhist and 
  Hindu symbol of the cycle of time and the cosmos, of continuity and 
  change, and of rebirth -as a reminder that there are really no begin­
  nings or endings. 
  To open this Pathway requires a single silver coin, marked with a 
  wheel. 
  Other Pathways: G.M.s should feel free to invent their own Path­
  ways, perhaps in consultation with the players. The nature and character 
  of the pathway should reflect the feel of the campaign that you are run­
  ning. Moreover, the Pathway which any magician has learned to open 
  may well reflect his or her own personality, especially in the case of 
  mystics, who intuitively "know" spells rather than learning others' .  
  A s  examples, a Pathway might b e  a huge whirlpool o f  blood, which 
  sucks its travelers down and through to their destination, speaking tele­
  pathically into their minds if required; or it might be a giant eagle, 
  which scoops travelers up in its claws and carries them through the 
  mists of the Astral Plane or a wonder realm of blue (or other color) sky 
  and tunnels of clouds; or it might be a yellow New York taxi cab with a 
  two-headed driver who constantly argues with himself while he drives 
  travelers through a twisted (or normal) looking city to their destination. 
  Rules issues and Pathways 
  Pathways often have the same natural laws as the mortal world, al­
  though G.M.s should feel free to invent Pathways with weird gravity, 
  where light bends, where fire cannot exist (so that firearms don't work), 
  etc. In general, magic, firearms, psionics, etc., work in Pathways as they 
  do anywhere else. Obvious exceptions include the fact that a Pathway 
  cannot be opened from within or to another Pathway; and since the 
  Pathway is outside of all planes and worlds, no spell cast in a Pathway 
  will ever have sufficient range to affect someone in another world. Nor 
  can one dimensionally traveVexit by other means, Mirrorwalk, or tele­
  port while inside a Pathway. 
  Pathways themselves typically have around 10,000 hit points and 
  equal S.D.C. I.Q. is roughly 3D6+24, except that their minds are so en­
  tirely alien that this means nothing in mortal terms. They don't see time, 
  space, individual identity, or anything else in the same way that humans 
  do, and so using psionics or magic to pry into or affect their minds is 
  fruitless. Indeed, G.M.s are encouraged to rule that looking into the 
  mind of something this utterly alien is likely to do extremely bad things 
  62 
  to a person's mind (psionics, be warned!). Moreover, they are not even 
  alive, or even real in any meaningful human sense, and spells which at­
  tempt to affect them as if they were living organisms or natural environ­
  ments automatically fail. 
  Note: Pathways have no obligation to carry travelers anywhere. Peo­
  ple who try to harm or control them, or refuse to travel forward, will be 
  expelled from the Pathway, simply dropping out into any arbitrary real­
  ity that is convenient for it. Characters could end up anywhere on any 
  world or dimension as a result of this. 
  What are Pathways? 
  It is said that Pathways exist in all places at the same time, and by 
  opening one and stating a destination, all that a magician does is take 
  advantage of this enigmatic being's existence and nature. One theory is 
  that Pathways are only intelligent if there is an intelligent person within 
  them (which is why they take on forms that humans can recognize and 
  understand when humans are within them), though this is uncertain. 
  No one actually knows what Pathways are, where they come from 
  (though most are thousands of years old), or what they want from exist­
  ence. Probably, "are," "from," and "want" are concepts which Pathways 
  themselves would have difficulty grasping. Why they transport people 
  through themselves is also uncertain, although some pessimists have 
  suggested that they are somehow digesting the people whom they carry, 
  much as worms remove nutrients from the earth that passes through 
  them (which is possible). However, no one has (yet) proved that the 
  Pathways' passengers actually lose anything by passing through them. 
  At least not anything they notice. 
  The Pathways' minds are incredibly complex, and some magicians 
  have speculated that if they exist everywhere at once, they should, logi­
  cally, know absolutely everything about everywhere. Unfortunately, 
  their minds are far from logical, and it isn't certain that they actually 
  KNOW that they KNOW anything (or that they could understand the 
  idea of knowing in the first place). All of this, in any case is just irrele­
  vant speculation ... unless a G.M. can find interesting plot ideas or role­
  playing opportunities in any of this. 
  LEVEL THIRTEEN 
  Psychic Drain (Ritual) 
  Range: One mile ( 1 .6 km). 
  Duration: One week. 
  Saving Throw: Standard 
  P.P.E.: 200 
  This ritual enchants a small object, which draws P.P.E. from the un­
  fortunate target. Several versions of the spell exists, each requiring a 
  different sort of object as the focus of the spell; some a bone knife, 
  some a crystal sphere, etc. All that is required is the object to be en­
  chanted, and that during the ritual there also be some object intimately 
  associated with the intended target (blood, hair, a favorite garment, 
  etc.). The victim may roll once only to save, when the object is first cre­
  ated. 
  For one week thereafter, so long as the victim remains within one 
  mile ( 1 .6 km) of the object, s/he cannot recover spent P.P.E. Any P.P.E. 
  which would normally be recovered is siphoned off to this object. What 
  happens to it then is entirely up to the GM. Does it form into any kind 
  of shape? Extend the spell's duration? Imbue the enchantment with the 
  victim's own personality? 
  The spell caster may order the object to cease functioning at any 
  time, and the enchantment ends after one week or if the object is de­
  stroyed. 
  Quentin Milton (Order #26014138)
  
  LEVEL FOURTEEN 
  Maggots Curse 
  Range: 5 feet ( 1 .5 meters) per level of experience. 
  Duration: Conditionally, 4 melee rounds per level of experience. 
  Saving Throw: Standard (once only). 
  P.P.E.: 500 
  The Maggots Curse is a particularly nasty spell, which causes a large 
  nest of maggots to start feeding and mUltiplying inside the flesh of a liv­
  ing person. At the end of the first round after the spell's casting, the vic­
  tim has shooting pains in his or her abdomen or limb, and takes I D4 
  damage. The melee round afterwards, the character takes 1 D6 damage, 
  and must roll under his or her P.E. or fall down, writhing in agony for 
  the subsequent melee rounds. At the end of each round thereafter, the 
  target must make a new roll against P.E. and takes an additional 2D6 
  damage direct to hit points. Armor or being inside a locked vehicle or 
  room is no protection, as the maggots are eating out from the inside. By 
  the fourth round, some of the horrid larvae will poke through the skin, 
  revealing the cause of the pain. 
  The duration of the spell is determined by the caster's ability to keep 
  concentrating on the target of this hideous affliction. If the caster loses 
  sight of the target, desires to cast another spell, engages in some other 
  activity requiring his concentration, or is knocked unconscious or dies, 
  then the spell is automatically over and the maggots all disappear, but 
  their damage remains. If the spell ends before the victim dies, all of the 
  maggots die and fade away, although the character may later cough up 
  or excrete a couple, just for horror's sake. If the target dies while the 
  spell is still in operation, then the maggots continue to magically breed 
  and consume at an exponential rate even after the spell has ended, until 
  the body has been reduced to bare bones! 
  63 
  Note: There is a 0 1 -33% chance that a victim who survives will ac­
  quire a phobia concerning maggots. Numerous Fleshsculptor spells can 
  restore damaged and eaten flesh and muscles, and even internal organs. 
  LEVEL FIFTEEN 
  Someone Makes Them (Ritual) 
  Range: Touch 
  Duration: Indefinite 
  Saving Throw: Standard 
  P.P.E.: 920 
  This spell (named from the comment that people aren't born as mon­
  sters, someone makes them that way) reconstructs the target's personal­
  ity by going through their mind and restructuring, replacing and 
  deleting all of their memories of their formative experiences. Thus, the 
  spell can be used to delete memories of a caring family life, and replace 
  them with memories of abuse or neglect, or equally, foul episodes can 
  be replaced by constructive experiences. In this way, the magician can 
  reconstruct the ways in which the target has learned to think about him­
  self, other people, animals, drugs, culture, sex and so on. 
  With a little malice and forethought, a mage can therefore tum a 
  well-adjusted, kind human being into a twisted, pained sadist. And with 
  more care (a successful I.Q. roll is required), the caster can cure or cre­
  ate addictions, implant or remove psychopathic urges or other insani­
  ties, change the character's alignment, manipulate the target's sense of 
  who s/he is, implant or remove obsessions and cravings, give the target 
  memories of nonexistent places or people (new friends and enemies), or 
  generally do anything else which s/he wants to the poor victim's psy­
  che. 
  Fleshsculptor 
  Magic 
  By Kevin HassaU & Kevin Siembieda 
  The following magics are available only to Fleshsculptor characters. 
  Note also that Fleshsculptors cannot cast the majority of standard spells; 
  they can, however, use any standard spells which affect only flesh. This 
  obviously includes spells like traitorous hand, spells which animate 
  corpses, healing magics, etc., but less obviously includes sense Night­
  spawn (because Nightspawn are, basically, made of flesh), death trance, 
  climb, levitation (but only if cast at fleshly targets, not inanimate ob­
  jects), ritual: call creature of light, breathe without air, impervious to 
  fire (except that only the target and fleshy objects like leather jackets 
  are so protected), invisibility spells (although again, possessions and 
  clothes are not affected), etc. 
  Note that almost all of the new spells below are Ritual spells. In 
  most cases the Fleshsculptor's Rituals are surgical affairs in the style of 
  Doctor Frankenstein, stitching or melding old bits of body together. 
  This means that the target subjects of such spells must be placid (prob­
  ably sedated or restrained) or willing victims, and the caster must have a 
  selection of suitable tools to assist him or her in the magic. 
  • 
  Quentin Milton (Order #26014138)
  
  Fleshsculptor Spells 
  Alphabetical List of Fleshsculptor Magic by Level 
  Level One 
  Destroy Dead Flesh ( 1 -6) 
  Preserve Living Flesh (2) 
  Reanimate Flesh (2) 
  Sense Life Essence (2) 
  Level Two 
  Disfigure Flesh/Skin ( 1 0  or 50) 
  Fuse Bones (4) 
  Replace Flesh (5) 
  See Through Lifeless Eyes (4) 
  Level Three 
  Sculpt Flesh (8 or 60) 
  See Health (6) 
  Skin Rash ( 1 0) 
  Level Four 
  Alter Flesh/Skin (12-20) 
  Crawling Flesh ( 1 5) 
  Elongated Appendage ( 1 5  or 30) 
  Heal Living Flesh ( 1 0) 
  Level Five 
  Heal Living Bone ( 1 5) 
  Paralysis (12) 
  Spoil Meat (10) 
  Summon Tattoo ( 1 0  or 30) 
  Level Six 
  Open Living Flesh (25) 
  Restore Living Flesh (35) 
  LEVEL ONE 
  Destroy Dead Flesh 
  Range: 10 feet (3 meters) 
  Duration: Permanent (see below). 
  Saving Throw: None 
  Level Seven 
  Remove Skin (30) 
  Remove Tumor (35) 
  Replace Limb (30+) 
  Level Eight 
  Meld Living Flesh & Bone (60+) 
  Sculpt Senses (40) 
  Level Nine 
  Absorb Object (50) 
  Remove Living Bone (60) 
  Level Ten 
  Create Living Tattoo (70) 
  Living Hell - Temporary (80) 
  Level Eleven 
  Age (50) 
  Destroy Undead Flesh (80) 
  Level Twelve 
  Total Replacement ( 1 90) 
  Level Thirteen 
  Living Hell - Permanent ( 1 80) 
  Level Fourteen 
  Embodiment (200) 
  Mindsculpt (250) 
  Level Fifteen 
  Reconstructive Restoration (550) 
  P.P.E.: One per 1 00 lbs (45 kg) of target's weight. 
  Fundamentally the same as the sorcerer's spell, which utterly de­
  stroys the dead flesh of one carcass or corpse, up to 600 lbs (270 kg) in 
  weight. The flesh smolders for several minutes (taking one minute per 
  1 00 Ibs/45 kg), crumbling into a black ashen residue which then evapo­
  rates. Very handy for destroying the evidence of fights and murders, or 
  for covering up the destructions of supernatural creatures. Has no effect 
  upon magically animated or otherwise "undead" flesh. Casting the spell 
  requires the expenditure of 1 P.P.E. per 100 lbs (45 kg) or part thereof 
  of the target's weight: usually costing 2-3 P.P.E. for most humans. 
  Preserve Living Flesh 
  Range: Touch 
  Duration: ID4 weeks per level of experience. 
  Saving Throw: None 
  P.P.E.: 2 
  A spell that will keep living skin/flesh/tissue (including small organs 
  like eyes, liver, spleen, etc.) alive for weeks. The flesh can be placed in 
  a container or left out in the open air (though the latter is more vulner­
  able to accidental damage or theft). 
  64 
  Reanimate Flesh 
  Range: Touch 
  Duration: One hour per level of experience. 
  Saving Throw: None 
  P.P.E.: 2 
  Same as the Sorcerer/Wizard spell, only longer duration and less 
  P.P.E. cost. 
  Sense Life Essence 
  Range: 5 feet ( 1 .5 m) per level of experience. 
  Duration: One minute. 
  Saving Throw: None 
  P.P.E.: 2 
  A spell that enables the Fleshsculptor to sense the presence of life in 
  an individual who may otherwise appear dead (coma, death trance), or 
  locate the living (even a worm buried in the soil) where none seems to 
  exist. This spell can also sense the presence of a possessing entity, as 
  well other entities, fragmented life essences, invisible spirits and Astral 
  beings. With concentration and the expenditure of another 2 P.P.E., the 
  character can see these life essences either as an aura or as the energy 
  beings/people/creatures they are. 
  LEVEL TWO 
  Fuse Bones 
  Range: Touch 
  Duration: The ability to fuse bones lasts for five minutes per level of 
  experience. The fusion (e.g. sticking bones together) is permanent. 
  Saving Throw: None 
  P.P.E.: 4 
  A spell that enables the Fleshsculptor to magically fuse or join bones 
  from the dead as components/pieces to build strange constructs, bone 
  sculptures/works of art, bone charms and jewelry, weapons, and so on. 
  Note: This spell does not work on the bones of living creatures. 
  Replace Flesh 
  Range: Touch 
  Duration: Permanent 
  Saving Throw: None 
  P.P.E.: 5 
  This spell allows a Fleshsculptor to replace or add a small amount of 
  flesh to repair damaged or lost (through cuts or bums) areas of skin. Re­
  stores I D4 S.D.C. 
  See Through Lifeless Eyes 
  Range: 5 feet ( 1 .5 m) or closer - line of sight. 
  Duration: Instant 
  Saving Throw: None 
  P.P.E.: 4 
  This spell allows the caster to look into the eyes of any dead person, 
  animal, or creature, and to see reflected in their pupils the last image 
  they saw. This is a frozen image, like a photograph. The spell also al­
  lows the caster to look into the eyes of those in a coma in the same way 
  (seeing the image that they saw as they slipped into unconsciousness), 
  and to see the current thoughts and concerns of someone in a trance. In 
  each case, this is done by staring into their eyes. 
  Disfigure Flesh/Skin 
  Range: Touch 
  Duration: I D4 days per level of experience. 
  Saving Throw: Standard 
  P.P.E.: 10 temporary disfigurement, 50 permanent. 
  Quentin Milton (Order #26014138)
  
  The touch of the Fleshsculptor over an area the size of a human head 
  or the length of a limb (arm or leg) will cause that area of flesh to be­
  come disfigured in one of the following ways (spell caster's choice): 
  Covered in red, white and black pimples or acne scars; discolored 
  blotches (lighter or darker than natural skin); strangely lumpy or scaly; 
  scarred; aged with heavy wrinkles (looks 90 years old); or flaky patches 
  of skin that resemble scabs. In any case, the P.B. attribute of the victim 
  is reduced by half. 
  LEVEL THREE 
  Sculpt Flesh 
  Range: Touch 
  Duration: The ability to mold flesh lasts for five minutes per level of 
  experience. A temporary change of flesh on the subject lasts six hours 
  per level of the Fleshsculptor, or can be made permanent. 
  Saving Throw: None, unless the magic is being used against the char­
  acter's will, then a standard save is appropriate. 
  P.P.E.: 8 temporary or 60 P.P.E. to make permanent. 
  This magic enables the Fleshsculptor to push, move and change liv­
  ing or dead flesh as if he were working clay! This magic can be used to 
  change a person's features to look like a different person or to look 
  alien, monstrous or grotesque. It is especially useful in creating imper­
  sonations, tormenting captives by disfiguring their face, and so on. 
  Note: There is no difficulty changing a subject's features with this 
  magic, but to make an individual look exactly like another person re­
  quires both the skills disguise and art: sculpt. A Fleshsculptor can make 
  the change permanent by expending 60 P.P.E. (recovers as usual; it is 
  not permanently depleted from the mage's permanent P.P.E. base like 
  other spells). 
  65 
  See Health 
  Range: 5 feet per level of experience. 
  Duration: Instant 
  Saving Throw: None 
  P.P.E.: 6 
  The caster can "see" the general health of one lump of flesh (e.g. a 
  tissue sample or an entire person, animal, etc.). If it is alive, s/he can tell 
  how healthy it is, whether any spells, powers or psychic effects are cur­
  rently causing it pain or physical inconvenience (but cannot identify the 
  nature of the spell, psionics, or other power), and whether any major 
  problems afflict it (e.g. tumors, infected wounds, poison). 
  If the lump of flesh is dead (e.g. a corpse or joint of meat), the caster 
  can see how long the flesh has been dead (establishing time of death to 
  within an hour), the level of decay, the presence of disease, whether 
  maggots have infested it, and similar. The spell also allows the mage to 
  tell if a body or area of meat is magically animated or undead, or pos­
  sessed in any way. 
  Skin Rash 
  Range: Touch 
  Duration: I D4 days per level of experience. 
  Saving Throw: Standard 
  P.P.E.: l O  
  The spell caster can create a rash b y  touch. The rash covers one en­
  tire limb (face/head, hand, arm, etc.) and is unsightly. It also itches or 
  bums, and is a constant irritant and distraction. Penalties of those af­
  flicted are -2 on initiative, - I on all combat bonuses, - 1 0% on skill per­
  formance, and reduce P.B. attribute by 20%. Make-up will not conceal 
  the rash and only makes it itch worse. 
  LEVEL FOUR 
  Alter Flesh/Skin 
  Range: Touch 
  Duration: One day per level of experience. 
  Saving Throw: None if wanted, standard if an attack meant to harm. 
  P.P.E.: 1 2-20 
  The touch of the Fleshsculptor can give ordinary skin a different 
  look and texture. This spell affects the entire body, with the following 
  results; it is usually cast to disfigure and hurt people, even though it of­
  fers additional S.D.C. protection. 
  Paper thin and semi-transparent: Light colored and so thin that 
  every vein (blue in color) can be seen under the skin. Reduce S.D.C. 
  and P.B. by one third. Costs 12 P.P.E. 
  White and soft: The skin is unusually light, almost white, with only 
  a hint of color. It is sensitive to light and is easily sunburned and 
  bruised. Reduce S.D.C. and P.B. by half. Costs 1 5  P.P.E. 
  Firm, cold and scaly: Like a snake with tight, firm scales; cool to 
  the touch. Adds 3D6 to S.D.C.; reduces P.B. by half. Costs 1 2  P.P.E. 
  Saggy, rough and scaly: Like an iguana. Adds 3D4 to S.D.C.; re­
  duces P.B. by one third. Costs 1 2  P.P.E. 
  Thick, rough and wrinkled: Has the look of tree bark. Adds 3D6 
  S.D.C.; reduce P.B. and Spd attributes by one third. Costs 14 P.P.E. 
  Thick, lumpy and scaly: Like a crocodile. Adds 3D6+6 to S.D.C., 
  but reduces P.B . by half. Costs 16 P.P.E. 
  Thick, tough hide: Like that of a rhinoceros or hippo! Adds 
  I D4x l O  to S.D.C., but reduce P.B. and Spd attributes by half. Costs 20 
  P.P.E. 
  Quentin Milton (Order #26014138)
  
  Crawling Flesh 
  Range: Touch or 5 feet ( 1 .5 meters) per level of experience. 
  Duration: One hour per level of experience. 
  Saving Throw: Standard, but -2 to save. 
  P.P.E.: 1 5  
  An impressive and eerie spell that makes the skin of its victim undu­
  late and move as if something is percolating or crawling underneath it. 
  The effect covers the entire body and is quite horrific, although pain­
  less. Penalties: The victim has a horror factor of 14 (scaring most peo­
  ple who see him/her), loses some sensation of touch, is incredibly 
  distracted: -6 on initiative, -25% on skill performance, reduce all com­
  bat bonuses by half and P.B. attribute by half. Worse, those afflicted for 
  more than five hours can be driven crazy by the constant crawling sen­
  sation (0 1 -50% chance of getting a phobia; typically a fear of crawling 
  things like worms or other squirming or burrowing insects, snakes, or of 
  Fleshsculptors ). 
  Elongated Appendage 
  Range: Touch 
  Duration: One hour per level of experience or one day per level of ex­
  perience for double the P.P.E. 
  Saving Throw: None, unless the spell is being used against the charac­
  ter's will, then standard. 
  P.P.E.: 1 5  or 30. 
  The spell caster can make one pair of limbs (fingers, hands, arms, or 
  legs) twice as long as normal and still function as normal. Likewise, this 
  spell can be made to stretch a person's neck or face. 
  66 
  Heal Living Flesh 
  Range: Touch 
  Duration: Instant and permanent. 
  Saving Throw: None 
  P.P.E.: 10 
  The Fleshsculptor can stop bleeding, heal bruises, and cause wounds 
  to close and heal without scarring; restores 2D6 hit points and S.D.C. 
  Also see Restore Living Flesh; 6th level. 
  This spell can also be used to painlessly remove boils and pimples 
  and cure nonmagical skin rashes. 
  LEVEL FIVE 
  Heal Living Bone 
  Range: Touch 
  Duration: Instant and permanent. 
  Saving Throw: None 
  P.P.E.: 1 5  
  With the touch o f  his hands and concentration, the Fleshsculptor can 
  magically heal broken, fractured and even splintered bones in a matter 
  of minutes! Restores 3D6 hit points and S.D.C. points. 
  Paralysis 
  Range: Touch or 30 feet (9 m) 
  Duration: The effect lasts one minute (4 melees) per level of experi­
  ence. 
  Quentin Milton (Order #26014138)
  
  Saving Throw: Standard 
  P.P.E.: 1 2  
  This magic attack temporarily paralyzes a part of its victim's body, 
  immobilizing that particular limb. A paralyzed hand means that the per­
  son cannot pick up or hold objects, write, or use the hand in any way. A 
  paralyzed arm means the limb dangles uselessly at the person's side. A 
  paralyzed leg will make standing difficult and movement almost impos­
  sible; reduce speed by 90%, and -2 to parry and dodge. Note: The in­
  cantation will paralyze only one limb per each invoking of the magic. 
  Internal organs cannot be affected, so the mage can't paralyze a heart, 
  lung, etc. Note: Paralysis cannot affect people inside a vehicle or body 
  armor. 
  Spoil Meat 
  Range: Touch or 3 feet (0.9 m). 
  Duration: Instant 
  Saving Throw: None 
  P.P.E.: 10 
  In this case, the mage can instantly spoiVrot all types of dead/proc­
  essed meats (beef, pork, chicken, fish, etc.), affecting 50 pounds (22 kg) 
  of flesh. The spoiled food is inedible. Anybody who forces themselves 
  to eat the horrible tasting meat will get sick with stomach cramps and 
  diarrhea. Penalties: -2 on initiative, -1 to strike, parry and dodge. Note: 
  This spell has no affect on living flesh/creatures. 
  Summon Tattoo 
  Range: Touch 
  Duration: 2D4 weeks per level of experience or permanent. 
  Saving Throw: None 
  P.P.E.: 10 temporary, or 30 to make permanent. 
  This spell enables the spell caster to instantly and painlessly create a 
  tattoo on the skin by placing his/her hand over the area to be marked 
  and concentrating for one minute. The mage must imagine the image in 
  his/her mind, and for best results, s/he should stare at a drawing or pho­
  tograph of the desired image (animal, graphic design, cartoon, logo, 
  etc.). 
  LEVEL SIX 
  Open Living Flesh 
  Range: Touch 
  Duration: Two minutes per level of experience. 
  Saving Throw: None, unless the subject resists, then standard. 
  P.P.E.: 25 
  The Fleshsculptor can make flesh/skin open as if cut by a knife and 
  invisible hands spread it open. The mage can also cause muscle to 
  spread apart with a touch of his finger. Note that none of this hurts, un­
  less the mage physically grabs, pulls, strikes, cuts or stabs a muscle, 
  bone or internal organ with the deliberate intention to inflict pain and/or 
  cause injury. This spell is typically used in pain free (or pain reduced) 
  surgery. The muscles resume their normal shape and the skin closes at 
  will or at the end of the spell without leaving any scarring. 
  Restore Living Flesh 
  Range: Touch 
  Duration: Instant and permanent. 
  Saving Throw: None 
  P.P.E.: 35 
  The Fleshsculptor can restore flesh (skin and muscle) that has been 
  damaged from acne, fire/burns, disease, poison, injury or torture by 
  erasing scars and blemishes, and restoring the flesh to its natural health 
  and vitality. It can erase tattoos too. The healing is done by the 
  67 
  Fleshsculptor working it with his hands, rubbing and massaging the ar­
  eas of the body to be restored and focusing the magical energy for the 
  desired effect. 
  It can even repair/restore a diseased or injured heart, which is a mus­
  cle after all. Likewise, it can close open wounds (the result of bullet 
  wounds, stabbings, cuts, etc.) and restores up to 4D6 hit points and 
  S.D.C. Also see Meld Living Flesh & Bone; 8th level) 
  If the flesh is diseased, e.g. plagued by cancer or a disease that rav­
  ages the muscles or tissue (not bones), the mage can temporarily restore 
  the flesh, but the disease will remain and slowly begin to ravage the 
  healed flesh again. However, this magic will restore the person to com­
  plete and total health for 2D4 months, plus there is a 01 -40% chance the 
  disease will remain in remission for an additional 4D4 months; roll per­
  centile dice. If a 0 1 -03 is rolled, the healing is permanent! However, in 
  most cases the disease resurfaces within 6-24 months. 
  It can also be used to cure magical disfigurement, skin rashes, elon­
  gation, flesh sculpting, and remove magically attached appendages 
  placed against one's will by another Fleshsculptor, unless they are per­
  manent. In all cases, the end result is healthy, blemish free flesh/skin 
  and muscles. 
  Note: In the alternative, this spell can be used on spoiled and/or rot­
  ting meat to make it fresh and edible. 
  LEVEL SEVEN 
  Remove Skin 
  Range: Touch 
  Duration: Instant and permanent. 
  Saving Throw: Standard, but only if the magic healing is unwanted. 
  P.P.E.: 30 
  Quentin Milton (Order #26014138)
  
  The mage can magically remove a character's skin either by peeling 
  it away in 2-4 large pieces or in one long piece! The procedure is pain­
  less (though horrifying) and the magic enables the person or animal to 
  live and function without his skin. This reveals all the muscles, cartilage 
  and goo under the skin and creates a horror factor of 1 7 !  The skinless 
  person can function normally, but his or her S.D.C. is reduced by half 
  and the sense of touch is diminished by about half normal. Note: The 
  replace flesh spell can be used to completely recover the character with 
  perfectly healthy and scar free skin. 
  Remove Tumor 
  Range: Touch 
  Duration: Instant and permanent. 
  Saving Throw: Standard, but only if the magic healing is unwanted. 
  P.P.E.: 35 
  The mage can magically sense and remove one tumor from any­
  where in the body except the brain. Any benefit that comes from its re­
  moval will be noticeable within 24 hours 
  Replace Limb (Ritual) 
  Range: Touch 
  Duration: 2D6 weeks or permanent. 
  Saving Throw: None 
  P.P.E.: 30 temporary. To make permanent, either 325 P.P.E. must be 
  expended, or 30 P.P.E. permanently sacrificed by the spell caster. 
  This spell is similar to the Meld Living Flesh and Bone (8th level) 
  spell in that the spell caster can replace an appendage such as an entire 
  hand, arm or leg. In this case, the donor limb must come from the same 
  species and no extra limbs are possible. The attached limb is instantly 
  and completely healed without pain and fully functional! However, it 
  retains the appearance of the donor, so it may have different skin color 
  or tone, different features, hair color, shape, and even length. If not per­
  manent, the limb will eventually wither and rot. To keep the "replace­
  ment" for a longer period, the spell must be "recharged. No ritual or 
  new surgery is required, but the full P.P.E. amount invested must be re­
  newed. To do this, the original spell caster or another Fleshsculptor who 
  knows the spell must touch the area and imbue it with 30 P.P.E. This 
  will extend it for another 2D6 weeks. If the magic energy is not replen­
  ished before the spell duration expires, then the appendage will cease to 
  function, die, slowly rot and (unless swiftly removed) infect the poor re­
  cipient. This infection is, effectively, gangrene, and is fatal if not 
  treated. 
  LEVEL EIGHT 
  Meld Living Flesh & Bone 
  Range: Touch 
  Duration: I D6 weeks or permanent. 
  Saving Throw: None 
  P.P.E.: 60 per each additional appendage or transplant. To make per­
  manent, the spell caster must either use 650 P.P.E. or permanently sacri­
  fice the 60 P.P.E. (can never be recovered even if the recipient dies) ! 
  FIRST, this spell may be used to replace lost body parts, either parts 
  lost through accident or illness, or parts deliberately removed. For ex­
  ample, to give a blind man another's eyes; to graft on a lion's paw in 
  place of a hand; etc. 
  SECOND, the spell may be used to replace damaged flesh or skin 
  (e.g. as skin grafts), effectively returning 4D6 hit points to the victim, 
  without scaring. 
  THIRD, the spell can be used in conjunction with surgery to implant 
  a new internal organ, including an animal organ of roughly equivalent 
  size, into a human! Note: In all cases, the organ, flesh or limb being 
  68 
  magically melded or grafted to the subject, is automatically accepted by 
  the body without any fear of rejection or other complications - it is 
  magically transformed to be an exact match and magically grafted on. 
  FOURTH, transplant an entire head (with its brain, etc.) from one 
  body to another (human or animal), and retain the original character's 
  personality, mind and essence. This must be done within 20 minutes af­
  ter decapitation or the subject dies - the sooner the transplant can be 
  done, the better. 
  FIFTH, the spell may be used to add extra body parts to any living 
  creature, from any living (or recently dead and preserved) creature. This 
  range of strange amalgamation can include almost anything, an extra 
  hand protruding from an elbow, an extra hand and arm attached at the 
  shoulder, a mouth in the place of a navel, horns on the head, a scor­
  pion's stinger in the palm of the hand, etc. 
  Note: Any human, animal, or creature's body part may be added to 
  any other, creating nasty mutant hybrids. Unusual parts keep or confer 
  their usual powers to the recipient, so that a wolf's eyes allow the re­
  cipient to see much better in dim light or near-darkness, and claws typi­
  cally add ID6 to hand to hand damage, but are often pretty obvious 
  alterations (a claw will always look like a claw, inhuman jaws will al­
  ways look inhuman), and may have disadvantages (canines eyes cannot 
  distinguish colors well, and claws cannot be used to fire a gun or oper­
  ate a computer). 
  Furthermore, the alien body parts retain some characteristics of their 
  original owners. So, someone with a wolf's jaws will salivate at the 
  sight of fresh meat or defenseless animals; a woman who has the eyes 
  of a wanton man will find that her eyes keep staring at attractive young 
  women; etc. 
  The spell may be cast permanently by sacrificing the P.P.E. spent 
  permanently. After that, the new flesh is effectively a part of the body. 
  Alternatively, the spell may be cast in such a way that it will last 
  only I D6 weeks (the G.M. should roll, keeping the result secret from 
  the character with the appendages; the spell caster has no idea exactly 
  how long each will last). To keep the "additions" for a longer period the 
  spell must be "recharged. No ritual or new surgery is required, but the 
  full P.P.E. amount invested must be renewed. To do this, the original 
  spell caster or another Fleshsculptor who knows the spell must touch 
  the area and imbue it with 50 P.P.E. If the magic energy is not replen­
  ished before the spell duration expires, then the new flesh will cease to 
  function and die, slowly rot and (unless swiftly removed) infect the 
  poor recipient. This infection is, effectively, gangrene, and is fatal if not 
  treated. 
  Limitations: I .  Although this impressive Fleshsculptor spell gener­
  ally crosses most species lines, enabling him/her to graft the parts of in­
  sects, fish, reptiles, birds, and animals to humans, and vice versa, the 
  body parts of supernatural beings CANNOT be attached to mere mor­
  tals (including Nightbane). However, body parts from one (or several) 
  supernatural being can be attached to other supernatural beings. 
  2. The body parts to be attached must be from living donors or the 
  recently deceased (within three hours from the moment of death). The 
  only exceptions are those preserved by magic or science. 
  Note: This spell can also be used to remove/negate/erase magical 
  skin disfigurement, rashes, and extra appendages or features magically 
  melded onto an individual. 
  Sculpt Senses 
  Range: Touch 
  Duration: Instant and permanent. 
  Saving Throw: None 
  P.P.E.: 40 
  The Fleshscupltor can either shut off any one sense (including the 
  psionic 6th sense!) or make any one sense hyper-sensitive (hears every 
  sound, tastes or odors are overpowering, etc.). Turning a sense off has 
  pretty obvious effects: blind, deaf, mute, no feeling from touch, cannot 
  Quentin Milton (Order #26014138)
  
  taste, or an inability to use psionic powers (they're still there, they just 
  can't be found and used). All obviously impair the victim. 
  Making a sense hyper-sensitive is not only distracting and confus­
  ing, but can be painful. Hyper-sensitivity of the five senses will inflict 
  penalties of -4 on initiative, -4 on perception rolls, and reduce combat 
  bonuses and skill performance by half. Hyper-sensitive psionic abilities 
  will mean too much sensory information, so that the data sought is lost 
  in a blur of sensations, sights, thoughts or sounds, or that the power 
  used lashes out uncontrollably, hitting anybody nearby and or acciden­
  tally inflicting double damage. In addition, the use of hyper-accentuated 
  psionics is so disorienting that initiative and perception are completely 
  lost and the psychic suffers 1 D6 points of damage every time s/he uses 
  an ability. 
  LEVEL NINE 
  Absorb Object 
  Range: Self 
  Duration: Indefinite. 
  Saving Throw: None 
  P.P.E.: 50 
  This spell allows the Fleshsculptor to absorb any object into his or 
  her own flesh, subject to constraints of size: so, a dagger may be ab­
  sorbed into the person's forearm, or a handgun may be drawn into 
  his/her stomach, but there is no part of the body large enough to absorb 
  and contain a sword, rifle, backpack, vehicle, or so on. There is also a 
  1 2  lb (5.4 kg) total, maximum weight limit. 
  The Fleshsculptor's body can safely contain any inanimate object 
  (even sharp items, like razor blades) or hazardous substances (like toxic 
  powders). In theory, even living creatures may be absorbed. However, 
  moving objects will cause damage to the Fleshsculptor, and explosions 
  and animal attacks from inside the Fleshsculptor cause triple damage di­
  rect to hit points (ignoring S.D.C.). 
  The Fleshsculptor may disgorge an absorbed object at any time. Dis­
  gorgement takes one full melee round, but costs no P.P.E. 
  Remove Living Bone 
  Range: Touch 
  Duration: Indefinite 
  Saving Throw: Standard, but -2. 
  P.P.E.: 60 
  The spell enables the mage to pass his hands through flesh (without 
  leaving a scar) to remove living bone! The action is not painful but can 
  be used to debilitating effect - leaving a mass of flabby flesh and mus­
  cle for a lower leg or forearm. Often used to torture and intimidate. 
  Note: The skull and spine cannot be removed (nor can muscles, carti­
  lage, flesh or intemal organs). The bone can be restored/replaced if it is 
  done within 30 minutes or if the bone(s) are magically preserved. 
  LEVEL TEN 
  Create Living Tattoo 
  Range: Touch 
  Duration: 2 minutes (8 melees) per level of experience. 
  Saving Throw: None 
  P.P.E.: 70 
  This spell allows the spell caster to conjure forth a physical animal 
  or object from an image tattooed onto a character's body. So, if the per­
  son has a tattoo of a scorpion, then a magical scorpion crawls out of the 
  person's flesh. If there is a tattoo of a dagger, then a dagger rips its way 
  out of the flesh. 
  69 
  When the spell is cast, the flesh heaves, bulges, and rips, the tattoo 
  becomes three dimensional and pulls itself free of the victim's body, 
  leaving a great gaping gash in his or her flesh. The process is very pain­
  ful, and causes hit point loss ( I D6 hit points are lost if a small tattoo is 
  "summoned," like a scorpion which covers only a few square inches of 
  flesh, up to 6D6 for a huge tattoo, like a charging leopard, which might 
  cover the target's entire back). 
  Once the tattoo has been summoned, it exists as a real object or ani­
  mal for the duration of the spell. If an animal, it obeys the desires and 
  mental commands of the caster; if an object, it behaves exactly as a nor­
  mal object of that type would behave. Only tattoos of complex items 
  (like firearms), and inherently magical objects (like Nightlands deni­
  zens) cannot be summoned from tattoos. 
  If the summoned tattoo is placed back against the target's body be­
  fore the spell expires, then it molds back into his or her flesh. This al­
  lows the recipient to recover lost hit points. If the spell expires before 
  the tattoo is returned to its host, then the tattoo crumbles into a pile of 
  shredded skin, the original tattoo picture reappearing on the target's 
  body as the gashed skin heals over, but lost hit points are not recovered. 
  Living Hell - Temporary 
  Range: Touch 
  Duration: One day 
  Saving Throw: None 
  P.P.E.: 80 
  The Fleshsculptor may concentrate the doubled P.P.E. from a person 
  at the moment of death, along with his own, to magically keep the head 
  alive! The head remains alive and contains the character's mind and life 
  essence! Of course, the brain must be undamaged (e.g. if the unfortu­
  nate had his brains blown out by a high-powered rifle, then there isn't 
  enough of the head left). The head can then be removed from the body 
  without ill effect. The subject (victim?) remains conscious, able to hear 
  and look around, and can mouth speech, but once the head has been re­
  moved, or the rest of the body has died, s/he cannot create any sounds 
  since the lungs and vocal chords no longer function. 
  The head created through a Living Hell spell has hit points equal to 
  the original P.E. of the body, plus I D6 S.D.C. When the spell duration 
  expires, the person trapped in the head dies. 
  This spell can be a useful temporary measure, e.g. to keep the person 
  alive until a Total Replacement ( 1 2th level spell) can be performed or it 
  is, transplanted to a new, functioning body (see Meld Living Flesh and 
  Bone, 8th level spell). 
  LEVEL ELEVEN 
  Age 
  Range: Touch or 30 feet (9 m). 
  Duration: Three melee rounds per level of experience. 
  Saving Throw: Standard 
  P.P.E.: 50 
  This spell magically transforms its victim, humanoid or animal, to 
  the limit of their natural age! Only supernatural beings and creatures of 
  magic, and dragons are not affected by this spell. The aged person will 
  suffer the following: 
  -4 on initiative 
  -5 to strike 
  -5 to dodge/parry 
  -4 to damage 
  Reduce P.S. P.P., P.E., P.B. and Speed attributes by half! 
  Reduce attacks per melee round and combat bonuses also by half. 
  Quentin Milton (Order #26014138)
  
  Destroy Undead Flesh 
  Range: 60 feet ( 1 8.2 meters). 
  Duration: One melee round per level of experience. 
  Saving Throw: Standard, each melee round. 
  P.P.E.: 80 
  This spell works exactly like Destroy Dead Flesh, causing a carcass 
  of up to 600 Ibs (270 kg) in weight to smolder, crumble and evaporate. 
  The spell, however, also works on undead flesh. So the spell inflicts 
  I D6x l O  damage per melee round on the undead (vampires, zombies, 
  animated corpses, etc.). The target takes damage each melee round until 
  either it saves vs the spell (roll once per round) or the spell ends. If the 
  spell is still active when the target "dies", all of its flesh is then de­
  stroyed the following round by the magic. 
  LEVEL TWELVE 
  Total Replacement (Ritual) 
  Range: Touch 
  Duration: 1 06 weeks per level of experience or permanent. 
  Saving Throw: None 
  P.P.E.: 1 90 
  The most extreme extension of the Replace Flesh spell that enables 
  the spell caster to replace as much of a body as s/he requires, up to and 
  including giving a whole new body by transplanting the person's brain! 
  Under this situation, the physical attributes, hit points and S.D.C. of the 
  new body are half those of the original, but all mental faculties, mem­
  ory, P.P.E., I.S.P. (if any) and personality are unchanged. The 
  spell/flesh body may be made permanent if the mage permanently sacri­
  fices the P.P.E. from his or her permanent P.P.E. base. If not cast per­
  manently, the recipient of the new flesh dies as soon as the spell 
  duration ends. 
  If used for healing purposes - to provide huge swathes of flesh 
  grafts, or to regenerate large amounts of lost muscle, for example - the 
  spell completely replenishes the target's hit points and natural S.D.C. 
  and is automatically permanent without any permanent loss of P.P.E.; 
  it's only when an entire body is created that the mystical construct is not 
  permanent. For this purpose, the spell can regenerate internal organs 
  (except for the heart and brain), and restore up to one third of the entire 
  body! However, if 20-33% of the body requires magical "replacement," 
  the character will permanently lose an equal amount of his hit points. 
  Also see Meld Living Flesh and Bone (8th level) for other impressive 
  feats of restoration. 
  LEVEL THIRTEEN 
  Living Hell - Permanent (Ritual) 
  Range: Touch 
  Duration: Indefinite 
  Saving Throw: None 
  P.P.E.: 1 80 
  The Fleshsculptor may concentrate the doubled P.P.E. from a person 
  at the moment of death, along with his own, to magically keep the head 
  alive indefinitely! This requires that most of the head and brain are un­
  damaged. 
  Through this ritual, the Fleshsculptor preserves the head so that it 
  will not rot, seals the open wound where the head has been removed, 
  and permanently seals the victim's life essence into their head. The head 
  remains conscious, able to hear and look around, and can mouth speech. 
  It needs neither air nor food, nor liquid. The spell ends only when the 
  head is destroyed (i.e. its hit points, equal to its original P.E., plus 306 
  S.D.C., are exhausted). 
  70 
  The target of the spell is not likely to thank the Fleshsculptor for 
  "saving" it - for damning it to this fate - and the caster should not ex­
  pect favors, praise or aid for his/her trouble. This spell can be a useful 
  temporary measure, e.g. to keep the person alive until a Total Replace­
  ment can be performed. Note that a head saved via permanent Living 
  Hell cannot be attached to a new body via a Meld Living Flesh and 
  Bone spell. 
  LEVEL FOURTEEN 
  Embodiment (Ritual) 
  Range: Touch 
  Duration: One day per level of experience. 
  Saving Throw: Standard even if unconscious or comatose; psychics 
  and Fleshsculptors are +4 to save against this lethal attack. 
  P.P.E.: 200 
  Note: Characters of a good or unprincipled alignment will not use 
  this spell. 
  In this ritual, the Fleshsculptor climbs into the flesh of another living 
  creature or person, hiding his or her own body within this new shell. 
  The spell caster thereafter wears the body of the host, but does not gain 
  any mental abilities, skills, memories, or mannerisms. The "host" flesh 
  must be the same size or larger than the caster, must be incapacitated 
  (unconscious or in a coma) for the duration of the ritual, and inevitably 
  dies as a result of the spell being cast. The caster may shed this new 
  skin at any time (taking one full melee, in which no other actions may 
  be performed, to rip his or her way out of this new flesh), and at the 
  end of the spell's duration, the new body falls away to reveal the caster 
  beneath. 
  Mindsculpt (Ritual) 
  Range: Touch 
  Duration: Permanent 
  Saving Throw: Standard 
  P.P.E.: 250 
  This is a gruesome version of brain surgery, using a blunt knife and 
  a hammer in most versions of the spell. The caster removes the top of 
  the subject's head and batters or slices away at the grey matter inside. 
  The victim may make a standard saving throw to resist the effects of the 
  spell, and must roll less than P.E. on 1 020 to avoid dying during the rit­
  ual. If the target survives and fails to save, then the caster may make 
  any major, crass alterations desired to the victim's psyche. 
  As examples, the caster may remove whole chunks of the victim's 
  memory (stretches of time no less than one week in length); remove any 
  skill(s) or knowledge that the person has; reduce (to one if desired) the 
  victim's I.Q.; remove emotions (like the ability to love), or mental abili­
  ties (such as the ability to count, reason, use psionic powers, etc.); or 
  implant primary desires and goals (e.g. overriding loyalty to the caster). 
  The caster may NOT selectively modify elements of the person's 
  memory, increase skill percentages or I.Q. scores, change the victim's 
  alignment, or make complex changes to the person's preferences. 
  LEVEL FIFTEEN 
  Reconstructive Restoration (Ritual) 
  Range: Touch 
  Duration: Permanent 
  Saving Throw: None 
  P.P.E.: 550 
  Quentin Milton (Order #26014138)
  
  This spell allows the Fleshsculptor to conduct major magical surgery 
  on any one person, with the intention of curing all magical and mun­
  dane ills. The ritual takes at least twelve hours to perform, and allows 
  the caster to surgically "remove" all magics which affect the person's 
  body or mind, all illnesses or diseases from which s/he is suffering, cure 
  all insanities, etc., placing the offending afflictions in jars for future in­
  spection if required. This allows the caster to permanently cure any dis­
  ease (cancer, MS, Aids, Parkinson's Disease, etc.), and counteract spells 
  such as Mindsculpt. It does not allow the caster to selectively "improve" 
  upon the subject's natural body or mind, and so cannot increase attrib­
  utes, change alignment, add psionics, etc. 
  The stress of even this amazingly restorative magic causes the fol­
  lowing penalties: permanently reduce M.E. and P.P.E. by one point. If 
  psionic, reduce I.S.P. by 10% 
  Mirror Magic 
  In the following section you will find new spells for the Mirrormage. 
  In addition to these spells, remember that the Mirrormage may also cast 
  the following spells: 
  From this book: 
  Soul In A Bottle (using a mirror instead of a bottle) 
  Open Pathway 
  Psychic Drain (using a mirror as a focus) 
  See Through Lifeless Eyes 
  From Between the Shadows™: 
  Astral Portal 
  Dream Window (using a mirror for the window) 
  Dream Senses (through a mirror) 
  Observe Dream (via a mirror placed close to the sleeping person) 
  From the Nightbane® RPG: 
  Banishment 
  Close Rift 
  Detect Concealment 
  Dimension Portal 
  Locate (allowing the caster to see the general area reflected in a mirror) 
  Mystic Alarm (if the object Alarmed is in view of a mirror) 
  Nightlands Passage 
  Nightland Portal (starting from a large mirror) 
  Oracle (visions seen in a mirror or reflective surface) 
  Second Sight (by looking into a mirror) 
  See Aura 
  See The Invisible 
  Sense Evil 
  Sense Magic 
  Sense Nightbane 
  Sense P.P.E. 
  Summon Nightlord Avatar 
  Summon Nightlord 
  Ritual: Call Creature of Light 
  Ritual: Call Nightlands Denizens 
  Ritual: Call Nightlord 
  Talisman (using a mirror) 
  Teleport: Lesser (using a mirror to send the object through) 
  Teleport: Superior (accomplished by stepping through a large mirror) 
  71 
  Mirrormagic Spells 
  B y  Kevin Hassall and Kevin Siembieda 
  Alphabetical list of Mirrormage Spells 
  & Rituals by Level 
  Note: The same or similar spell used by a different spell casting 
  O.C.c. (if they could even figure it out) costs twice as much P.P.E. ! The 
  P.P.E. numbers listed are specifically for Mirrormages. 
  Level One 
  Manipulate Reflection (4) 
  Mirror Calling (4) 
  Level Two 
  Aura Mirror (6) 
  Reflect Light (5) 
  Level Three 
  Dorian's Mirror ( 1 0) 
  Lens of True Sight ( 1 2) 
  Level Four 
  Fear Mirror ( 1 2) 
  Scrying Mirror: Lesser (20) 
  Level Five 
  Draw Upon the Mirror Wall (10) 
  Hidden Reflection (25) 
  Level Six 
  Opening the Mirrorwall (40) 
  Level Seven 
  Amend Reflection (50) 
  Level Eight 
  Steal Reflection (50) 
  Level Nine 
  Mirror Divination (70) 
  Level Ten 
  Man in the Mirror ( 1 20) 
  Level Twelve 
  Scrying Mirror: Greater (90) 
  Walking the Mirrorwall: Lesser (80) 
  Level Fourteen 
  Walking the Mirrorwall: Greater (140) 
  Level Fifteen 
  Castle of Oblivion (300/15 permanent) 
  LEVEL ONE 
  Manipulate Reflection 
  Range: 20 feet (6 meters). 
  Duration: One day per level of experience. 
  Saving Throw: Standard 
  P.P.E.: 4 
  The Mirrormage may cast this spell either on a person (or creature), 
  or on a mirror or reflective surface. 
  If cast on a person (who may attempt to save), all reflections cast by 
  that person for the duration of the spell are subtly altered. So, the en­
  chanted person may cast a reflection which has blood-red eyes, a scar, a 
  sneer, blood stains on his/her hands or lips, a sickly pale (or other color 
  or slightly blemished) color to the skin, seems to have a strange rune on 
  his forehead, etc. The spell cannot be used to prevent someone from 
  casting a reflection, nor to make their reflection look like someone or 
  something else, nor to do anything else so crass, but can be used to in­
  criminate, intimidate, and generally terrify its targets. 
  Quentin Milton (Order #26014138)
  
  When cast upon a mirror or other reflective surface, then all reflec­
  tions cast in that mirror will be subtly changed as above. This might in­
  volve changing the reflections of all people in the mirror so that they all 
  seem more youthful and attractive than they are, or having hints of 
  movements or objects which aren't present in reality appearing in the 
  reflection. 
  Note: Only those looking into the mirror can see these strange (illu­
  sionary and deliberately false) aberrations. 
  Mirror Calling 
  Range: Special 
  Duration: Half an hour per level of experience. 
  Saving Throw: None 
  P.P.E.: 4 
  The Mirrormage can look into a mirror and call the name of a friend, 
  ally or even an enemy, and be heard through any mirror which that indi­
  vidual may look into. The "call" is limited to the person's name and 
  three additional words, (e.g. "Thom, help me," or "Collins, I'll get 
  you"). The voice is always recognizable, because the magic can only be 
  used on people the spell caster knows well and only that specific person 
  hears the message even if others are using the mirror at the same time. 
  Of course, the character to whom the message is directed must be look­
  ing into a mirror while the message is transmitted, so it is a bit hit and 
  miss (see duration). Once the message is heard, it stops. 
  LEVEL TWO 
  Aura Mirror 
  Range: Cast upon a mirror up to 20 feet (6 meters). Affects all who 
  look into the mirror. 
  Duration: Half an hour per level of experience. 
  Saving Throw: None 
  P.P.E.: 6 
  For the duration of the spell, all who gaze into the mirror see their 
  aura - typically a rather beautiful and wondrous thing to see. Those 
  who understand and can interpret auras will be able to tell whether the 
  character's aura is strong or weak, healthy or sickly, general level of 
  power/experience (high, medium or low), leaning toward good, selfish 
  or evil, and whether the character is human or inhuman (but not what 
  type of specific creature). Note: Those not used to seeing auras (which 
  is most people) will be so intrigued and caught up in looking at the radi­
  ant energy that they are -3 on initiative and perception rolls. Snaps out 
  of it as soon as they look away or are drawn to action. 
  Reflect Light 
  Range: 20 feet (6 m) per level of experience. 
  Duration: One melee round per level of experience. 
  Saving Throw: None 
  P.P.E.: S 
  The mage can expertly use a hand-held mirror to reflect light with 
  great precision and accuracy. This can be used to signal others or to 
  flash light in an opponent's eyes to momentarily blind him: blinded for 
  4 seconds in which the victim loses one melee action and initiative per 
  each blinding; sunglasses negate the effect and otherwise shielding 
  one's eyes prevents blindness but the character under attack sees all 
  combat bonuses reduced by half. 
  Each reflection of light in an attempt to blind counts as one melee 
  action/attack, but is an automatic successful strike. No damage is in­
  flicted by the light and either sunlight or another light source is neces­
  sary. 
  72 
  LEVEL THREE 
  Dorian's Mirror 
  Range: Cast upon a mirror up to 20 feet (6 meters). Affects all who 
  look into the mirror. 
  Duration: Half an hour per level of experience. 
  Saving Throw: None 
  P.P.E.: 1 0  
  For the duration o f  the spell, whoever looks i n  the mirror sees an im­
  age reflective of their guilt, regret, and acts of evil. Only the individual 
  character sees this image, even if others are looking into the mirror at 
  the same time (each sees only himself changed). More often, the deeds 
  of the character are reflected in his or her own image, snarling with an­
  ger or smiling demonicly, with blood caked on the hands. A cruel, bitter 
  face ravaged by the deep lines of a cruel frown, sunken eyes and brutal 
  experience may be etched on the reflected face of an outwardly beauti­
  ful woman or handsome man. Nightbane will usually see themselves in 
  whatever image they most loathe or regret being, Facade or Morphus. 
  If the character recently betrayed a friend or was responsible for the 
  death of an innocent (intentional or accidental), the blood of that indi­
  vidual may be on his/her hands, or the victim may be looming like a 
  ghostly shadow in the background, looking forlorn, angry or sad. 
  A womanizer may have one to several woman hanging on him or 
  weeping or scowling behind him or in the background. In fact, the back­
  ground may be crowded with such "ghosts" of regret and cruelty. 
  Note: Not all characters will see themselves as monsters. Those who 
  like themselves and honestly have few regrets may simply look a bit 
  weary, older or sad, while others may look pretty much as they do in 
  real life. 
  Lens of True Sight 
  Range: Touch (of thick glass). 
  Duration: 4 melee rounds (one minute). 
  Saving Throw: None 
  P.P.E.: 1 2  
  Casting this spell, the Mirrormage enchants a thick lens s o  that when 
  s/he looks through it, s/he will be able to see all things as they truly are. 
  In other words, so long as the Mirrormage looks through the lens, s/he 
  can see invisible creatures, see through illusions and magical disguises, 
  see the true construction of Hollow Men, can tell if a person is undead 
  or possessed, and similar. In the case of Nightbane and shape-changers, 
  the lens will reveal/confirm whether or not a monstrous character is a 
  Nightbane, werebeast or other type of shape-changer (but only when 
  they are in nonhuman form) but does not reveal the character's Facade 
  or true identity; just what their true nature is (Nightbane, Changeling, 
  Succubus, etc.). It will also reveal if a mirror is enchanted or inhabited. 
  Note: The lens does not reveal magics, show auras, or allow the magi­
  cian to see through mundane disguises (false beards, make-up, etc.), 
  only disguises and illusions of a supernatural or magical nature. The 
  lens must be at least half an inch thick, so a heavy glass bottle or the 
  bottom of a chunky glass would be thick enough, but eyeglasses and 
  contact lenses are too thin. 
  LEVEL FOUR 
  Fear Mirror 
  Range: Cast upon a mirror up to 20 feet (6 meters). Affects all who 
  look into the mirror. 
  Duration: 10 minutes per level of experience. 
  Saving Throw: None 
  P.P.E.: 1 2  
  Quentin Milton (Order #26014138)
  
  73 
  For the duration of the spell, whoever looks in the mirror sees an im­
  age reflective of their fears and worries. This means a character who 
  fears he or she is getting old and/or weak may see a frail, skeletal figure 
  barely able to stand; a character afraid of defeat may see himself beaten 
  and battered or in chains; a character afraid of the Nightlords may see 
  one or more lurking in the shadows (of the mirror image); a character 
  afraid of death may see a reflection of himself as a corpse or with his 
  throat cut or bleeding from a bullet wound in the chest. A character, 
  such as a Nightbane, with a secret identity or other dark secret may see 
  it revealed in the reflection (a Nightbane may simply see his or her 
  Morphus reflected back) and so on. 
  The glimpse of what they fear will set the adrenaline rushing and 
  may elicit a "fear response" equal to a horror factor of 14; a momentary 
  fright, and perhaps a bit of insight into themselves. 
  A character who has a phobia will see his!her greatest fear (if bugs, 
  s!he may see himself bound by rope or chains and covered in them, or 
  insects infesting wounds or crawling out of his mouth, etc.) The sight 
  will elicit the same fear response as the real thing. 
  Note: Each person gazing into the mirror only sees what he or she 
  most fears or whatever is the character's current fear, anxiety or worry. 
  The fears of others are not revealed to strangers. 
  Scrying Mirror: Lesser 
  Range: 2 miles (3.2 km) per level of experience. 
  Duration: One minute per level of experience. 
  Saving Throw: None 
  P.P.E.: 20 
  This spell allows a Mirrormage to look into a mirror or reflective 
  surface, and to see through it as if looking out from behind any other 
  mirror or reflective surface anywhere within range! So, the magician 
  may look into the mirrored sunglasses of the man next to him on the bus 
  in order to see out of the chrome trim on his cooker at home (answering 
  the vital question, "did I leave the oven on?"), or may look into a mirror 
  at home in order to see out of the ballroom mirror in that dusty old man­
  sion a mile away. 
  The only restrictions in the use of the spell are that: 1 .  The Mirror­
  mage may only look out of mirrors which s!he has already seen (s!he 
  cannot look out of a mirror which s!he has simply heard about, and if 
  the target mirror is not exactly where the mage expects then the spell 
  will not work). 2. The Mirrormage can only view a single sequence of 
  events as they happen, not past or future events, and s!he cannot "fast­
  forward" or skip dull periods. 3. Only true mirror surfaces can be used. 
  Looking into a pane of ordinary glass (even though one can see himself) 
  is not a true mirrored surface and cannot be used. So one cannot spy 
  into an office building or home by magically looking out from the glass 
  of a window or a highly polished, metal plaque or trophy. 
  Casting this spell as a ritual increases both range and duration ten­
  fold. Takes 20 minutes to preform. 
  LEVEL FIVE 
  Draw Upon the Mirrorwall 
  Range: Self 
  Duration: Instant 
  Saving Throw: None 
  P.P.E.: Special: 10 P.P.E. the first time, but add I D6 for each sub­
  sequent use within a 1 2  hour period. Rather quickly, this spell becomes 
  useless or risky. 
  The Mirrormage can draw upon a limited amount of the mystical en­
  ergy that flows in the Mirrorwall by gazing into a mirror, concentrating 
  and expending 1 0  P.P.E. of his own. This creates a pinhole to the Mir­
  rorwall in which the character can attempt to draw additional P.P.E. en­
  ergy to supplement his or her own. This is always a crap shoot as the 
  Quentin Milton (Order #26014138)
  
  amount of energy one can draw into oneself is always random: 5D6 
  P.P.E. - and one may expend more to cast the spell than s/he gets back 
  in return. Whatever P.P.E. returns to the mage, s/he can hold on to it for 
  five minutes per level of experience. If it's not used in magic before that 
  time elapses, the P.P.E. syphoned from the Mirrorwall disappears. 
  Note: Frequent use of this spell may tear a hole into the Mirrorwall 
  and/or open a dimensional portal (Too? G.M.'s choice). 
  Hidden Reflection 
  Range: Self 
  Duration: One minute per level of experience. 
  Saving Throw: None 
  P.P.E.: 25 
  The spell caster can literally step into a mirror to hide! Even if some­
  body looks directly into the mirror, the character hidden inside is a sub­
  tle part of the the background, and barely noticeable unless s/he moves 
  or lunges forward (can only leap out of the mirror, and cannot attack or 
  pull in the person looking in). While in the mirror, the character can see 
  and hear everything as if s/he were standing in front of it, but cannot 
  communicate, attack, or use magic or psionics. 
  The danger of this spell is that if the mirror is shattered, the charac­
  ter's grasp of reality is also shattered and his or her life essence could 
  be hurled into another plane of existence or destroyed! Roll on the fol­
  lowing table when shattered: 
  01-20 Hurled into the Dreamstream. The physical body is perma­
  nently destroyed, and the character's mind and spirit becomes a phan­
  tom-like creature who haunts the dreams of others. 
  21-30 Body, mind and soul are hurled into the Astral Plane. Finding 
  one's way back to the physical plane (without an Astral Guide) is slim 
  to none (01 -06% chance). Will perish from starvation and thirst within 
  4D4 days unless a denizen of the Astral Plane can be convinced to take 
  the character home (at what price?). If the physical. body dies on the As­
  tral Plane, there is a 01 -40% chance of becoming an Astral Being (no 
  physical body; must spend the rest of his/her days in the Astral Plane). 
  31-40 Trapped in a broken shard of the mirror for what seems to be 
  days, but is really only 2D6 hours. Finally, reappears whole and un­
  harmed; roll on the table listed under 61 -80, below, for aftereffects. 
  41-60 Hurled into the Nightlands. The character is physically and 
  mentally unharmed, but is trapped in the homeland of the Nightlords. 
  The only way back is to know how to Mirrorwalk (or similar magic) or 
  find somebody to take him or her home (for what price?). 
  61-80 White noise and swirling images seem to last an eternity as 
  the character's body feels as if it's being dissolved into atoms. Sud­
  denly, s/he is standing in front of the shattered mirror 3D4 minutes after 
  it was smashed. S/he is physically whole and unharmed. Roll percentile 
  to determine aftereffects: 
  01-15 Shaken but okay. Appears standing in front of the shattered 
  mirror. 
  1 6-30 Afraid to use mirrors for I D6 days. 
  31 -55 Afraid to use mirror magic for 2D6 days; mirrors, in general, 
  make the character nervous. 
  56-75 Afraid the reflection in the mirror is not his own for 4D6 
  days; avoids mirrors and mirror magic as much as possible. 
  76-00 From the corner of his or her eye, s/he sees movement in the 
  image of mirror reflections; paranoid for I D6 days. 
  81-00 Vomited from the mirror with a thud the instant the mirror is 
  shattered! Suffers 2D6 damage and loses initiative for the first melee 
  round, but is otherwise okay. 
  Note: The mage inside the mirror can step out at any time, and is 
  forced out when the spell elapses, without negative side effects. 
  74 
  LEVEL SIX 
  Opening the Mirrorwall 
  Range: 100 feet (30 meters). 
  Duration: One melee per level of experience. 
  Saving Throw: None 
  P.P.E.: 40 
  In order to cast this spell, the Mirrormage must smash one reason­
  ably large mirror (at least two feet/60 cm/0.6 m across). Where the glass 
  shatters, a huge gaping void in space is left. A black abyss roaring with 
  a cold wind (What happens if a character leaps into this void? That's up 
  to the G.M., but expect it to be nasty). By accessing this void - this 
  breach in the Mirrorwall - the caster may negate any one basic law of 
  reality in the plane or world that s/he is currently in. The range of this 
  effect is the range of the spell. 
  So, this breach may suspend gravity, or stop combustion (so, no fire­
  arms!), stop magic from working, suspend the laws of mathematics 
  (jamming computers), etc., for the duration of the spell. Note that this 
  may only be used to temporarily negate a phenomenon, not to reverse it 
  or change it in any other way. So, for example, gravity cannot be made 
  to pull upwards. Further, living things cannot be made to stop living, 
  solids cannot be turned to gasses, etc. 
  At the G.M.'s discretion, the spell may also be used to import a phe­
  nomenon from a reality beyond the Mirrorwall. So, for example, if the 
  caster knows of a world where all creatures are automatically able to 
  fly, then that phenomenon could be imported through the breach to the 
  caster's present reality. 
  LEVEL SEVEN 
  Amend Reflection (Ritual) 
  Range: Special (see below) 
  Duration: Indefinite 
  Saving Throw: Standard 
  P.P.E.: 50 
  This spell is identical to Manipulate Reflection, except that its dura­
  tion is effectively permanent. It may be used to curse, to mark servants 
  and enemies, or just to create disturbing or intriguing mirrors. In order 
  to cast this spell, either the Mirrormage must have the target/victim pre­
  sent for the duration of the ritual, or (if the target is a person) the caster 
  must have an object intimately associated with the person (an item of 
  clothing or lock of hair, for example). 
  LEVEL EIGHT 
  Steal Reflection 
  Range: 100 feet (30 meters) 
  Duration: One week per level of experience. 
  Saving Throw: Standard 
  P.P.E.: 50 
  This spell allows a magician to "steal" any person or creature's re­
  flection, or the reflection of any object up to human-size. This reflection 
  is stored in a specific mirror, which the Mirrormage must have in 
  his/her possession when the spell is cast. 
  Consequently, the target of the spell no longer casts a reflection, and 
  the Mirrormage (or whoever owns the mirror) can see the person at any 
  time (including clothing, objects held, book being read, etc., but no 
  sound, sight of those around him, or details of environment or context) 
  regardless of distance! 
  Quentin Milton (Order #26014138)
  
  LEVEL NINE 
  Mirror Divination 
  Range: Self 
  Duration: Instant after a period of mirror gazing. 
  Saving Throw: None 
  P.P.E.: 70 
  Similar to the use of the Divination skill described earlier in this 
  book; however, through this magic, the character does not need the skill 
  and a Divination is guaranteed! The mage must peer into a mirror and 
  concentrate. Within I D4 minutes s/he'll see some sort of an image, 
  from a face (of an enemy, friend, stranger, etc.) to a full vision with 
  moving figures or flashing images that will convey a message or warn­
  ing about the future (near or distant future). The images will generally 
  reflect one narrow area of concern on the part of the mage, but occa­
  sionally the character may receive a vision of something else (a G.M.'s 
  tool for sending insight or info, or creating foreboding/tension). Such 
  random visions usually reflect an inability to focus one's thoughts, or 
  some important event/danger invading one's original thoughts. 
  LEVEL TEN 
  Man in the Mirror (Ritual) 
  Range: Touch 
  Duration: One month per level of experience. 
  Saving Throw: None 
  P.P.E.: 1 20 
  Through this spell a Mirrormage creates an intelligence within any 
  mirror or reflective surface. The mage determines the appearance, rough 
  personality and knowledge possessed by the intelligence inside the mir­
  ror. One skill per level of the creator can be given to the "Man in the 
  Mirror"; skill proficiency equal to that of its creator at the time it was 
  created. 
  Hereafter, whenever anyone looks into the enchanted mirror, they 
  will not see their reflection, but will instead see the visage of this magi­
  cal force (being?) looking out at them. This magical entity can see out 
  of the mirror, as well as, can hear, smell and speak. 
  It may be used as an advisor, tormentor or friend. By determining 
  what the entity knows about (it may not know all things the spell caster 
  does not, but may have Lore skills and similar up to the caster's level at 
  the moment of creation), the Mirrormage may create an intelligent force 
  which can give hints and advice to allies and underlings, or simply be a 
  friend or conversational companion. However, because the mirror is in­
  habited, it cannot be used to pierce the mirror wall for any purpose, or 
  by any means. Note, the "Man in the Mirror" can also be used as an in­
  termediary, spy or messenger, although restricted to that one mirror. 
  LEVEL TWELVE 
  Scrying Mirror: Greater (Nightlands) 
  Range: Special 
  Duration: 2 minute per level of experience. 
  Saving Throw: None 
  P.P.E.: 90 
  As with the Lesser version of this spell, this allows a Mirrormage to 
  look into a mirror or reflective surface, and see through it as if looking 
  out from behind any other mirror or reflective surface. However, in this 
  case, the mage can look through mirrors on Earth at ten times the range 
  of the lesser spell, or through a mirror in an equivalent location in the 
  Nightlands, as well as any mirror in the Nightlands whose location is 
  75 
  known to him! The usual restrictions still apply, however, that the Mir­
  rormage may only look out of mirrors which s/he has already seen, and 
  can only view a single sequence of events as they happen. 
  Casting this spell as a ritual increases duration ten-fold. 
  Walking The Mirrorwall: Lesser 
  Range: Special 
  Duration: One hour 
  Saving Throw: None 
  P.P.E.: 80 
  The Mirrormage may "open" a section of the Mirrorwall, allowing 
  him or her to step in through a mirror and into the Wall. The mage may 
  only take small, portable objects, up to thirty pounds ( 1 3.61 kg) in 
  weight. S/he may then wander through the Wall at will, looking out of 
  any mirror anywhere in any world, and stepping out of the Wall through 
  any mirror. 
  If the mage spends more than an hour inside the Wall, then the spell 
  expires and there is no longer any magic holding him or her in the Mir­
  rorwall: the unfortunate will fall through whichever mirror s/he is stand­
  ing on, potentially tumbling into any part of the Megaverse - which 
  may be as convenient, dangerous, bizarre, or fatal as the G.M. wishes. 
  LEVEL FOURTEEN 
  Walking the Mirrorwall: Greater 
  Range: Special 
  Duration: One hour 
  Saving Throw: None 
  P.P.E.: 1 40 
  The Mirrormage may "open" a section of the Mirrorwall, allowing a 
  group of up to ten people (total weight, including equipment, no more 
  than 2000 lbs/91O kg) to step through any mirror into the Mirrorwall it­
  self. The group, which must be led by a Mirrormage, may then travel 
  through the inside of the Wall, looking out of any mirror anywhere in 
  any world, and stepping out of the Wall through any mirror. 
  If the group spends more than an hour inside the Wall, then the spell 
  expires and there is no longer any magic holding them in the Mirror­
  wall: they will fall through whichever mirror they are standing on, po­
  tentially tumbling into any part of any world. 
  LEVEL FIFTEEN 
  Castle of Oblivion (Ritual) 
  Range: Touch 
  Duration: Indefinite 
  Saving Throw: Standard if conscious, none if victim is unconscious. 
  P.P.E.: 300, 15 of which is permanently lost. 
  The ritual enchants a large mirror (at least human-sized) so that it is 
  completely black, reflecting nothing (The mirror itself cannot be ac­
  cessed from the Mirrorwall. It is, in effect, no longer a mirror). The rit­
  ual then takes one human or humanoid target (living, undead, dead, or 
  inert), and sucks it through that mirror, to a place outside of time and 
  space - to a Castle of Oblivion, which may exist within the Mirror­
  wall, or perhaps in some little-known reality beyond it. 
  Through the mirror, the Castle of Oblivion may appear as a small 
  black cage hanging in a void, or a huge network of echoing halls, or as 
  a desolate plain. Usually, but not always, there is some structure in­
  volved, but inevitably the area is uninhabited and inescapable. Time has 
  no meaning here, and watches run at random speeds (or backwards). 
  The sole purpose of the Castle is to hold people or things outside of 
  time and space; an excellent exile for an enemy who cannot be killed, 
  for example, or as a way to dispose of an indestructible magical artifact. 
  Quentin Milton (Order #26014138)
  
  If the black mirror is ever destroyed, however, then the object or 
  prisoner(s) within is set free. While the mirror remains intact, however, 
  a person or object within may only be rescued if an arcanist casts a suit­
  able Call, Summon, or similar spell in front of the mirror. 
  Anyone foolish enough to try to step through the black mirror (with 
  Walk the Mirrorwall, or a spell which opens a portal of any sort) will 
  find themselves equally trapped within the Castle of Oblivion. 
  CHAPTER S: 
  The Shadowleague 
  The Shadow league is a thoroughly modem organization. Rather 
  than the strict hierarchies or cellular structures of other groups, the 
  Shadowleague is organized on a nonhierarchical, horizontal basis. That 
  means that there are no bosses, no people giving orders, just lots of indi­
  viduals sharing information (or disinformation), seeking advice, and 
  working, often individually, to build up magical power. 
  Consequently, there are no restrictions on involvement with the 
  Shadowleague. No entry requirements or duties owed to "superiors." 
  Anyone can get involved with the league. And that means anyone: pre­
  tentious "occultists," infiltrators from other magical societies and broth­
  erhoods, Astral Lords, National Security Bureau agents (NSB), 
  Guardians, Nightbanes, etc. 
  76 
  In a sense, the Shadowleague does not exist. It has no institutions, no 
  officials, and no membership list. However, the Shadow league does 
  have a large body of people who are to some extent "involved" with its 
  various functions, as described in the following pages. In practice, this 
  is less of an organization, and more like a web of interconnected indi­
  viduals, who share interests and exchange information. For convenience 
  sake, anyone who is involved with the Shadowboard or Free Houses 
  can be considered a "member" of the League, although they may have 
  no loyalty to the Shadowleague itself and are very likely to be commit­
  ted members of more formal organizations. 
  The Shadowboard is a computer "bulletin board" which exists in 
  parallel with the Internet, but actually only has an Astral existence 
  (Don't worry about the metaphysics of this. In practice, this means that 
  those with the right "software" - magical computer code on a data disk 
  - can access this board via their personal computers, but those without 
  the right software cannot). The board is run from a Cybermage's per­
  sonal computer, which stores all of the information and messages, and 
  occasionally dumps the whole lot into an Astral adjunct to the internet. 
  Anyone with a computer, modem, and Shadowboard Access software 
  can then access this information, reading notices, picking up messages 
  left for them, and leaving messages for other users. 
  Quentin Milton (Order #26014138)
  
  Getting in Touch 
  There are a variety of ways to get involved with the Shadowleague. 
  All of them easy ... perhaps, too easy. 
  1. Internet. Any Cybermage surfing the Internet looking for "hid­
  den" sites will soon come across a free piece of computer software 
  which can be downloaded. Called the Shadowboard Access Kit, this 
  software claims to allow the user to access a whole new part of the In­
  ternet, dedicated entirely to discussions of and information on "enlight­
  ened" topics. See The Shadowboard, below. 
  2. Word of Mouth. News of the League also passes by word of 
  mouth, with sorcerers, occultists, bored teenagers and NSB agents pass­
  ing on to their associates news of the Shadowleague or copies of the 
  Shadow board Access software. 
  3. The Free Houses. The Shadowleague also incorporates a series 
  of Astral retreats called Free Houses. These are like little hotels where 
  people can go for a drink, a meal, or a place to sleep for a few nights. 
  As well as being advertised via the Shadowboard, these retreats can be 
  reached by Astral Travelers and Astral Sorcerers by traveling through 
  the Astral Plane. 
  4. The National Security Bureau (NSB). Although the NSB sees 
  mortal magicians as a threat, it realizes that it cannot destroy an organi­
  zation as loose as the League. So, it has decided to make use of the or­
  ganization for its own purposes, and maintains a number of agents who 
  actually encourage the growth of the League - spreading word via oc­
  cult groups and informal gatherings. 
  5. Other Brotherhoods. A number of other magical brotherhoods 
  maintain an interest in the Shadowleague, including The Seekers, The 
  Brotherhood of True Illumination, The Lightbringers, and others. Such 
  groups use the League as a source for finding potential recruits, and 
  may encourage their own members to use the Shadowboard as a source 
  of information and to pass messages to each other. Note that "honest" 
  groups, like the Seekers, are happy to tell their members about any 
  group which may yield valuable information (although they insist that 
  the Seekers must never be identified as a group, and that individuals 
  must not publicly reveal themselves as members of any such organiza­
  tion), while nastier groups, like the True Illumination, want to be able to 
  control the flow of information to their dupes and will only tell selected 
  members about the Shadowleague. 
  Who Runs the League? 
  Officially, no one runs the Shadowleague. There is no bureaucracy, 
  no mailing list, no calendar of social occasions -very little that actually 
  requires any running. All the League really consists of is the Shadow­
  board, some informal "discussion groups," and a few Domains on the 
  Astral Plane, all of which are run by independent individuals for their 
  own reasons. 
  The Shadowboard is actually run by a Cybermage called Netwerk, 
  and his assistant. Netwerk set up the board as a way to contact other Cy­
  bermages. Soon after Dark Day he began developing his computer pro­
  gramming skills in illogical and arcane directions, and reasoned that on 
  a planet of six billion people he wasn't likely to be the only one trying 
  this; so, he set up the board to make contact with others, offering infor­
  mation and a messaging service for free. The whole thing mushroomed 
  from there, and by 2006 he has several thousand "users" accessing the 
  system. 
  Netwerk (or usually his assistant) checks through all messages and 
  pieces of information left by other users, and (having discarded any­
  thing he considers dangerous or "unsuitable") makes the whole lot 
  available through the board. See below for details of exactly what he 
  censors out, but keep in mind that his ability to control the flow of in­
  formation through the board actually gives him a great deal of power. 
  Of course, running the board has now turned into a full-time job, and 
  Netwerk and his assistant have to pay for their rent, food, etc. So who 
  pays? 
  77 
  Samuel T. Steward, businessman and petty politician, actually 
  funds the board, paying Netwerk's expenses (and a fair bit more) in re­
  turn for certain privileges (His secret privileges include: being given a 
  copy of every information item and private message which passes 
  across the board, and having the right to demand that certain users have 
  their access rights terminated). Steward's identity is strictly secret. He 
  sends and receives messages through the pseudonym of The Benefac­
  tor, and occasionally drops hints that he is somehow responsible for the 
  existence of the board, but no one has any idea that he has access to 
  confidential information such as private messages. Messages on the 
  board imply that The Benefactor is a powerful magician who maintains 
  the board (and perhaps "runs" the whole Shadowleague) out of the 
  goodness of his heart, and allegations to the contrary never seem to 
  make it onto the board. 
  The Free Houses 
  The half dozen existing Free Houses are run by a loose alliance of 
  Astral Lords and Domains (see the Beyond the Shadows™ supplement 
  for more details about the Astral Plane) who each have their own rea­
  sons for providing refuges for magicians and others from the human 
  world. 
  Each "Free House" is a sprawling Inn or hotel, set in the mists of the 
  Astral Plane. Each can be accessed from several points on the mortal 
  world, or from the Astral plane itself. It has taken considerable effort to 
  establish each Free House, yet almost no one knows who has gone to all 
  this trouble. Even the staff who run these establishments are too igno­
  rant, too scared, or too well paid to divulge much information to in­
  quisitive guests. 
  In fact, the prime movers in the Free House movement are the Ca­
  sino of the Damned (the Astral casino where the foolish may gamble 
  away their souls, described on page 42 of Between the Shadows) and 
  the slavers of the Crimson Ship (who sail the Outer Astral Plane, trad­
  ing captives between dimensions). 
  The Casino of the Damned sets up Free Houses which just happen 
  to have little gambling games going on in them. Croupiers from the Ca­
  sino are sent out to run these establishments, running card or dice games 
  where the stakes are merely money and the odds are actually stacked in 
  the favor of the player(!), in order to encourage customers to take the 
  trip to the Casino "where you might win so much more than you could 
  here." Benevolently, the owners can even be "persuaded" to guide inex­
  perienced Astral Travelers through the plane to the Casino. 
  The Crimson Ship, on the other hand, is always on the lookout for 
  fresh slaves to trade, and magicians fetch a good price in some realms 
  (from the Nightlords, for example). They have also been known to kid­
  nap specific individuals if paid enough. Preying on the desperate 
  wretches who are driven to hide out in these Inns is easy for the pirates 
  (the key is, don't stay too alone). They are always careful not to take 
  people who might be missed: they don't want the Free Houses to get a 
  bad reputation. 
  If G.M.s don't want to tie the Free Houses in to the politics of the 
  Astral Plane, then there are other reasons why supernatural beings 
  might set up individual refuges for mortal or Nightbane magicians and 
  travelers. Consider, for example, that some sort of vampiric predator 
  (who has to drink souls or eat the flesh of supernatural creatures to sur­
  vive) might want to lure desperate magical individuals to an isolated re­
  treat. Or perhaps the Guardians might set up a Free House as a refuge 
  for the Lightbringers or to gather allies. Or perhaps a malevolent sor­
  cerer might try to build a small army of loyal magicians by brainwash­
  ing guests at his Free House, or by replacing them with duplicates in 
  order to spread disinformation or to manipulate these victims' allies. 
  Not all Free Houses exist for the same purpose. 
  Discussion Groups 
  Advertised via the Shadowboard, and often claiming to be affiliated 
  to the Shadow league, there are a range of informal meetings, research 
  groups, covens of magicians, communities of mystics, and similar asso­
  ciations. For simplicity's sake, let's call these "discussion groups." 
  Quentin Milton (Order #26014138)
  
  Who organizes these groups, and why? 
  Well, who organizes stamp collectors' clubs, or fan clubs, or needle­
  work circles? Same thing. Most discussion groups simply come to­
  gether for the same reason that people in any field might get together, 
  and those who run the groups may simply be enthusiasts, or egotistical 
  wannabe-leaders, or opportunists who see the chance to make a fast 
  buck (from membership fees, etc.). 
  Some groups, however, are more insidious. 
  Structured brotherhoods, such as the True Illumination, the Light­
  bringers, the Seekers, et cetera, may also establish or infiltrate such 
  groups. They may want to recruit talented individuals, steer the group 
  away from more dangerous pursuits, enlist them to gather information 
  or do simple research, etc. They may therefore send a sorcerer or other 
  spy to infiltrate them, or they might use magics and supernatural allies 
  to spy on the group, or they might contact its leader separately. 
  Individual magicians also sometimes set up or join these groups, 
  often for similar reasons. The group may attract genuinely talented ma­
  gicians who can be trained, or the group may investigate phenomena or 
  subjects which the magician is interested in (Why read dozens of books 
  on demons when there's an eager group of would-be Summoners who 
  are already looking through medieval or Victorian grimoires?). A genu­
  ine sorcerer can also win a great deal of respect from aspiring dabblers 
  with a flashy show of magical power, for example, and by promising 
  aid or tuition. In return the sorcerer could get the group to do a lot of lit­
  tle favors and services for him or her. 
  The Gathering 
  Right now it's just a rumor, but word is that someone is planning a 
  great Gathering of the Shadowleague - calling together all of the 
  prominent members to a great council, where mighty secrets will be 
  shared and the League will forge itself into a mighty alliance to save hu­
  manity from the great forces which threaten the Earth. 
  Rumors point towards an ancient mystic, apparently a Chinese Im­
  mortal named Gui Long, whose servants are now tracking down and 
  contacting the wisest and most powerful of the magicians who commu­
  nicate via the Shadow board or meet at the Free Houses. No one knows 
  who Gui Long is (the name, meaning Spirit Dragon, is probably a pseu­
  donym), nor why he is so interested in getting the Shadow league to 
  meet in the open. 
  Welcome to the 
  Shadowboard! 
  "As this is your first visit to the Shadowboard, here are a few hints 
  and pointers to get you started. Just the basics. What this notice board 
  is, who runs it, and so on. 
  "The Shadowboard is simply an online messaging service and infor­
  mation board dedicated to the disciplined study of arcane energies and 
  events. We aren' t  talking about tarot, geomancy or jumping naked over 
  bonfires. We're talking blood, sweat and tears, pouring your soul into 
  things or invoking life into machines ... if you aren' t  clear about what 
  this means, then this isn't a noticeboard that will interest you. 
  "To continue past this screen, press F2. This will take you to the no­
  ticeboard, which is the main portion of the Shadowboard. You may post 
  any messages you please there, although there will be a delay of about 
  a day before your message appears, but we will remove anything which 
  is slanderous, religious, or trivial. 
  "When you get to the board you will find a selection of messages left 
  by other users. These may include reports of unusual events and sight­
  ings, discussions of theory and metaphysics, partial or complete ritual 
  instructions, pleas for help or information, or anything else that people 
  have decided to leave. Messages are taken off the board after a month, 
  and we have no control over what people have decided to post to us. We 
  78 
  also cannot guarantee that any specific message is accurate, honest, or 
  sane. 
  "Finally, we' ll save you the trouble and tell you now that the Shad­
  owboard has more than adequate defenses from computer viruses, 
  hackers, et cetera. Don't bother. You will also be unable to find, physi­
  cally, the machine which we are using to maintain this board. And of 
  course, if you can't screw around with or even find our system, then 
  that means that no one else can either. 
  "At any point you may register on the Shadowboard by pressing F 1 .  
  This is a simple procedure, nothing will be installed to your hard disk, 
  and you won't be asked to give any information. We don' t  even want 
  your name. In fact, we recommend that you never divulge any personal 
  details when using the Shadowboard. You didn't have too much trouble 
  getting the access software, did you? No. Well, that means that lots of 
  other people have got the same software as you, just as easily. Rivals, 
  enemies, the government. Think about it. Be careful. 
  "Once you have registered, you will be able to pick up messages left 
  for you at the board. These, addressed to you personally using any User 
  Name you choose, are entirely confidential, and can only be read with 
  an access code which you have preset. 
  "There is no charge for registration or access. The service is en­
  tirely free. 
  "The Shadowboard's administrator is User Name: Netwerk (Hi 
  there!), so address queries, etc., to that name. The whole thing is main­
  tained due to the generosity of The Benefactor, and there are no strings 
  attached. 
  "The Shadowboard is simply the communications organ of The 
  Shadowleague. In fact, it really is the League. Shadowleague has no hi­
  erarchies, no controllers, no secret agendas, no one telling you what to 
  do or asking for your loyalty. The League also maintains a series of 
  Free Houses and other services which you may become aware of later. 
  But again, keep in mind that because no one controls the Shad­
  owleague, there is no one making sure that these services are run prop­
  erly. Understand? Like we said, BE CAREFUL." 
  ... END> 
  The Shadowboard 
  The Shadowboard is an information and messaging (e-mail) service, 
  provided free of charge. Copies of the Access Kit (software which al­
  lows the user's computer and modem to access the board) circulates 
  freely in magical brotherhoods and occult groups, and is often passed 
  on (through friends of friends of friends) to reach the general public. 
  All that a person has to do is to run this software on his machine, in 
  order to access the board. There is otherwise no way whatsoever that 
  anyone can get access to it. The person may then register as a user, with 
  the board storing messages addressed to him until he next logs on. All 
  that registration involves is giving a "User Name" (pseudonym) to 
  which such messages are addressed, and selecting a password which 
  then allows the person to retrieve messages from his electronic mailbox. 
  At no time does the software ask for any personal details, not even the 
  person's name, and, remember, there is no charge for the service. 
  The Shadowboard actually incorporates two services. 
  Firstly there is the public message board. Any registered user may 
  "post" messages, of any length, on the board. These may be theories 
  and conjecture, news stories, details of how to perform certain spells, or 
  anything else. The board's overseers, however, reserve the right to re­
  ject any messages as unsuitable, and cannot guarantee the accuracy or 
  honesty of the messages which they do allow. Reading the messages on 
  this board is easy. Anyone, a registered user or otherwise, may browse 
  the board if they have a copy of the Access software. 
  Secondly, each registered user has his own "mailbox," just like nor­
  mal e-mail. This mailbox allows other users to send confidential mes­
  sages to him. Officially, no one else ever reads these messages, 
  although in practice, Netwerk and Samuel Steward could both read any 
  Quentin Milton (Order #26014138)
  
  messages they please, and often do. There have never been any in­
  stances of anyone receiving another's messages by mistake, although 
  messages may occasionally be "lost" (if Netwerk or Samuel Steward 
  want it to be). To retrieve messages from a mailbox, the user must log 
  on to the board, using the software, and then enter a personal password. 
  Without that password the messages cannot be retrieved (except per­
  haps by a really competent Cybermage with a huge computer hacking 
  skill), and Netwerk and his assistant never give out others' passwords. 
  There are about 2,000 "users" accessing the board each month. 
  Some check in daily, some only once per month. About a thousand of 
  these are actually magicians. Another six hundred are related "interested 
  parties" - Spook Squad members, Lightbringers, Gray Ghost Society 
  members, Aurora Investigation Agency employees, mystics, the ser­
  vants of powerful Immortals and otherworldly powers, Underground 
  Railway and Resistance members, and just about anyone who might 
  find it useful to communicate with or keep an eye on the Shad­
  owleague's "members." 
  There are also several hundred normal folk who have picked up a 
  copy of the access software and now use the board, such as those with 
  no magical ability but who have pretensions to occult power, who feel 
  driven to investigate the occult, or who are just very bored: this includes 
  anyone and everyone, from self-possessed occultists, new-agers and 
  neo-pagans, to evangelical priests and journalists, to bored students and 
  computer-nerds. These people may not bother looking at the board for 
  long, however, as Netwerk makes sure that their ignorant messages are 
  never displayed, and they soon give up in frustration. However, those 
  who ask intelligent questions are welcome and could be recruited in the 
  future by any number of groups. 
  And finally, there are about 1 00 less savory "spectators" who keep 
  an eye on the board. These include NSB agents, law enforcement offi­
  cials, Young Preservers, and others who have an interest in keeping tabs 
  on the world's sorcerers. 
  What is on the Board 
  The board's content is very, very narrow: serious sorcerous material 
  only. This makes it an invaluable (although suspect) source of informa­
  tion and spells for disciplined practitioners of magic (although it is 
  fairly useless for mystics or psychics), and at the same time discourages 
  the general public from preying on it. Normal internet junkies would 
  want to look at more sensational, less obscure material, and so when the 
  access software does leak out to the general public it doesn't cause any 
  problems. 
  Most of the messages on the board are pretty obscure. 
  Some are coded and apparently nonsensical, so that only specific 
  groups will understand them. For example, the message "To all locusts 
  leaping or sleeping. The harvest ripens and the great east wind blows. 
  Harken the call of the wind and be blown with haste along the paths 
  predestined for you." might alert the servants of a particular sorcerer, 
  group, or creature(s) that the time has come to put some prediscussed 
  master plan into operation. 
  Others are full of gobbledegook and pseudo-science. One group 
  might use the board to conduct a public discussion on the links between 
  ley lines and Chinese geomancy, or on whether or not dimensional por­
  tals might be easier to open or close under certain astrological condi­
  tions, or the uses of mutated DNA strands in the creation of Cybermagic 
  devices which are intended to heal. 
  At any given time there will be about half a dozen to a dozen mes­
  sages on the board. G.M.s, don't worry about exactly what these are. 
  Only the occasional message, containing clues, spell details, adventure 
  hooks, etc., need actually be described in detail to a player whose char­
  acter is accessing the board. 
  79 
  What isn't on the board 
  The board is intended only for the use of serious magicians (Sorcer­
  ers, Astral Sorcerers, Cybermages, etc.), and so it does not carry flip­
  pant or frivolous messages. Comments about TV, social activities, 
  sports, etc., are never displayed on the board, nor are "popular occult­
  ism" or paranormal items (the Tarot, ghost stories, etc., never appear), 
  nor are UFO stories, alien conspiracy theories or other supermarket tab­
  loid drivel. If anyone tries to post this kind of material to the Shadow­
  board, Netwerk censors it. 
  Netwerk refuses to "slander" people. Fair enough, perhaps. But in 
  practice this means that anything too precise and potentially damaging, 
  such as lists of names, dates, floor plans of government research cen­
  ters, and similar, are censored by Netwerk. The only people who ever 
  see these are Netwerk himself, his assistant, and Samuel T. Steward. 
  "Religious" material and cosmologies also do not get on, unless they 
  have some special significance. Netwerk therefore censors anything 
  which preaches a religious message, and anything which gives specific 
  details about the Nightlands (geography, leaders, etc.). This information 
  is forwarded to Steward. 
  Netwerk's computer also has a sophisticated set of programs which 
  sniff out both computer viruses and active magics disguised as com­
  puter code. The Shadowboard is therefore, entirely free from computer 
  viruses, and is effectively immune to magical attack or sabotage. 
  Steward's Secret Agenda 
  "The Benefactor," Samuel T. Steward, has big ambitions. He has 
  made his millions in publishing, and over the last few years has turned 
  his attention towards politics. He recently ran as a Republican candidate 
  for Governor of Texas (and lost, badly). He has since shifted allegiance 
  to the Preserver Party; not because he believes in "traditional values" 
  but because he sees them as the best party to join if he wants to win 
  power. 
  Quentin Milton (Order #26014138)
  
  The Shadowleague, for Steward, is simply a source of potential "em­
  ployees" and information which may be useful to him, either to further 
  his business plans, or in his political career. 
  Steward sends private messages to users who are obviously compe­
  tent magicians, offering them money or favors if they will work for 
  him. In these messages he claims to be a powerful magician, and says 
  that he effectively runs the League. 
  He has a couple of powerful sorcerers (level eight or higher) on hun­
  dred thousand dollar a year salaries, and keeps lesser practitioners of 
  magic loyal with vague promises and hopes of big favors in the future. 
  Controlling minor sorcerers is actually easy for him: he gets his salaried 
  sorcerers to write out low level spells for him, and then gives copies of 
  these to his minor servants (any spell up to level four is available 
  through Steward if one is willing to repay the favor in the future, or qui­
  etly work for or with him). He then implies that he knows much more 
  powerful spells, but won't impart their secrets "just yet". 
  Steward is becoming concerned, however, about the Preservers. The 
  man is a heartless businessman, but he isn't a complete barbarian, and 
  as he rises through the Preserver Party's ranks (he was recently 
  shortlisted for a Congressional nomination), he is becoming increas­
  ingly concerned about some of its senior members and policies. And of 
  course, much of the information coming to him through the Shadow­
  board hints at dark supernatural influences in the Preserver Party. 
  Steward is too pragmatic to oppose the Preservers (he has made his 
  fortune playing within the system, and isn't going to throw it away in 
  senseless rebellion now), but he would like to know more and is re­
  thinking his involvement with them. The question is, will the Preservers 
  let him back out now? And what would they do if they found out that he 
  had unlimited access to the Shadow board? 
  Rumors on the Board 
  G.M.s can use the board to spread all sorts of rumors, clues, hints, 
  adventure introductions, or slanders to player characters who consult 
  the board. Inevitably, all too often the player characters will want to 
  check up on the Shadowboard when the G.M. hasn't worked out exactly 
  what information it carries. The following table gives a random selec­
  tion of items which might appear on the board (this is the most interest­
  ing stuff, along with loads of idle gossip and petty bickering, too). 
  When necessary or desirable, let the characters roll on it. New messages 
  appear at least once a week. 
  01-05 Pointless but intriguing speculation. A number of users 
  have posted messages asking who Netwerk actually is and why he runs 
  the Shadowboard. Netwerk has not deigned to answer, but other users 
  have put up messages conjecturing that he works for a powerful Astral 
  Entity or he is not a person but an electronic demigod. 
  06-10 More speculation. A couple of clued-up but paranoid sorcer­
  ers post a series of messages speculating about why magical powers 
  flared at Dark Day, and what the relationship between "demons" (the 
  Nightlords' minions) and magic power is. They also point out that 
  throughout history, the Church and others have taught that all magic 
  power comes from devils. Their concern is that magical power is sup­
  plied by and somehow serves the interests of what they call "demons" 
  (the Nightlords). 
  1 1-15 SLANDER? There is a series of exchanges between an 
  anonymous sorcerer and a group calling themselves The Watchmen. 
  The anonymous sorcerer claims that the Watchmen have been encour­
  aging folks to fight against "creatures of light" who are trying to aid hu­
  manity against "the creatures of darkness," and goes on to accuse The 
  Watchmen of being "dupes of the dark ones." The Watchmen retort that 
  the "pale creatures" they oppose are cunning demons who merely seem 
  to be friendly in order to manipulate humans. The argument runs and 
  runs. 
  16-30 DANGEROUS DRIVEL. A self-proclaimed sorcerer posts a 
  message claiming that he has discovered an ancient spell in the vaults of 
  80 
  a public library. Wiser or more cynical mages post replies suggesting 
  that he should be careful, pointing out that "the authorities" generally 
  make sure that nothing useful is available to the public. The youngster, 
  to clear his name, gives full details of the spell, word for word, from his 
  text. This seems to be instructions for casting a spell. (Choose a spell at 
  random from the rule book or the spell descriptions here.) 90% chance 
  the spell is useless. 9% chance it unleashes wild magics, calls a minor 
  supernatural creature, rips at the caster's flesh, or is otherwise danger­
  ous. 1 % chance it actually works properly. 
  31-33 LOCAL DISCUSSION GROUP. A message is posted stat­
  ing that a particular mage wants to make contact with and set up a "mu­
  tual aid" or discussion group with other practitioners in the area where 
  the player characters live, setting a time and date for the meeting. (This 
  could be a way to get the player characters involved with other magi­
  cians, or, if they attend, they might just walk into an HRT, NSB or 
  Nightlord's ambush.) 
  34-36 DISCUSSION GROUP DESTROYED. This message is 
  posted by a member of an informal magicians' group (e.g. a discussion 
  group). Other members of the group have recently been vanishing, and 
  the few who are left are very worried. They seek information, advice, or 
  help, or sanctuary. 
  37-50 DISCUSSION GROUP. A "Local Discussion Group," but 
  the meeting is some distance from the player characters. Could be legit 
  or a trap. 
  51-55 "EARN $60,000 PER YEAR." One of the board's users has 
  posted a message saying: 
  "Unconventional technicians with sound knowledge of computers 
  and biochemistry sought for cutting edge research lab. $60,000 per year 
  salary, with sunny west-coast location on a ley line nexus. Reply to Joe 
  A." 
  In other words, a Silicon Valley research center wants to recruit Cy­
  bermages. They'll take almost any Cybermage they can get. The down­
  side? The lab is funded and constantly monitored by the NSB, and 
  anyone who leaves this job is likely to be hunted down and killed soon 
  afterwards. 
  56-60 "MONEY! (THAT GOT YOUR ATTENTION). 
  "We want to pay you for your time and knowledge. Think you can 
  teach a few tricks to younger dabblers? Can you write down what you 
  know so that someone else could learn to cast just by reading your text? 
  Then we have work for you. Reply to Silver Twist, and we'll arrange a 
  meeting on neutral ground to establish that we can trust each other." 
  Silver Twist is the pseudonym of one of Samuel Steward's salaried 
  mages. Her aim is to recruit a couple of competent mages (levels 2-6) 
  who can teach simple spells to level one or two sorcerers. Cash or spell 
  secrets are available in exchange. 
  61-67 INCOHERENT CODE. A message has been posted on the 
  board delivering sensitive information in an apparently innocuous and 
  incoherent manner. What seems like gibberish may be instructions to 
  cells of saboteurs or conspirators (ordering an attack, for example) or 
  intelligence info as to a rivals' plans. E.g. "Ten thousand paratroops 
  storm the gates of heaven on the head of a pin, but paraplegics calcify 
  the cherry tree." 
  Some of the message may come clear to players in later adventures 
  (e.g. if they stumble across a copy of a code dictionary/translator), or 
  this may just remain a mystery. 
  68-70 WATCHMEN WARNING (1). A group calling themselves 
  The Watchmen post a long "news story" detailing the apparently super­
  natural murders of several US doctors and surgeons at the hands of an 
  albino serial killer. The information is full of rage at the needless deaths 
  of these good men, and concern for their families. (At no point does the 
  story even suggest that the "killer" - a Guardian - slew the doctors 
  because they were serving the Nightlords in a Preserver Government 
  eugenics program). 
  71-74 WATCHMEN WARNING (2). The mages calling them­
  selves Watchmen post another set of messages, warning of a group of 
  Quentin Milton (Order #26014138)
  
  "demons" who "glow with a cold, bleak light," who have been murder­
  ing innocent folk around the US. There is a rant about how these "cun­
  ning deceivers" are masters of subtle lies, and their true goals are death 
  and human misery, followed by details of a spell designed specifically 
  to combat them. In other words, there is a load of propaganda aimed at 
  discrediting the Guardians, and a spell designed to destroy them. This 
  level three spell, called Blast Against The Pale Riders, is actually a 
  slight variation on the level three Energy Bolt spell. It inflicts minimum 
  damage against normal targets ( I D4 points) but severe damage 
  (4D6x2), against Guardians and other Creatures of Light; it is otherwise 
  the same as the Energy Bolt spell in regard to range, etc. 
  75-79 PROPHECY OF DOOM. Some credulous fellow has calcu­
  lated that the end of the world is nigh: The stars will crash to earth, huge 
  Rifts will open in the sky, Satan will rise out of hell (pick one). The rant 
  "proves" that this is so with astrological calculations; or with notes 
  about natural omens; and/or with references to "prophesies" contained 
  in Nostradamus, the Book of Revelation, and the Little Rock District 
  Telephone Directory. An exact time and place is given for Armaged­
  don. Although this is almost certainly misguided drivel, player charac­
  ters might want to check it out anyway. It is possible that something 
  may happen at the appointed time and place, and it may be worth seeing 
  who actually turns up to witness Armageddon. 
  80-90 KNOW YOUR FRIENDS ... AND ENEMIES. The first 
  lines of the message read: 
  "Like it says on the intro screen when you first logged onto the 
  board, BE CAREFUL. The following notes should help you to do just 
  that. Read and remember this stuff. And next time someone gets talking 
  to you in the library, or drops by your magic circle asking to join, take a 
  good, hard look at them. Weird bastards will have one weird aura. True 
  adepts will have strong but normal auras. Distrust the former." 
  There then follows exhaustive instructions which would allow a sor­
  cerer or similar to learn the level one See Aura spell. This message reap­
  pears on the board every few months. 
  91-95 PARTIAL SPELL DESCRIPTION. A partial description of 
  how to cast a specific spell (G.M. 's choice of spell, or roll I D20 and 
  choose from the following list). The spell as described is incomplete, 
  but with a couple of weeks' study a practitioner of magic should be able 
  to figure out how to make it work. This requires either a week spent re­
  searching in a sorcerous library (and a successful Research roll) in order 
  to find hints and references as to what is missing from these descrip­
  tions, or two weeks of contemplation (and a successful Principles of 
  Magic roll) for the magician to work it out for him or herself. 90% are 
  written for standard magicians rather than Cybermages, and typical 
  spells include: 
  1 Draught of Life and Death 
  2 The Knowing Candle 
  3 Bloodward 
  4 Create Watching Enchantment 
  5 The Life Plant 
  6 Soul in a Bottle 
  7 The Druid's Head 
  8 Destroy Undead Flesh 
  9 Death Trance (Rule book) 
  10 Concealment (Rule book) 
  1 1  Mystic Alarm (Rule book) 
  1 2  Call Creature of Light (Rule book) 
  1 3  Impervious to Fire (Rule book) 
  14 Charismatic Aura (Rule book) 
  1 5  Charm Weapon (Rule book) 
  1 6  Observe Dream (Between the Shadows) 
  17 See Through Lifeless Eyes (Flesh sculptor spell) 
  1 8  Replace Flesh (Fleshsculptor spell) 
  1 9  Manipulate Reflection (Mirrormage spell) 
  20 Lens of True Sight (Mirrormage spell) 
  81 
  96-98 COMPLETE SPELL DESCRIPTION: As above, but the 
  spell 
  description is 
  already 
  complete. 
  A 
  sorcerer, Cybermage, 
  Fleshsculptor, etc., can learn the spell from this text without need for 
  further study or research. 
  99 WEAPON BLUEPRINTS. Anonymously posted, a set of Cy­
  bermage's weapon blueprints are available on the board. These weap­
  ons (costing $ 10,000 each to build, and looking like something out of a 
  science fiction movie or a painting by H.R. Giger) are a selection of as­
  sault rifles, pistols and machineguns designed to inflict additional magi­
  cal damage upon "unnatural" creatures. In effect, these weapons use a 
  version of the level five Charm Weapon spell from the Nightbane® 
  RPG. What isn't apparent (meaning that players' characters will not be 
  able to tell, even if a Cybermage amongst them builds one of the things) 
  is that the weapons do no additional damage against the Nightlords or 
  their minions, and they have unusually strong magical auras (designed 
  specifically so that Hunters can always track these weapons and those 
  carrying them). In fact, these blueprints have been circulated by the 
  Brotherhood of True Illumination, and the only way to discover the 
  weapons' limitations is to compare the blueprints with a genuine Charm 
  Weapon spell and roll under I.Q. on a twenty-sided die. 
  100 THE JACKPOT (OR NOT). A little known mage, calling 
  himself Openbook, claims to have found a powerful spell in an ancient 
  grimoire, which he has made available, in its entirety, via the board. 
  Loads of text, diagrams, etc., giving details of the spell are included, so 
  that a sorcerer could learn the spell just from this data. The spell itself is 
  in fact a 1 000 P.P.E., level fifteen version of Summon Nightlord (usu­
  ally a level thirteen spell), the increase in level apparently being due to 
  the fact that in this version of the spell, a circle is inscribed upon the 
  floor and the Summoned Nightlord is called into this circle, being un­
  able to leave it without the caster's consent. At least, that's what the 
  message claims that the spell does. And the calling name of a Nightlord 
  is included for good measure. 
  It's too good to be true, of course, and woe betide any sorcerer fool­
  ish enough to cast it. A Principles of Magic skill roll reveals that the 
  spell is not a modem one, and a Lore: Nightlands roll reveals that it has 
  the hallmarks of a spell created by the Nightlords themselves. A few 
  weeks of study, comparing this one to other summoning-type spells and 
  with a successful Understanding the Principles of Magic roll, reveals 
  that the spell actually opens a Dimensional Portal (as in the level fifteen 
  spell), although it also affects a Nightlord in some way. The only way to 
  find out exactly what it does is to try it. G.M. Note: The spell opens a 
  portal to the Nightlands, near the named Lord's stronghold, and (be­
  cause the name is included) alerts the Lord to the position and existence 
  of the portal, so the Nightlord then has the option to step through, or to 
  send a scout ahead or bring a small army with him. The spell has in fact 
  been posted by the Brotherhood of True Illumination, on this Night­
  lord's orders, as a way to attract powerful sorcerers who might be "per­
  suaded" to serve him ("You thought to bind me into some silly circle, 
  foolish mortal! Well, it is I who has the upper hand now. And you will 
  fulfill my commands if you wish to live"). Ooops. 
  The Free Houses 
  The Free Houses are a small number of hotels, hostels and retreats 
  hidden beyond the mortal world in the Inner Astral Plane. Between half 
  a dozen and a dozen exist at any time, each is unique, and most can be 
  accessed from a number of spots around the mortal world. 
  The Free Houses provide accommodation and refreshment to visi­
  tors at very reasonable prices. Dollars, yen, bartered goods (usually 
  magical), the black dollars of the Nightlords, or almost any other cur­
  rency may be traded for a meal, a beer, or a night's rest. By and large, 
  only supernatural patrons are shown the entrances to the Houses (magi­
  cians, some Nightbane, etc.), while defenses are usually established to 
  prevent magics or firearms from functioning in the Houses and to keep 
  out unwanted visitors (such as the Nightlords' minions). 
  Quentin Milton (Order #26014138)
  
  The Houses' Agenda 
  As described above, each Free House has been established for a spe­
  cific purpose, and those who have established these Domains have no 
  intention of letting outsiders discover why these places exist. Whether a 
  House exists to gather information, to recruit mages for a specific cause, 
  to take slaves, or for any other reason, each has its own secret agenda. 
  Characters in the Free Houses 
  In the day to day world, most of the Non-Player Characters (NPCs) 
  whom player characters typically meet are likely to be pretty mundane 
  people. Their neighbors, shop assistants and taxi drivers, their families 
  - most will be unremarkable human beings. But in the Free Houses, 
  everyone whom the characters meet will have unusual powers, agendas 
  or associations. Everyone is a potential ally, enemy, or introduction to 
  an adventure. 
  Most obviously, the Free Houses entertain a number of mages and 
  more adventurous occultists who have found out about them from the 
  Shadowboard or from other Shadowleaguers (via Discussion Groups, 
  for example). These adventurers might be present at the House out of 
  curiosity, or because they are trying to contact other mages (for their 
  own reasons or for another organization), to exchange gossip, or to hide 
  from their enemies. Likewise, NPC Astral Travelers might wander into 
  Free Houses; Astral Lords hoping to gather news of other realms, or 
  Millek looking for a teacher or for work as a guide, or a couple of 
  Mountebanks trying to barter away some booty, and so on (see the Be­
  tween The Shadows™ supplement). Other supernatural creatures 
  might also stop off at Free Houses, unless specific magics prevent them 
  from entering, including vampires looking for a quick bite, Namtar 
  spies, and Nightbane on the run. 
  At any given time, most Free Houses have no more than half a 
  dozen guests, and perhaps no more than thirty to a hundred mortals are 
  actually able to reach each House. This means that player characters 
  who visit a Free House can expect to meet the same people over and 
  over on subsequent visits, building up friendships and relationships with 
  them. Moreover, as most Free Houses have several entrances across the 
  mortal world, adventurers may meet people from other countries or 
  continents. It is worth giving some thought to exactly who the player 
  characters can meet through any Free House they discover - be consis­
  tent. 
  Example Free House: 
  The Prisoner's Rest 
  The Prisoner's Rest appears as a huge, rambling seventeenth century 
  smugglers' Inn (think of old pirate movies). It is a timber-built structure 
  (although the timbers will not burn), constantly shrouded in the swirling 
  mists of the Astral Plane. A few flickering candles provide inadequate 
  illumination inside and everything is covered in dust. Several mute and 
  manacled slaves shuffle around the place, serving customers and run­
  ning errands. Firearms and modern technology (post-seventeenth cen­
  tury) do not work within the Free House, although supernatural powers 
  and most magical devices are unaffected. 
  Visitors enter the Prisoner's Rest from the Astral Plane, or via one of 
  a number of movable portals. Each portal appears on the mortal world 
  as a plain, black Iron Maiden; an upright coffin or sarcophagus, shaped 
  in the leering likeness of some female monster. The front of the sar­
  cophagus swings open on hinges, revealing an interior filled with sharp 
  spikes and blades. There is room inside for a human-shaped person to 
  stand, but it would seem that as soon as the door is closed, the unfortu­
  nate inside would be torn to shreds by the closing blades. In fact, when 
  the door shuts the portal within is immediately opened, transporting the 
  person inside to a small closet-like space in the Free House. The Iron 
  Maidens each weigh around 600 lbs (270 kg), and while they aren't 
  likely to be stolen by casual opportunists, they can be moved by a Free 
  House's staff if it is suspected that the location of one has been discov-
  82 
  ered by enemies. These Iron Maidens may be hidden in museums, the 
  props-cellars of theaters or storerooms of movie studios, or anywhere 
  else that they would seem relatively at home. 
  Entering the Prisoner's Rest, travelers emerge into a large bar area, 
  lit by an iron candelabra which burns with thirteen candles. The tables 
  towards the edges of the rooms, many recessed in alcoves, are deep in 
  shadow. Above the bar a wooden sign hangs, with the words "The Pris­
  oner's Rest" written in ancient script but visible to each visitor in their 
  native language, beneath a picture of an unconscious man on a Rack. 
  From this room, six black iron doors lead to the movable portals, and a 
  wooden door leads out onto the Astral Plane, while a large wooden 
  staircase goes up to several smaller doors that lead into a network of 
  private dining and meeting rooms. The whole complex could seat 500 
  guests, but if there are eight people here in total, it's unusually busy. 
  Upstairs, thirty locked rooms contain uncomfortable and old-fash­
  ioned beds and bedroom furniture, the only other room being a large 
  conference chamber. Nowhere is there a sign of any quarters for the ser­
  vants, but they vanish for hours on end and must logically go some­
  where. 
  In fact, a score of hidden doors, concealed behind tapestries and 
  sliding panels, lead to a maze of secret rooms and passages, kitchens, 
  storage cellars, servants' quarters, and holding pens for slaves. Also, 
  deep within the cellars, there is a door which opens out onto a huge 
  wharf - a wooden pier over a mile ( 1 .6 km) long, with black waters 
  which lap hundreds of feet below. The wharf is big enough to moor a 
  ship the size of a small city. 
  Prices at the Free House are very cheap. A bowl of stew or a plate of 
  steak and vegetables costs around $5 (Don't ask where the meat comes 
  from. Let's just say that conditions in the slaves' pens are pretty bad, 
  and you'd probably rather stick to vegetarian food). A mug of beer 
  costs $ 1 ,  and anyone who eats or drinks here is entitled to a night in an 
  upstairs room for free. 
  The Free House is in fact run by the slavers of the Crimson Ship. 
  Many of the bedrooms have secret panels (which cannot be opened 
  from inside the rooms) which allow slavers to clamber in and kidnap 
  sleeping guests. Indeed, likely victims will probably have already been 
  drugged with some magical chemical slipped into their beer or stew to 
  ensure that they do not stir in the night. The human slaves who run the 
  Free House are, as they are aware, very lucky. The work is easy and if 
  they serve well for seven years they are released. If they betray their 
  masters they can expect an eternity of brutal servitude; disobedient 
  slaves being given as gifts to some of the slavers' nastiest clients. The 
  slaves, therefore, serve loyally, but many are miserable, lonely, and 
  very likely to befriend personable human or Nightbane visitors. 
  Ordinarily, the Prisoner's Rest is nearly empty. Once a year, how­
  ever, the slavers hold a great auction in the upstairs conference room. In 
  the nights prior to the event, dozens of guests are present, attending pri­
  vate viewings of fine slaves in the meeting rooms, or selling their own 
  captives to the slavers. On the night of the auction the place is packed, 
  with bidders cramming into the upstairs room and their servants and 
  guards taking up tables downstairs. Mountebanks and vampires, Night­
  lords and Necrophim, Astral Lords and Lightbringers, Ashmedai and 
  mages all attend to buy slaves and pets or to ransom captives, bidding 
  money, souls, food and supplies, favors and services against one an­
  other in confusing auctions where the slavers will consider any bid and 
  place no limits on what may be offered for their wares. 
  No magics protect this Free House from the intrusions of the Night­
  lords or other creatures. But the place is protected by an unspoken truce 
  between all of those who benefit from slave sales - from Necrophim to 
  Nightlords - who have a vested interest in letting the place run 
  smoothly and unmolested. The NSB and Nightlords leave the Prisoner's 
  Rest and its customers alone, and the denizens of the Astral Plane know 
  that raiding the Inn will bring vicious reprisals from the slavers' many 
  allies. 
  Quentin Milton (Order #26014138)
  
  Discussion Groups 
  From time to time, informal groups are set up by or for practitioners 
  of magic, bringing these people together to discuss their problems, 
  share their theories, or cooperate in group rituals or research. People 
  like to discuss their passtimes and discoveries with others who are inter­
  ested; the powerful get to show off a bit and earn the respect of the less 
  competent, who in tum get to pick up a few hints and pointers. 
  Magicians are often paranoid, and have good reason to fear persecu­
  tion. Many of the Nightlords' servants and NSB agents are keen to de­
  stroy any magicians (and others with supernatural powers) who do not 
  serve their plans. Consequently, many shy away from these groups. On 
  the other hand, because magic is so dangerous and most magicians (so 
  soon after Dark Day) remain so inexperienced, it is invaluable for them 
  to be able to come together and swap tips. ("You think this is what sort 
  of ritual? ! No way. I know that ritual, and I can tell you, this is going to 
  do something way different ... " Lucky escape.) 
  These informal groups are extremely varied but fall into three main 
  types: occult groups, NSB fronts, and manipulated groups. 
  Occult Groups 
  Many of the "discussion groups" advertising themselves on the 
  Shadowboard or via paranormal/occult magazines and shops are not 
  primarily made up of real practitioners of magic. 
  From bored teenagers to new-age dupes, to middle-aged housewives 
  with a yen to try something "forbidden," there is no shortage of people 
  who want to experiment with magic, the supernatural and unknown. In­
  evitably, these people will join together into small groups to experiment 
  or share their experiences. These are simply earnest, desperate or curi­
  ous folk who have come together to explore the secrets of the universe, 
  hoping to learn secrets and discover answers which the majority of the 
  population have yet to find. See the notes in the .Introduction talking 
  about occultism for some ideas on why people join these groups and 
  what they hope to get out of them. 
  What they actually get involved with will vary from group to group. 
  Some will try out rituals taken from medieval grimoires, others will ex­
  periment with psychic abilities, yet others will try voodoo, meditation, 
  sex-magic, ritual vampirism, ouija boards, "magical" rituals, seances, 
  dowsing, palmistry, and any other number of diversions. Unfortunately, 
  after Dark Day, with magical energies running higher than they have 
  been for centuries, many of these "harmless" passtimes have become in­
  creasingly hazardous. Some of those old medieval rituals might actually 
  allow the group to summon some manner of creature, and there is no 
  telling what might be contacted by a seance. 
  These groups may, of course, make genuine arcane discoveries, or 
  accidentally unleash powers well beyond their control. Most, however, 
  will blunder along, ineffectually experimenting with impotent supersti­
  tions and claptrap. 
  These groups may not seem to be a part of the Shadowleague, but in 
  fact they are associated to it. Many of their committed members are us­
  ers of the Shadowboard, and meetings are sometimes alluded to or even 
  advertised on the board. Moreover, any of the Shadowboard's other 
  members may infiltrate or keep an eye on such groups for their own 
  reasons. 
  NSB Fronts 
  The NSB are inevitably interested in gatherings of would-be magi­
  cians, wanting to assess whether or not they pose a threat to the Pre­
  server government and the Nightlords. In practice (even NSB resources 
  are finite) they w11l usually just bug a couple of meetings, attempting to 
  compile a list of those who attend for their data bases. Once they are 
  convinced that the group has no genuine magical power, they will leave 
  it alone. If they feel the need to intimidate or interrogate members, then 
  83 
  they will arrest and question them, using the justification that they sus­
  pect the group of some sort of kidnapping or human sacrifices (remem­
  ber the scare-stories that circulated back in the twentieth century about 
  satanic sacrifices and rape?). Of course, they have to find out the true 
  identities of the members, which is why maintaining anonymity can be 
  so important. 
  In some instances, the NSB deliberately establishes a discussion 
  group, sending an agent to recruit members, run meetings, circulate 
  books and pamphlets, etc. This sort of a group is likely to be established 
  for a specific reason, or in response to a long-running crisis. Members 
  act as informants (usually unwittingly), sharing information about any 
  weirdness they experience or hear about. Such entrapment groups may 
  be designed to attract specific magicians or Nightbane operating in the 
  area, and who the NSB have been longing to flush out of hiding. 
  Most members of these groups, of course, are just interested dab­
  blers - hobbyists - who will not go out of their way to gather infor­
  mation or help the cause. An hour in the library is the limit of their 
  commitment; following people and committing crimes is way out. They 
  are not told who they are working for, and would consider it preposter­
  ous to think that a government agency was encouraging their fringe pur­
  suits. 
  Manipulated Groups 
  The NSB are not the only people who can benefit from manipulating 
  a bunch of credulous dabblers. 
  For example, individual Seekers may establish, infiltrate, or feed in­
  formation to such groups, hoping to get the members to investigate par­
  ticular phenomena (crop circles, weird stories surrounding certain 
  places, etc.), or to do some library research on their behalf. Such Seek­
  ers may abuse these groups shamelessly, but most are more likely to 
  strike up a symbiotic relationship with them, swapping knowledge for 
  example. So, the Seeker may have better things to do than spend all day 
  chasing down obscure references in old books, or looking through mis­
  guided articles in underground occult journals, but a small group of oc­
  cultists might be willing to look through some books or magazines in 
  return for occasional glances at the Seeker's ancient tomes or advice 
  from such a mentor. 
  Unscrupulous sorcerers might use groups to research and experi­
  ment with various magics, particularly if the group contains a couple of 
  genuine but inexperienced magicians. Supplying the group with infor­
  mation, or acting as its leader, such a sorcerer can guide members to­
  wards trying out specific spells or rituals. The fact is that there are a lot 
  of scraps of magical knowledge hidden away in old "magical" books, 
  from European grimoires through to Chinese books on alchemy, but 
  most of the "spells" and processes in these books are dangerously in­
  complete or simply ineffective. It is easier (and safer) for an uncaring 
  sorcerer to have dupes try these spells out first, rather than wasting the 
  time and risking the danger involved with using them, untested, himself. 
  Quentin Milton (Order #26014138)
  
  Sample 
  Shadowleague Members 
  Angelica "Astrid" Lawrence 
  Angelica is just dying to be someone special. She's bored with her 
  small-town life, her small-minded family, and her "small" (six bed­
  room) upper-middle-class home. So, at the age of 15, she has begun to 
  experiment with "the occult," buying overpriced Aleister Crowley pa­
  perbacks from pretentious bookstores. She has asked all her friends to 
  call her "Astrid" (which she thinks sounds "pagan") rather than Angel­
  ica. She has dyed all her clothes and hair black, plus, in a fit of confi­
  dent rebellion, even shaved a bit of hair off at the sides (though not 
  enough that anyone will notice). In the evenings she goes to "alterna­
  tive" clubs with her friends, or sits and drinks beer with them in a local 
  graveyard. She is especially excited to have found a tape of (fake) "De­
  monic Chants" in an occult bookstore, which she plays really loud 
  (well, fairly loud) to annoy her parents. 
  Recently, she has started sneaking out on Friday nights (despite, or 
  because of, her parents forbidding her), going to meetings of a local oc­
  cult group, "The Lodge of Golden Light." Inspired by them, she has 
  taken to drawing ritual circles on her bedroom floor (she stole the chalk 
  from school, and still feels guilty about it), but she hasn't managed to 
  summon anything, yet. 
  The "High Priestess" who runs the Lodge has picked her out for 
  "special instruction." This woman is a Night Priest called Yselte Crowe, 
  who has become aware that Angelica has a real talent for magic. 
  Crowe's knowledge of magic is intuitive, inspired by the Nightlords, 
  rather than methodical and sorcerous, but she is delighted to encourage 
  the girl's experimentings and has also offered to - teach the girl some 
  "rare ancient rituals." 
  If benevolent sorcerers (like the player characters?) were to give An­
  gelica some tutoring and guidance, she is credulous enough to learn 
  magic swiftly. But at present, the High Priestess plans to use Angelica 
  to perform Nightlord-inspired rituals on her behalf. Rituals which she is 
  unwilling to risk casting herself. If Angelica should prove difficult to 
  manipulate in the future, Crowe figures she can always use the young 
  woman as a sacrifice to her dark masters. In any case, if Angelica con­
  tinues to play around with "summonings" in her bedroom, she might 
  come face to face with something even more murderous than Yselte 
  Crowe. 
  Alignment: Unprincipled (at least currently). 
  Attributes: I.Q. 12, M.E. 1 3 ,  M.A. 1 3 ,  P.S. 7, P.P. 1 2, P.E. 8, P.B. 14, 
  Spd. 12 
  Age: 1 5  years old. 
  Hit Points: 1 2; S.D.C.: 4 
  P.P.E.: 1 8  
  O.C.C. & Experience: A potential, fledgling sorcerer, but at this stage 
  she's not even a first level Acolyte. 
  Magic Knowledge: Knows several dangerously incorrect calling and 
  summoning spells (which she thinks are "Demon" Summonings, 
  copied into a school exercise book from various tacky paperbacks), 
  but she hasn't managed to successfully cast anything, yet. 
  Skills of Note: Dance 35%, play guitar 35%, streetwise: drugs 25%. 
  John Blake 
  John Blake is a Chicago businessman who runs a large market re­
  search corporation, Simplife-I, which specializes in gathering apparently 
  innocuous information ("so tell me, sir, which of these newspapers do 
  you read?") for the use of a certain Preserver Government bureau. 
  84 
  Just before Dark Day, however, Blake was diagnosed as having ad­
  vanced lung-cancer. He was terrified. All his prestige and money could 
  not save him from a clearly terminal illness, and the best medicine 
  money could buy would simply postpone the inevitable. 
  For a cure he turned first to alternative therapies, and then to magic, 
  hiring holistic healers, mystics and faith-healers indiscriminately, while 
  he himself began to delve into Hermetic philosophy, alchemy and, 
  eventually, real magic. Driven by his fear of death, Blake easily had the 
  will to master magic, and he was desperate enough to believe anything. 
  Soon a combination of conventional medicine, holistic techniques 
  and his own magics had the cancer under control. The tumors still 
  speckle his lungs, but they are not growing or spreading. And Blake, in 
  the meantime, has become a knowledgeable sorcerer. He has links with 
  the Seekers (although he is not a member), he is an infrequent visitor at 
  two Free Houses, and regularly monitors and contributes to discussions 
  on the Shadowboard. If a Shadow leaguer needs financial backing for an 
  expedition or study project, or needs information that Blake has access 
  to (and Simplife-I has loads of information on file), then Blake may 
  well contact the person and make a deal; a typical deal is where he gives 
  the required aid and the profits or knowledge gained from the endeavor 
  are shared with him 50/50. However, he sees himself very much as both 
  a patron and manipulator. He gives orders and accumulates profit; he 
  does not take orders, nor get his hands dirty. 
  John Blake is an important man, CEO of a successful firm, and a 
  competent magician. His Nightlands' reflection, similarly, is formida­
  ble. Judas Bleak is his reflection in the Nightlands, a greedy bureaucrat 
  who runs a large information service for the Nightlords. A tall (7 ft/2. 1  
  m), thick-set humanoid (actually a minor Night Prince), chubby and ex­
  tremely ugly, with the entire right side of his chest swelled by cysts and 
  growths. Before Dark Day, Bleak too discovered that he was dying. He 
  became involved with the Korskai in the hopes that its members could 
  help, him in return for his support. Although they never seemed able to 
  help he now finds that his condition, too, is no longer worsening. Puz­
  zled, he remains active in the Korskai, hoping to advance himself 
  through it, and with access to one of the Nightlords' largest archives, he 
  is an invaluable asset to them. 
  Alignment: Aberrant 
  Attributes: I.Q. 15, M.E. 14, M.A. 14, P.S. 1 1 , P.P. 1 1 ,  P.E. 10, P.B. 
  12, Spd. 9 
  Age: 39 years old. 
  Hit Points: 3 1 ;  S.D.C.: 13 
  P.P.E.: 56 
  O.C.C. & Experience: Level Five Sorcerer. 
  Magic Knowledge: Spells: See aura, see the invisible, the life plant 
  (generally uses Bonsai trees in his office), sense magic, charismatic 
  aura, destroy dead flesh, cure minor disorders, heal wounds, sick­
  ness, and various personal magics which keep his cancer at bay. 
  Skills of Note: Computer operation 85%, research 100%, lore: religion 
  80%, lore: lines of power 80%, W.P. revolver. 
  The Gathering 
  It still isn't clear why The Gathering is being called, or who Gui 
  Long - whose agents are spreading the word - might be. At present, 
  only the more powerful members of the Shadowleague are being con­
  tacted. Less potent magicians are being ignored, and there are now ru­
  mors that magicians outside the league are being contacted (including 
  Masters of the Brotherhood who have selfish alignments, and some 
  Seekers). Most Immortals seem to know about the Gathering already, 
  but aren't saying what their involvement is. 
  Many seem to believe this is an attempt to build a solid alliance of 
  "neutral" magicians, taking powerful members from the League, Broth­
  erhood of True Illumination, and Seekers, plus Immortals, and weaving 
  them into a non-allied body of mages. 
  Quentin Milton (Order #26014138)
  
  Right now, the world's mages are being sucked into the power plays 
  of otherworldly beings like the Guardians, Nightlords, Vampires, Ne­
  crophim and others, becoming pawns in the struggles between Guardi­
  ans (who run the Lightbringers and have much influence over the 
  Seekers) and the Nightlords (who manipulate the Brotherhood of True 
  Illumination, NSB, and others). The Preserver oppression in the US, 
  and allied movements worldwide, are causing immense suffering al­
  ready. As the world also becomes a magical battleground between these 
  forces, with magicians as their pawns, this only leads to greater suffer­
  ing and loss of life. Perhaps at the Gathering, Gui Long will divulge 
  cosmic secrets of the Guardians and Nightlords, and forge the attendees 
  into an alliance which serves neither. This alliance would stand up to 
  both the Guardians and Nightlords, as well as Vampires, Necrophim, 
  demons and others, to reclaim the powers of magic and the world itself 
  for this world's own denizens, for humans and Nightbane alike. And of 
  course, once the world was "saved," this new alliance would be in a 
  very strong position ... 
  But then again, maybe that's just optimistic drivel. Maybe the whole 
  Gathering idea is a Nightlord or NSB trap! Or maybe it's just yet an­
  other petty magician trying to make himself the center of some new or­
  ganization. Or ... as G.M., you choose, or develop some other angle. It's 
  your game. 
  Informal Contacts 
  There is a lot of informal contact between Shadow league members, 
  too. Because they have met in a Free House, or fallen into discussions 
  on the Shadowboard, people may exchange mobile phone numbers or 
  arrange to meet for an occasional drink, gradually extending their web 
  of contacts and Shadowleague acquaintances. 
  The bottom line is that THIS IS HOW THE LEAGUE REALLY 
  WORKS. 
  Shadowleaguers don't just browse the information on the board or 
  go hide in a Free House. They slowly begin to exchange information 
  and build contacts. Each "member" of the Shadowleague may only ac­
  tually ever meet with one or two or three other members, but he or she 
  can "put the word out" that there is a problem, that certain information 
  is required, that someone has disappeared, etc., via the Shadow board 
  and his or her other contacts. 
  "Chicago, you say? No, never been there. But a guy I know said that 
  he's been swapping information with a guy in Illinois, and he might 
  know someone who could ask some questions for you." That sort of 
  thing. 
  People help each other out on a regular basis, so long as it's not too 
  inconvenient and doesn't put them in danger. A bit of simple informa­
  tion, advice, or a book sent through the mail are all easy to come by, 
  given a week or so for word to get around. And of course, this is all on 
  a "you scratch my back, I'll scratch yours ... " basis. That guy in Thai­
  land will be happy to mail you some photocopies of that ancient manu­
  script of his, even though he doesn't even know your real name, 
  because one day he might want you to check on a few things in your 
  hometown for him. And word gets around. There are less than a thou­
  sand active Shadowleague members, after all, and messages travel fast 
  on the Shadowboard. If a player character helps others, he or she will 
  find that people will be more willing to help in return. If he steals ob­
  jects borrowed from others, abuses their trust, or asks for info but never 
  gives anything of value back, word will get around that he shouldn't be 
  trusted. 
  Often, people who are working at cross purposes will actually find it 
  convenient to help each other out in little ways ("Hey, you may be 
  wanted by the US government, but I'm working for the Ukrainians, and 
  it's not in my interest to squabble with you right now. Here's the infor­
  mation you need, but I'll call in the favor one day"). Still, from time to 
  time people seeking information may be deceived by carefully crafted 
  falsehoods sent by the NSB and others. 
  85 
  Extending the Characters' Contacts 
  Player characters who get involved with the Shadowboard or Free 
  Houses will slowly come to meet other Shadowleague "members." As a 
  G.M. you might want to set up these meetings for a number of reasons: 
  Either to kick-off an adventure, or to introduce Non-Player Characters 
  (NPCs) who will figure in later plots, or just to create continuity and 
  give the player character(s) a couple of useful friends and acquain­
  tances. Alternatively, it may be one of these chance meetings between 
  members that actually brings the player characters together as a group 
  in the first place. 
  The following are simply a selection of such meetings, quick en­
  counters which you can use to introduce an NPC in just a few minutes 
  of play. You might use one of these, for example, at the end or start of a 
  gaming session (you know, when one of the players is late, or has gone 
  to pick up the pizza, or is making coffee). Actual NPCs are not given in 
  these examples. Pick a suitable NPC from those scattered through this 
  book or, better yet, invent your own to suit each situation. 
  1. THE FALSE FIND. The player character sees a rumor posted on 
  the Shadowboard, or overhears some gossip in a Free House, to the ef­
  fect that a lost ancient magical text, recently retrieved by an archae­
  ological expedition, is on display in a special exhibition of rare 
  documents at a small museum. If a player character goes to look at this 
  rare find, s/he gets there to see another strange looking fellow peering 
  intently through the glass of the display case at that specific manuscript. 
  The stranger may be foreign, or still be clutching an airline ticket, and 
  has obviously come some distance to see this one document. Yes in­
  deed, the stranger has also read of the find on the Shadowboard, and he 
  has travelled this great distance just to see it. 
  Perhaps the stranger is a Seeker? Or he might work for an organiza­
  tion which is considering stealing it, and he is there to check out the 
  possibilities. If the G.M. wants to add complications (perhaps leading to 
  a full-blown adventure), or introduce other characters, then the docu­
  ment may actually be afake; an elaborate hoax. Perhaps the player char­
  acter suspects this, while looking at it, and the stranger can confirm it. 
  In this case, why has someone bothered with the deception, and who 
  started that rumor on the Shadowboard? Was it to draw them out? Are 
  they being watched? 
  Perhaps another magician or supernatural creature is trying to con­
  tact or identify magicians, and has set this up to lure the curious to the 
  museum (Who owns this old place, anyway? And, come to think of it, 
  there is actually a security camera pointing directly at the manuscript's 
  case, getting a great look at all of the people who stop to examine it). Is 
  this a trap? Or a lone sorcerer's attempt to get in touch with possible al­
  lies? Or is it pure coincidence and there's no secret agenda whatsoever? 
  2. WATCHING THEM, WATCHING YOU. The player character 
  comes across a general query on the Shadowboard: "I don't know if this 
  means anything to anyone, but I saw an old guy at a Chinese restaurant 
  the other day. He looked exactly like the old nineteenth century photos 
  of the mystic Chung Hei. I walked up to him, asked if he'd heard the 
  name, and he went real weird on me. Weirder still, the restaurant is 
  called the White Crane, and old Hei used to teach White Crane style 
  Kung Fu. Since that incident, they won't even let me eat in there any­
  more. Anyone know what is going on?" 
  The message doesn't mention what city the restaurant is in, but there 
  happens to be a White Crane Chinese Restaurant in the character's own 
  city, and it isn't a common name for restaurants. When the character(s) 
  goes to check out the restaurant, s/he finds that the staff are really edgy, 
  there are two guys in black suits and sunglasses who have started eating 
  all their meals there, and there is at least one other sorcerer (?) hanging 
  around watching the place. The Immortal Chung Hei is long gone (if it 
  was ever truly him to begin with), but the player character(s) may still 
  be able to contact him through the (highly skeptical and loyal) staff. Or 
  the character may get talking with the other curious mage, or (if particu­
  larly crass and stupid) may attract the attention of the NSB goons. 
  Quentin Milton (Order #26014138)
  
  3. SIMPLE INTRODUCTION, ONE. Assuming that one of the 
  magician player characters is in the habit of wearing some arcane sym­
  bol, or often reads new-age or occult books or magazines, the player 
  character is sitting on a bus, or is waiting at a Taxi stand, or is at some 
  other public place when a middle aged woman watches him/her, quizzi­
  cally. After a while (having used see aura or telepathy, and established 
  that the character probably has magical powers), the woman walks up to 
  the character and says, "Here, you look like you could use this," and 
  hands over a copy of the Shadowboard Access Kit software. The 
  woman has obviously heard of the Shadowboard (in a Free House con­
  versation) or already has access, and from their common interest a con­
  versation should develop. 
  4. SIMPLE INTRODUCTION, TWO. The character is in a bar or, 
  better yet, the reading room of a library. In the same room an NPC 
  pauses in his research to open up a laptop and, after a while, uses it to 
  access some kind of bulletin board. The player character immediately 
  recognizes from the screen display that the NPC has just linked up to 
  the Shadowboard. A pretty big coincidence, but it could happen. 
  Through the Glass Darkly 
  Through the Mirrorwall, the Shadowleague has an opposite and re­
  flecting organization, one which has grown as the Shadowleague has, 
  and often along similar lines. The two organizations are entirely sepa­
  rate, and are at best, only dimly aware of the other's existence but, on a 
  cosmic scale, the two are as dependent upon one another as a man is on 
  his own reflection. 
  This Nightlands organization is called the Korskai, and it is a loose 
  organization of individuals dedicated to exploring new ideas as a way of 
  winning power. In one sense they are visionaries, in another, self-serv­
  ing revolutionaries. The Nightlords will destroy any member of the 
  Korskai whose identity they uncover. 
  The Korskai, for example, have learned from human slaves and cap­
  tives of a dying ideology called "democracy." They understand this 
  clever political system to mean that anyone who can con the majority of 
  denizens into accepting their tyranny then becomes dictator for four 
  years. As the members of the Korskai are all politically insignificant 
  denizens of the Nightlands (Ashmedai, Hound Masters, lowly Night 
  Princes, etc.), this idea appeals to them. 
  The group holds together due to the services of a group of zombies, 
  who circulate around the members, delivering and receiving verbal 
  messages. These creatures are half-living humans, Hunters, or other be­
  ings, effectively lobotomized by a score of bone stakes driven into their 
  heads. No one knows who creates them, or how they know who should 
  be considered a "member" (as with the Shadowleague, there is no gov­
  erning bureaucracy or formal membership). 
  In fact, the zombies are created by an ambitious Night Prince, who 
  doesn't want to wait millennia to become a significant political power 
  in the Nightlands. He creates the zombies and monitors the communica­
  tions which they spread, hoping to use the Korskai or individual mem­
  bers in his own bids to win premature personal power. 
  Adventure Ideas 
  Involving Shadowleague 
  The most glaringly obvious adventure idea is to have the player 
  characters involved in the build up to the Gathering. This is a major 
  event, and unless the G.M. is running the adventure as a one-nighter, it 
  is the sort of thing that a campaign should build up to gradually, with 
  rumors, expectations and complications slowly mounting over the 
  course of several adventures. Invitations must be delivered to other ma­
  gicians and brotherhoods. Prospective guests must be convinced that 
  86 
  this is no trap, but must also be checked out to ensure that they will not 
  betray the gathering to the Nightlords or other dark forces. At the time 
  of the meeting, the security of the venue must be considered (might 
  there be attempts to infiltrate it, or to assassinate specific mages? What 
  if the NSB were to hear of it?) and there will be an enormous amount of 
  politicking for devious players to get involved. In practice, however, 
  this is not a responsibility for a G.M. to take lightly. The sheer amount 
  of plots, planning and deviousness which a hundred magicians will 
  bring to the Gathering would be staggering. 
  A far easier set of adventures to run would be to have the players 
  working for a more powerful magician. Perhaps their patron has been 
  invited to the Gathering but they, as yet unknown, have not. They must 
  try to find out who else is going and whether the NSB has learned of the 
  event, deal with threats to their patron from rivals who do not want him 
  to attend, etc. - dealing with many of the same challenges as the or­
  ganizers of the event, but with an easier focus, worrying only about one 
  mage, not about one hundred. 
  It is not easy to run adventures based around the Shadowboard, un­
  less the G.M. wants the players to get involved with attempts to find out 
  exactly who does run the board. On the other hand, it is a great way to 
  introduce plots and mysteries, such as with reports of strange events or 
  sightings reaching the player characters via the board, traps, and ma­
  nipulation. 
  The Free Houses are excellent settings for adventures. Each has its 
  own secret reason for being established, its own dark secret for player 
  characters to uncover, and there are not likely to be more than half a 
  dozen people present at each House at any time. That means that there 
  is a nice, controlled number of NPCs to interact with, in a small, self­
  contained environment. The defenses at the Free Houses and the poten­
  tial powers of other guests make outright thuggery impractical, forcing 
  players to think and role-play rather than resorting to violence. Attempts 
  to steal or intercept information passing through a House, to track down 
  a mage who vanished while staying at a House, solve a murder in a Free 
  House where they are staying, getting drawn into the trouble or plot of a 
  guest, or negotiating with other guests all provide adventure possibili­
  ties. 
  The Prisoner's Rest could certainly be used as the basis for several 
  adventures. Characters might try to track down someone who vanished 
  while staying there, or may have to rescue someone taken by the slav­
  ers. Or perhaps they must ransom an ally who is to be sold at the auc­
  tions, or, if they have an ounce of compassion in them, they might try to 
  find ways to destroy the Domain or end the slave markets here. 
  The Discussion Groups do not have any obvious uses for epic ad­
  ventures, and are best used for small, personal stories. For example, an 
  unwitting dupe (a friend of the player characters, met through such a 
  group) buys a book at auction on behalf of a "friend" (i.e. a sorcerer 
  who is manipulating him or her), but later the book is stolen before it's 
  turned over to the "friend." The sorcerer refuses to pay for the item (af­
  ter all, he's not going to pay for something he can't have), leaving the 
  dupe broke and pleading with the player characters for help (or perhaps 
  the sorcerer becomes distraught and warns that in the wrong hands the 
  book spells the destruction of ... Or the "friend" sorcerer has threatened 
  his life unless the book is recovered. Or perhaps it isn't stolen at all, but 
  something lives in the book and emerges at night?). Actually, this could 
  develop into something epic depending on where the G.M. wants to 
  take it. 
  Manipulated Groups and well intentioned stooges are also excel­
  lent ways for bad guys (or the player characters' own allies) to gather 
  information, and may become interesting background details in a cam­
  paign. An adventure might begin, for example, when the player group 
  learns that a certain occult group's members are asking strange ques­
  tions (about powerful magical artifacts, or the politics of another Broth­
  erhood, a strange occurrence, etc.). The player characters then decide to 
  find out why these dabblers should be interested and investigate for 
  themselves (or try to spy on the other group); or the player characters' 
  own allies in a manipulated group might find information for them, 
  Quentin Milton (Order #26014138)
  
  leading to adventures, or might come to be persecuted or hassled by the 
  NSB or other villains (perhaps as a way of getting to the player charac­
  ters. Ultimately, the matter requires the player characters' help or inter­
  vention. And of course, if the G.M. wants to run an adventure where the 
  characters track down and destroy some huge demonic creature, then 
  s/he can get a lot of mileage from the old cliche of "kids mess around 
  with a ouija board and unleash something that they can't control ... " 
  CHAPTER 6: 
  Brotherhoods 
  Not all magicians are satisfied with the informal cooperation and 
  chaos of the Shadow league. Uncertain and inexperienced arcanists may 
  seek the guidance and reassurance of supposedly wiser masters. Power­
  ful magicians often try to use their wisdom to gain influence over others 
  or to build their own little empires. This works well since, ultimately, 
  many people don't want to be free agents - they want to "belong" to 
  something and know how they stand in relation to others in comprehen­
  sible hierarchies. 
  Therefore, there have grown up a number of magical brotherhoods, 
  wherein magicians band together for various reasons. 
  To junior members these brotherhoods offer tuition and guidance 
  (e.g. access to higher level spells, words of advice regarding mystic 
  study, philosophy, etc.), the occasional aid of more powerful superiors, 
  a sense of belonging, access to scarce resources (such as rare books 
  and/or data files, perhaps computers or even a safehouse or other sanc­
  tuary), the chance to rise through the ranks into a position of power, and 
  a goal/direction (that of the Brotherhood). 
  To powerful magicians, the brotherhoods offer power over and the 
  respect of subordinates, the security of having fellows to aid them if 
  their magics go awry, access to a broad range of resources, and flunkies 
  and pawns (subordinates) to use in their schemes. 
  Across the world, arcanists have bound into numerous organizations 
  to learn and practice their arts together. Although many groups have 
  fewer than a dozen members, some of the largest of these "brother­
  hoods" may have a thousand or more. 
  The largest of the magical brotherhoods are the Seekers, and the 
  Brotherhood of True Illumination (often just called THE Brotherhood). 
  These, and others, are detailed below. 
  The Seekers 
  The Seekers (as explained in the Nightbane® RPG) are a group 
  committed to discovering and studying all aspects of the supernatural, 
  and as such, are not simply magicians. They are, rather, a broad selec­
  tion of experts on all realms of the arcane and paranormal. The mem­
  bership 
  of 
  the 
  group 
  certainly 
  includes 
  Mystics, 
  Sorcerers, 
  Fleshsculptors, Cybermages and other practitioners of magic, but it also 
  includes parapsychologists and exorcists, interested professionals (mili­
  tary intelligence experts, for example), Nightbane, academics (e.g. ar­
  chaeologists), explorers with a taste for the supernatural, and others. 
  The organization's membership, worldwide, is about 3,000, mainly 
  in Europe, Australia and the US. Of these, no more than one third have 
  any magical powers. 
  Getting in Touch 
  The Seekers do not advertise. They do not contact unknown adepts 
  and invite them to join. It is, more or less, impossible to get in touch 
  with the Seekers. They get in touch with "you." SEEK you out. 
  Every full member of the Seekers is expected to keep a constant 
  lookout for possible members. To this end they will read through maga­
  zines, books and academic journals, noting the authors of interesting ar-
  87 
  Quentin Milton (Order #26014138)
  
  ticles; they will scan through reams of messages on the Internet; they 
  will attend lectures and discussions and chat to the people who tum up; 
  they will scan library lending catalogues to pick out people with un­
  usual interests; and so on. 
  The Seekers are looking for people with plenty of curiosity (i.e. they 
  are willing to SEEK), self-discipline and stability (because no one 
  wants to risk recruiting a potential blabbermouth), and high I.Q.s. When 
  a potential recruit is spotted, the Seekers will appoint one of their 
  number as his/her Evaluator. If the candidate is a student, then the 
  Evaluator might be a professor at the same university; if the candidate is 
  a writer, then the Evaluator will be another artist or writer; if the candi­
  date is a reporter, then the Evaluator may be a News Editor who offers 
  the candidate a job. 
  The aim of the Evaluator is to get close enough to watch the candi­
  date, which may involve befriending or even seducing the character, but 
  usually just involves keeping an eye on him or her. During this time the 
  Evaluator never mentions the Seekers, nor gives the candidate any rea­
  son to believe that s/he is being targeted to join any sort of organization. 
  Only when the Seekers are completely satisfied -
  when they are 
  sure that the person is sincere and reliable, with no links to other organi­
  zations or major vulnerabilities - only then do they approach the can­
  didate openly to invite him/her to join. This process takes a minimum of 
  three years, and usually longer. 
  On the other hand, getting information to the Seekers is very easy. 
  The Seekers have computer programs which search through all mes­
  sages posted on the Internet and computer bulletin boards, copying any 
  message containing certain key words, including "Nightlands," "Night­
  lords" (and known minions), "Nightbane," "Seekers," "Guardians," 
  "Lightbringers," "Preserver Party," "Spook Squad," and "paranormal," 
  among others. They routinely scour published journals and magazines, 
  and frequent libraries and museums. Their members include the editors 
  of several well-known "Fortean" journals and fanzines. Posting a mes­
  sage onto the Internet, or writing to the letters' page of a suitable maga­
  zine, is a good way of making sure that someone in the Seekers will 
  read your ramblings. 
  Who Runs the Seekers? 
  Since the 1 790s, the Seekers have been run by an oligarchic Council 
  of Nine. 
  Each of these senior members takes responsibility for one important 
  area of activity. These include monitoring the world's media (notably 
  academic journals, news agencies, and the Internet); preparing publica­
  tions to keep information circulating amongst members; keeping the 
  group's central store of archaeological and arcane artifacts; and organiz­
  ing expeditions, digs, etc., to out of the way places; and monitoring and 
  controlling membership through the world. On a day-to-day basis, these 
  nine act on their own initiative, making executive decisions as required. 
  In general, however, Seeker policy is decided by the group as a whole. 
  The members of the Council are, at present: 
  1. Kumi Oyama, overseeing Asia and controlling the Seekers' cen­
  tral treasury. She is an alchemist and sorceress, the widow of a Japanese 
  company-man, who lives in a small medieval castle (old walls, but 
  high-tech gadgets and modem decor throughout) in northern Japan. At 
  least 1 20 years old and in poor health, Oyama is more interested in ex­
  tending her own life span than in serving the Seekers. She has recently 
  begun to abuse her position, using those beneath her to uncover infor­
  mation which might help her. As yet she has not actually tried embez­
  zling money from the group's bank accounts, and if she ever did (and 
  were caught) she might find that several of the Council members are far 
  more powerful than she is. She has cultivated good relations with al­
  Aziz, Wilde and O'Leary, who might all have, or one day discover, se­
  crets which could be of use to her. She dreams of doing something fatal 
  to Van Der Hendt. 
  2. Karl Hoffman, overseeing Europe and also guarding the organi­
  zation's central repository of archaeological treasures. He is a non-
  88 
  magic using academic, formerly Professor of Semiotics in Geneva, who 
  lives on his small wooded estate in northern Germany. Genial but reclu­
  sive, with no stomach for conflict, he opposes the idea that the Seekers 
  should mobilize for some sort of war against the Nightlands - or 
  against anyone else, for that matter. Motivated by an insatiable curiosity 
  and a lively imagination, his interests are in chasing obscure and com­
  plex wisdoms on a purely academic level, but his intellectual brilliance 
  and genius for organization makes him an able leader. His closest ally 
  on the Council is Wilde (whose good-natured curiosity he shares) and 
  his greatest foe is The General (whom he sees as a troublemaker). 
  3. "The General" oversees North America and refuses to disclose 
  his true name or identity. It is generally believed that he was a senior 
  military intelligence officer within the US military before Dark Day. He 
  lives constantly on the run, under a succession of false identities, and 
  often lives rough or out on the streets, and although now in his seven­
  ties, he has the physical strength and fitness of a 30 year old. Of all 
  those on the Council, he is the most ready to tum the Seekers into a 
  weapon to oppose the Nightlords. However, due to his insular patriot­
  ism, while he talks about the need to "save the planet," it is clear that 
  what he really MEANS is "save the USA," which alienates his Cana­
  dian followers and the rest of the Council. He has no true allies on the 
  Council, except perhaps for Van Der Hendt. 
  4. Ahlam al-Aziz oversees the Middle East and India. She is the last 
  in a long-established family of Arabic mystics. She lives in a cave in 
  Saudi Arabia, with a network of fanatically loyal servants (almost cer­
  tainly not human, despite their appearance) who travel the region as her 
  messengers. It is said that her wisdom is so profound that she can see a 
  person's deepest secrets with a glance, and hear the speech of the wind 
  in her sleep. She looks about forty, although she is much older. Her ap­
  petite for minute information is so great that she can spend months on 
  end just watching lichen grow in her cave. Her attitude to the Nightlords 
  is, roughly, "They'll go away. Everyone always does, eventually. This 
  isn't the end of the world - don't flatter yourself." As far as she is con­
  cerned, she has no friends or enemies on the Council. 
  5. Joseph Bakhara, overseeing Africa, constantly travels Africa in 
  the guise of a businessman. He is genuinely concerned to foster coop­
  eration and spread understanding through the groups of Seekers in Af­
  rica, and spends most of his time trying to keep African magicians from 
  killing each other, both Seekers and non-Seekers alike. He must hold to­
  gether groups as diverse as tribal mystics (who distrust him for his use 
  of apparently European ritual sorcery) and racist Afrikaner sorcerers 
  (who despise him for his skin color), while satisfying both native magi­
  cians (who often guard ancient secrets) and foreign Seekers (who want 
  to "rediscover" such "lost" secrets; i.e. steal them). He recognizes that 
  the Nightlords are a threat, but also distrusts the Guardians and hasn't 
  the time (or influence) to mobilize the continent's Seekers against 
  either. 
  6. Saul Van Der Hendt is in charge of gathering information and 
  running the Seekers' data base and information service. He is a retired 
  "archaeologist" (read "treasure hunter" or "robber") who has, in the 
  past, also been a plantation manager, Rhodesian and South African 
  army officer, blackmailer and policeman. He is the sort of offensive fas­
  cist who calls black people "boy" and secretly regrets that women are 
  allowed jobs. He hates and openly mocks Joseph Bakhara (though se­
  cretly he has little respect for al-Aziz or Oyama either), and urges the 
  Seekers to steal artifacts and treasures from "uncivilized" countries for 
  the good of mankind. Even though he has no academic background and 
  barely understands the idea of the Internet, he has secured responsibility 
  for scanning these sources of data by virtue of his charm, hard work and 
  political deviousness. He knows how to flatter the right people and al­
  ways smiles. In any case, underlings scan the Internet and journals on 
  his behalf, and run the group's computer system, so his ignorance is 
  largely irrelevant (unlike his bias, which remains an issue). His goal is 
  to one day gain responsibility for Africa or for organizing archaeologi­
  cal expeditions, and he has offered to take over responsibility for the 
  South American region (see below). The rest of the Council are too 
  Quentin Milton (Order #26014138)
  
  canny to let him get anywhere near these sources of potential loot. He 
  has tried to make allies of both Wilde and Hoffman, but without success, 
  although he has a loose alliance with The General. 
  7. Jacqueline Wilde, responsible for organizing explorations and 
  expeditions, is the French-Swiss daughter of a now-dead explorer. She 
  is often unavailable for months at a time, as she prefers camping in the 
  African bush or mountains of Central America to living in a stuffy 
  apartment. Consequently, she can usually be reached only by e-mail or 
  mobile phone, as she has no fixed address. Jacqueline lives for adven­
  ture. Even though she is now sixty years old, and has lost one eye and, 
  at one time or another, has broken almost every bone in her body, she 
  still chases danger, and often leads expeditions in person. In theory she 
  must authorize any expedition of Seekers (e.g. to explore lost temples, 
  etc.), and Oyama will not fund such endeavors without Wilde's ap­
  proval. More important than the money or credibility gained by getting 
  Wilde's blessing for an expedition, however, is the wealth of contacts, 
  advice and experience which Wilde can offer. 
  Wilde is often in conflict with both Bakhara (who thinks that she 
  has too little respect for indigenous peoples and cultures) and Van Der 
  Hendt (who thinks that she has too much power), and although she 
  makes no effort to win friends on the Council she likes Hoffman and is 
  secretly fond of O'Leary. She can always count on the support of 
  Oyama. 
  8. Mary O'Leary is responsible for publishing the group's journals, 
  and is keeper of its collection of rare books and magical texts. O'Leary 
  lives in a pretty little cottage in rural Ireland where she bakes wonderful 
  sponge cakes, breeds pedigree Persian cats (much to the amusement of 
  Skarr, her flee-bitten familiar, a black Tom-cat), and cultivates roses 
  which frequently win prizes in local horticultural shows. Although it 
  isn't clear why she got involved with the Seekers (if asked she says, 
  mockingly, that she hopes one day to find the perfect recipe for Ginger­
  bread in an old tome). It probably has something to do with the fact that 
  as the centuries go by, she needs stronger magics to keep herself alive. 
  She likes Van Der Hendt (whom she thinks is charming) and dislikes 
  Wilde (a most "improper" woman, not nearly feminine enough), but 
  through the years she has learned not to be won over by charm or put 
  off by modernity. O'Leary would consider giving Oyama a few hints if 
  there was anything that she could offer in return, but at present she is 
  content to be viewed as a batty old woman. 
  9. The final seat on the Council is currently vacant. The South 
  American membership was uncovered by agents of the Nightlords soon 
  after Dark Day, and in a week of carnage, 60% of its members were 
  rooted out and killed (if they were lucky) or kidnapped. The then-Coun­
  cil member for the South Americas, Maria Huerez, was seized as a part 
  of this attack. As Huerez had the only records containing the identities 
  of the South American Seekers, they are certainly known by the Night­
  lords, so there is no chance of uniting the few remaining members, al­
  though some survivors have since contacted Seeker cells on other 
  continents. When the Seekers are not so scared or beleaguered - when 
  the Nightlord threat has been dealt with, perhaps - they may make 
  some attempt to reestablish themselves in South America, but for now, 
  this seat on the Council remains vacant. 
  Although there is a great deal of tension within the Council, its 
  members are obliged to cooperate, as none can achieve much alone. So, 
  Van Der Hendt needs to be supplied with volunteers to rake over jour­
  nals and Internet sites for him, just as Wilde often asks for favors (or 
  volunteers) to mount expeditions, but all Seekers benefit from their 
  work and rarely grumble. O'Leary, meanwhile, cannot compile journals 
  without Van Der Hendt and Wilde feeding her information, and cannot 
  distribute any publications without the aid of the Council members who 
  run the regions, but again, all benefit from her work and so all cooper­
  ate. Most important, no one knows exactly how powerful the other 
  members of the Council are, and would be too frightened to cross their 
  fellows. In any case, most of the members (excluding Van Der Hendt 
  and The General, and perhaps Oyama) are generally peaceful and inof­
  fensive. 
  89 
  A seat on the Council is won by invitation only, and is held in perpe­
  tuity. Members may resign their posts (very rare), or may die (also, sur­
  prisingly rare), but cannot otherwise be removed. Each member 
  nominates a successor (and a second choice, in case the first refuses) 
  whose identities are known only to the other Council members and who 
  will eventually be invited to take his/her place. Specific duties can be 
  changed by a majority vote of the Council (e.g. transferring control of 
  the group's library from one person to another). 
  The Council was, before Dark Day, semi-secret, and its members' 
  names rarely told to underlings. Now, after Huerez's capture, the Coun­
  cil maintains the strictest secrecy and many members live on the run or 
  in hiding. No one outside of the Council knows who all of the members 
  are, and introductions to or meetings with a Council member are very 
  rare. 
  It is not known how much information Huerez and the other victims 
  revealed to their interrogators. Do the Nightlords know who the other 
  Council members are? And it is not known how secret the other 
  branches of the organization remain. Are the Nightlords' pawns me­
  thodically investigating the group's membership on other continents, 
  too, in anticipation of another bloodbath? 
  Internal Structure of the Seekers 
  Although the Council makes grand policy decisions and handles 
  such things as funds for expeditions, collections of books, etc., its mem­
  bers are distant, anonymous figures and meet only once every ten years. 
  So, in practice, many decisions are made on an ad hoc basis by individ­
  ual Council members or their underlings. 
  All full members are organized into Conventions. A Convention is 
  simply a group of 5-10 members who happen to live or work in the 
  same State or area which meet to talk, exchange papers, look at weird 
  items, etc. The Convention will elect one member to serve in perpetuity 
  as Chairperson (leader). 
  The leader is in contact with the Council member responsible for 
  that region and probably with no other members of the Council. If the 
  Convention finds out anything of interest or has a pressing question, 
  then the Chairperson passes this on to the Council member. 
  The Council member then passes information, queries, requests for 
  funding of expeditions, etc., on to the relevant people (e.g. other Coun­
  cil members) or, if s/he feels that it is unimportant (or against his/her in­
  terests), suppresses it. 
  Theoretically, regular members have no idea who the Council mem­
  bers are, and are not in contact with (and unable to identify) members 
  from other Conventions. The Chairpeople are in contact only with one 
  Council member, and the Council representative for each region is the 
  only person with the region's entire membership list. 
  In practice, the system is less rigid than this. Before Dark Day, the 
  Seekers were not so concerned with security (no one was interested in 
  persecuting or destroying them back then) and members or Convention 
  Chairpeople were sometimes put in direct contact with their peers from 
  other groups. The resulting contacts and friendships are often still main­
  tained. Further, particularly active and committed members (as player 
  characters often are) might also come into contact with Van Der Hendt 
  (especially if they are ready to work for him) or Wilde (if they are se­
  lected for or ask to lead expeditions of any sort). 
  Getting Information 
  Seekers, by definition, want information. The dilemma for the or­
  ganization, after Dark Day, is how to gather and disseminate this infor­
  mation without coming to the attention of the NSB and other hostile 
  groups (particularly the Nightlords). 
  Regular journals are published, but all are untitled and anonymous. 
  They range from books bound in leather covers and works circulated 
  exclusively on computer disk, to inexpensive newsprint tabloids and 
  magazines or even fanzines printed off on computer printers or base­
  ment photocopiers. Of course, Mary O'Leary coordinates and author-
  Quentin Milton (Order #26014138)
  
  izes most of this, but some zealous members embark on projects of their 
  own (Mary's archives contain 98% of every paper or electronic disk 
  produced by the group's members; even those with a circulation of less 
  than a dozen). Many of these feature findings of expeditions, papers by 
  unnamed academics on unconventional (supernatural and occult) sub­
  jects, digests of news stories, revelations of government cover-ups, 
  theories on magic and strange occurrences, observations and specula­
  tion, etc. All of this is very interesting, but doesn't necessarily answer 
  members' specific questions. 
  If a members wants answers to a particular question (e.g. "Does any­
  one know anything about where the mythical Avalon might actually 
  be?" or "Has anyone ever done a post mortem on a Hunter, and if so, 
  what were the findings?" etc.) then there are two ways for the person to 
  find answers. 
  1. If a member needs information on any particular subject, they are 
  expected to ask fellow members of their Convention. If they cannot 
  help, the Chairperson of the Convention will pass on the request for in­
  formation to the Council member responsible for the region, who will in 
  tum direct the query to other Conventions in the region or to another 
  Council member (e.g. to Mary O'Leary, if the question may lie in a 
  dusty old tome or old data file, or to Hoffman if the question would be 
  best answered by a European group). Answers to questions are then 
  passed back along the same chain of command. If a question is passed 
  on to a person, s/he is never told where the query originated from; when 
  an answer returns there is never any indication of who came up with 
  that answer. This cycle might, of course, take months. 
  2. The questioner might use e-mail. Van Der Hendt's lackeys run a 
  system whereby members may e-mail queries to them, and if there is a 
  document on file which is relevant, they will e-mail it back to them. 
  Questioners never identify themselves by name in their e-mails, as it is 
  assumed that anyone who knows about this service is a member, and it 
  is always dangerous to use real names on the Net in case e-mails go 
  astray. The process is swift (returns answers usually in 1 -6 days), but 
  relies on published information being available to answer the question. 
  It is also hopelessly insecure. If the NSB are bugging the phone/modem 
  lines, or Van Der Hendt's henchmen's lines, you really don't want them 
  recording and reading your e-mails. "Dear Madam, thank you for you 
  inquiry concerning the NSB 's use of paranormal powers ... please find 
  attached .... " etc., could lead to serious trouble. The other problem with 
  this service is that many mystics, plus most of the Seekers' third-world 
  members, cannot afford or would not stoop to use personal computers 
  and the Internet. 
  Finances 
  The Seekers do not have bottomless reserves of cash. The group 
  must pay the wages of members who maintain the databases and search 
  for information, as well as cover the cost of printing and circulating 
  journals, and expeditions cost a great deal to fund. This money has to 
  come from somewhere. 
  Occasionally there are benevolent gifts to the Seekers given by 
  members. Members are also expected to pay for journals ($ 10 per copy, 
  six copies per year; extra for special information and services). But 
  mostly, the Seekers must sell the finds of their expeditions: unwanted 
  treasures may be sold on the black market or to discreet collectors (ex­
  porting any nation's archaeological treasures is illegal), or they must 
  sell the information that they gain; e.g. selling information on a healing 
  plant's properties to a pharmaceutical firm. 
  However, it is often possible for groups to find funds from external 
  organizations. Many academics or corporate R&D (Research and De­
  velopment) personnel have access to research or expedition budgets, 
  grants, etc., which can be steered towards other members' projects and 
  expeditions. Likewise, historical data, artifacts and locations of finds 
  (ancient places of power, temples, etc.) may have value to practitioners 
  of magic or Nightbane. Specific magical data (rarely working spells) 
  may also be offered to Brotherhoods or trustworthy individuals outside 
  90 
  the Seekers (this must be authorized by the appropriate Council mem­
  bers, starting with Mary O'Leary). 
  The Brotherhood 
  of True Illumination 
  Of the sorecerous brotherhoods, one of the nastiest is the Brother­
  hood of True Illumination. 
  These magicians are sponsored directly by the Nightlords (not Night 
  Priests or other underlings). These black-hearted mages not only draw 
  upon the Nightlords for power and insight, but they are manipulated by 
  the Nightlords as willing pawns. 
  Most branches of the True Illumination's (and they have many) bear 
  no resemblance to one another, and never contact each other. So, the 
  disparate groupings cannot be easily distinguished as servants of the 
  Nightlands, and the majority of the members remain unaware that their 
  leaders are following orders from beyond the Mirrorwall. 
  Getting in Touch 
  The Brotherhood of True Illumination has no central policy for con­
  tacting or recruiting outsiders. It is made up of many independent cells 
  of 6- 120 people, called "Branches," which contact outsiders as and if 
  they wish. 
  Some are ultra-secret groups which will execute members for even 
  mentioning their existence (these are typically small groups of fanatics 
  that rarely exceed 60 members). Some are quietly "discreet" or elitist 
  groups (again with a small membership). Others present themselves to 
  the world as ordinary groups of people interested in the study of the 
  paranormal and/or the occult, even advertising for new members and 
  publishing meeting dates at book shops, on the Internet and in new age 
  magazines. 
  If the Branches wish to recruit, they will usually contact people who 
  have already learned to manipulate magic or possess "special powers" 
  (psychics and Nightbane) rather than training normal folk to become 
  sorcerers. To this end, several Branches have set up false "front" or­
  ganizations to contact and screen outsiders. Some operate new age 
  groups, or organize "psychic fairs" or occult book sales to attract possi­
  ble dabblers, while others infiltrate established occult groups or make 
  contacts through the Shadowleague. One, for example, runs a mail-or­
  der book selling business called Illuminating Manuscripts, advertising 
  in new age magazines, taking careful note of exactly what books cus­
  tomers order and contacting the most likely of them. 
  At no point, however, will anyone ever be able to contact the true 
  commanders of this Brotherhood. The "Masters" who run the individual 
  branches may be contacted, but their superiors are always elusive. Ex­
  actly who runs the organization is its greatest secret, although it gently 
  fosters the erroneous notion that its commanders are somehow the Se­
  cret Masters or Unknown Superiors whom Western occultists have long 
  held to have ultimate control of the earth. 
  Who Runs the Brotherhood? 
  Junior members of the Brotherhood are not told who actually runs 
  the Brotherhood. Each recruit joins a specific Branch, over which an in­
  dividual Master has sole authority, but they are not told who their Mas­
  ter reports to. As they learn more of the Brotherhood, they will begin to 
  hear of a group called the Great Circle, who are supposedly in author­
  ity over the Masters. 
  Grossly deformed messengers often come to the Masters, bringing 
  gifts, requests or orders. Each messenger is different, with their own de­
  formities (bloated eyes, hunched backs, hands like claws, etc.). Upon 
  seeing them, the Master just knows - knows, instinctively, and infalli-
  Quentin Milton (Order #26014138)
  
  Quentin Milton (Order #26014138)
  
  bly - that this is a true messenger. Somehow the details of the messen­
  ger's ritual created deformity simply conveys this certain knowledge, 
  and whatever magics are used to warp the messengers, no Master or 
  other mage has yet managed to replicate it. Simply, it is impossible to 
  impersonate a messenger. 
  No Master ever meets the Great Circle. The Master obeys their mes­
  sengers out of fear, or for the promise of rewards for loyal service (and 
  the Circle can be generous), or in the hopes that one day s/he will be 
  promoted from the rank of Master to join the Circle. In any case, many 
  Masters come to suspect that the Circle themselves are somehow an­
  swerable to, or in league with, the Nightlords. It is notable that the Great 
  Circle never takes any action itself: either the Circle has other Masters 
  and Branches act on its behalf, or the servants/minions of the Nightlords 
  act in its interests. 
  It is assumed that the Great Circle is an assembly of mighty sorcer­
  ers. Idle rumor suggests seven or thirteen of them sit in some secret for­
  tress, perhaps in Hungary or the Canadian Rockies, or Mexico, stories 
  differ. In truth, the Circle's stronghold is not on this earth, and no one 
  who understood their nature would ever wish to join them. 
  Evil has Many Faces 
  From: Illuminating Manuscripts, PO Box 6375, Brooklyn, NY. 
  Dear Valued Customer, 
  For some time now we have been cataloguing the orders placed with 
  us, and this inevitably allows us to discern the true adept from the mere 
  dabbler. Looking at the orders which you have placed, it is clear that 
  your tastes are far more discerning than those of our average customer. 
  We have therefore taken the opportunity to forward your name and 
  address to a secret organization which shares your interests, The 
  Brotherhood of True Illumination. Perhaps someone such as yourself 
  might have heard of the Brotherhood. Most likely you have not. The 
  Brotherhood is very particular about whom it contacts, and does not 
  court publicity. They would ask that you do not tell anyone else that you 
  have been approached in this manner. 
  In the next few days the Brotherhood will contact you at the address 
  which you have given us. If this is a front address or if you cannot be 
  reached there for any reason, we would ask that you leave a forwarding 
  address or make arrangements for the Brotherhood to reach you. They 
  will want to ask you a few questions about your understanding of the 
  hidden truths in order to get a better idea of your knowledge and abili­
  ties. If you satisfy their rigorous standards they will be willing to share 
  many deeper secrets with you. 
  You are under no obligation to accept the Brotherhood's generosity, 
  should you wish to retain your independence. In any case, we at Illumi­
  nating Manuscripts look forward to continuing to supply you with the 
  finest quality books and journals. 
  Yours faithfully, 
  H.R. Sanchez 
  Accounts Manager 
  The Branches of the Brotherhood seem to be independent, autono­
  mous groups, often with unconnected or even conflicting aims and in­
  terests. They may claim to be the inheritors of strong occult traditions 
  (claiming to preserve the wisdom of the Templars, or of crushed South 
  American cultures), or they may seem to be decadent and fleeting crea­
  tions of their own eras (groups dedicated to the pursuit of sex or narcot­
  ics, for example). Other may live close to primal nature (wearing animal 
  pelts and eating roots as they sit and howl in caves in the Canadian 
  Rockies) or they may seem to be rational disciples of modem science 
  (discussing the latest developments in modem physics as they sit in 
  sterile Silicon Valley laboratories). Yet, in some way, each of these 
  serves the interests of the Nightlords, playing its own little part in their 
  obscure plans. 
  92 
  Internal Structure 
  Individual Branches organize themselves as they wish. There is no 
  overarching code. All are highly autocratic, with one Master in com­
  plete control. The Master determines who joins the Branch and who 
  leaves, what responsibilities individual members have, who receives 
  special tutoring, when meetings occur, what obligations members are 
  expected to fulfil, etc. 
  The only ways that a subordinate member can rise to become a Mas­
  ter himself, are either to murder his current Master (frowned upon, but 
  not unheard of) or get permission from the Great Circle to set up a new 
  Branch. However, given that only the Masters ever speak with the Great 
  Circle's messengers, the subordinate must persuade his Master to speak 
  to the messengers on his behalf. This happens more often than one 
  might think, because Masters are delighted to send overambitious mem­
  bers off to set up their own Branches, simply to get rid of the young up­
  starts (it's easier than having to murder them). 
  Normally, Masters delegate a number of responsibilities to their 
  members, creating junior posts to which loyal henchmen can be ap­
  pointed. This allows them to reward long-standing servants with powers 
  and responsibilities, and gives junior subordinates an incentive to work 
  for the good of their Master. Such posts may include the following: 
  LIBRARIAN: Branches with large libraries of arcane books, an­
  cient manuscripts, spell instructions, data bases, etc., may appoint a Li­
  brarian to administer and protect the collection. That sounds like a 
  chore, but is a great source of power. If the Library includes details of 
  rituals and spells, then the Librarian may freely learn any of these and 
  may consider giving junior members privileged access to these books 
  (behind the Master's back) in return for favors and personal services. 
  An ambitious Librarian, in fact, can severely undermine a Master's 
  power and build up a strong following amongst the members. 
  SECRETARY and TREASURER: These sound like extremely 
  dull, administrative posts. The Treasurer handles the Branch's finances, 
  while the Secretary keeps records of meetings, membership lists, corre­
  spondence with other groups, copies of documents downloaded from 
  the Shadowboard, etc. In practice, however, both posts give access to a 
  great deal of useful information. The secretary may compile an awe­
  some list of useful addresses (e.g. contacts for other sorcerers or groups, 
  etc.), while the treasurer may be able to embezzle cash or (if the Branch 
  has illicit sources of income) even gain information which can be used 
  to blackmail the Master. 
  AMBASSADORS: Paranoid or busy Masters who don't want the 
  danger or trouble of travelling out to meet with other Masters, Night­
  lords or supernatural powers will appoint Ambassadors to run errands 
  and negotiate on their behalf, or to act as "trouble-shooters," sorting out 
  problems amongst the members. These ambassadors soon come to build 
  up an exceptional network of powerful contacts and/or resources be­
  yond the Branch. Thus, while away on their Masters' business, they 
  may well pursue their own agendas and build outside alliances and 
  strike deals of their own. 
  SECURITY: Someone will often be responsible for the security of 
  the group. Whether that just means making sure that all the doors are 
  locked after they finish their meetings, or whether it extends to heading 
  a defense force engaged in guarding, spying, and murder, will depend 
  on the group and the individual in charge of security. In many cases, 
  Masters will have bodyguards assigned to them, and key buildings and 
  possessions will be guarded, too, although that assumes a certain 
  amount of money is available. Guards and protectors either have to be 
  paid, or, if they are loyal members, they must be supplied with weapons 
  and equipment, which also suggests the group is fairly well organized. 
  MASTER'S BODYGUARD: As well as having someone organize 
  strong-arm tactics and surveillance, the Master may well also personally 
  pick a servant or bodyguard (or several) from amongst the membership 
  as his or her elite, personal protectors. This, too, is an important post. 
  Those responsible for the Master's safety are important people (his life 
  is in their hands), and the most trusted will be close enough to learn 
  things from him/her. 
  Quentin Milton (Order #26014138)
  
  MASTER OF NOVICES: Large organizations may assign an older 
  member the responsibility for recruiting new members and indoctrinat­
  ing and training them once they have been recruited. The term "Master 
  of Novices" comes from medieval monasteries. This person is responsi­
  ble for sorting out likely recruits (scouring the Shadowboard, leaving 
  contact cards in book shops, etc.), ensuring that infiltrators from other 
  organizations do not get into the Branch through new members, training 
  and indoctrinating the "novices," knowing which are the most dedicated 
  and loyal, and which are the best pawns for easy manipulation, and see­
  ing to the development of its most junior members (level 1 -3 magi­
  cians). 
  In any case, small Branches may be ruled entirely by one Master or 
  a small group of friends or family who performs all of the above func­
  tions and whose power is (relatively) unchallenged. Large Branches, 
  perhaps with scores of members, may have several posts (some to all of 
  the above) held by ambitious members who build up their own power­
  bases and gain considerable influence over their Master. Where such 
  posts do exist, they may be given complex or obscure titles, or no title 
  at all. The member who looks after the group's arcane writings may be 
  called Mystical Legate of the Invisible Hermes, or he might just be 
  known as "you know, the guy who has those old books." The member 
  responsible for security and general thuggery may be called Supreme 
  Knight of the Final Mystery (Le. he kills people), the Enforcer, Head of 
  Security, or "him, with the scars ... " Titles (or lack thereof) reflect the 
  formality, pretensions and style of each individual Branch. 
  Example Branches 
  Each Branch of the Brotherhood has its own peculiar characteristics 
  reflecting the leadership of the Master and the overall view of its mem­
  bers; paranoid and militant, open and friendly, secretive, etc. A branch 
  may be deliberately formed in a certain way to fit the ambitions and 
  abilities of its Master, or because of the area it is in, or because the 
  Great Circle has given orders for it to adapt itself in a particular way. 
  This means, in practice, that individual branches are likely to have a 
  particular, distinctive outlook, way it conducts itself, agenda, and type 
  of member. Some may specialize in a certain type of magic, research, or 
  activities, and enlist or command other magicians, criminals, gangs, 
  sympathizers, and supernatural creatures in the area. 
  From the point of view of the Nightlords, having each Branch de­
  velop its own distinctive character is a huge advantage. Each can adapt 
  itself to its surroundings, members, culture or philosophy, and special­
  ize in particular areas as well as cultivate a diverse range of allies, from 
  the mundane to the supernatural. 
  From the G.M. 's perspective, making each branch small, inde­
  pendent of each other, and different, means that each time the player 
  characters encounter a branch of the Brotherhood of True Illumination, 
  they won't know what to expect and will face a new set of threats, 
  thugs, challenges and adventure opportunities each time. Players will 
  never become complacent or be able to anticipate the nature of the 
  membership or threat which this Brotherhood might pose for them. 
  The following are just a few examples of Branches of the True Illu­
  mination. 
  THE WHITEHAVEN RECOVERY CENTRE is a mental hospi­
  tal which specializes in the treatment of severely psychotic men and 
  women, who have exhibited obsessive and often dangerous behavior. 
  Security is tight, ostensibly to keep inmates in, but also to keep snoops 
  out - most of the patients will never recover and never leave. Indeed, 
  the Centre's founder and administrator, Doctor Max Ryan, simply uses 
  the inmates for his own ends. For Dr. Ryan has discovered that these 
  deeply deluded, but highly disciplined and focused individuals, can 
  readily be taught to accept the existence of the supernatural and to con­
  centrate their minds on it; obsessively, in most cases. Having built the 
  Centre on a Ley Line nexus, Dr. Ryan trains the patients as sorcerers, 
  and has them cast spells and participate in rituals which gather informa­
  tion, particularly Oracle (page 1 4 1  of the Nightbane RPG). Every week, 
  93 
  Dr. Ryan ensures that volumes of hand-written prophetic ramblings are 
  sent to the Great Circle, via a portal which he opens into the Nightlands. 
  In return, Dr. Ryan receives magical knowledge and supernatural ser­
  vants from the Nightlands (the hospital's human and electronic security 
  pales next to the creatures who lurk in its cellars and attics) and the in­
  mates receive a sense of purpose and the approval of their Doctor and 
  Master. Perhaps best of all, who is going to believe the ramblings of the 
  insane, should any of his "patients" try to betray him or warn others of 
  the evil that is taking place at the Centre. 
  THE TIGER'S FANG YAKUZA. The Tiger's Fang were, until a 
  year ago, just another bunch of gangsters, running the drugs and racket­
  eering trades along a section of a city's docks. That was until the gang's 
  leader was brutally murdered (pulled limb from limb) and Saigo Ken­
  taro assumed the leadership. Kentaro is a sorcerer who was approached 
  by messengers of the Great Circle and offered the leadership of the 
  gang if, in return, he would reestablish it as a Branch of the True Illumi­
  nation. Now Kentaro and his henchmen, a half dozen other gangsters 
  with the self-discipline to learn magic, have expanded the operations, 
  using spells and force to intimidate or destroy rival gangs on the docks. 
  Furthermore, Kentaro has created several modifications of the Master's 
  Syrem spell (below), trying them out on the junkies of the gang's opium 
  dens. A few addicts died along the way, but Kentaro can now make 
  syrems which, injected along with opiates, give bizarre visions and in­
  credible highs. Craving handouts of Kentaro's "rare new drug," the 
  junkies will do almost anything for him, giving the gang lord an excel­
  lent source of petty criminals and would-be spies who are desperate to 
  work for him. 
  Like any brotherhood, the True Illumination has various hallmark 
  magics (usually of an unpleasant nature) which it has developed or 
  which have been taught to it by its secret Nightlord masters. These mag­
  ics could, in theory, be learned by sorcerers outside of this organization, 
  but the Brotherhood is careful not to divulge their secrets to outsiders, 
  and would try to punish or exterminate anyone known to have stolen or 
  distributed their secrets. The most important of these spells is Syrem. 
  The Masters' Syrem 
  Level: Four 
  Range: Touch 
  Duration: 2 minutes (8 melees) per level of experience. 
  Saving Throw: None 
  P.P.E.: 20 
  This simple spell is taught to all Masters of the Brotherhood, but 
  rarely to any others. It enables the caster to instill a coded message (a 
  hallucination) into any liquid. The spell changes the liquid into a thick, 
  blackish syrup which shifts and swirls slowly as if it were alive. The 
  caster determines the exact nature of the hallucination (allowing him or 
  her to "preprogram" a video-like hallucination lasting up to the duration 
  of the spell in length), and may specify one or more subjects for whom 
  the message is intended. If it is injected, swallowed, or smoked by an 
  intended recipient, the syrem imparts the images and message of the 
  hallucination. If anyone else uses the syrem, they have terrible, night­
  marish hallucinations, and they must save vs horror factor 14 or gain a 
  random phobia. Masters therefore create and send syrems to communi­
  cate with each other and their underlings. The syrem will keep a mes­
  sage reliably "recorded" for up to a year, but thereafter the syrem seems 
  to develop its own ideas and distorts the message. Some masters, like 
  Saigo Kentaro, send syrems with deliberately horrible hallucinations as 
  punishment and pleasant ones as rewards as a means to addict and con­
  trol their underlings. 
  THE HAWTHORN MANSION. The Hawthorn Mansion is a 
  great, decaying, gothic house set on hundreds of acres of once beautiful 
  gardens. Here the aging Charles Hawthorn lies, ashen and semi-con­
  scious in his sickbed, attended by a battalion of servants and hangers-on 
  (relatives with no income, who sponge off the estate). Hawthorn has 
  been dying for years, but everyone dreads his passing, because when he 
  Quentin Milton (Order #26014138)
  
  does, the mansion will be sold off (his will lists a score of charitable 
  foundations as sole beneficiaries) and everyone who lives there now 
  will be without a means of support, Consequently, a group of senior ser­
  vants, led by the librarian, have turned to the old books that Hawthorn 
  studied in his youth, hoping that magic might succeed where science 
  has failed. Their minds concentrated by loyalty and their own needs, 
  many are now low level ( 1 -3) sorcerers. Only one knows the truth: 
  Hawthorn is already dead; his body is magically animated and pre­
  served (it even breathes) by his faithful manservant, Philip Adams. Mr. 
  Adams has spent fifty years as a servant, now he will be Master. 
  Through the Brotherhood of True Illumination he has received strange, 
  ugly messengers that have promised him power, and revealed great 
  magics to him (he's a 7th level Fleshsculptor). All that he has to do is 
  ensure that Hawthorn occasionally mutters instructions to the other ser­
  vants. Instructions to transfer money to specified accounts, instructions 
  to perform rituals or make certain inquiries. The other servants always 
  obey Charles Hawthorn, and accept his guidance, even though he seems 
  at best, semi-conscious most of the time. He remains their lord and life­
  long employer, as well as their Master in Magic; after all, he is the 
  original owner of the books from which they studied and learned the 
  (basics of) the mystic arts. None suspect that Philip Adams, Mr. Haw­
  thorn's most trusted and loyal manservant, is really manipulating (the 
  deceased) Hawthorn's actions, and through those actions, the estate and 
  the rest of the servants and hangerson. 
  THE LORDS OF THE BLOOD. The Lords of the Blood are a se­
  cret society made up of serious "old money" socialites. People whose 
  families have had plantations, mansions and leisure lifestyles for gen­
  erations, but who now find that their privileges are being destroyed and 
  equal wealth is now enjoyed by businessmen, movie stars, and others of 
  "poor breeding." And so a number have formed together, secretly at­
  tempting to reassert their privileged lifestyles whether through politics 
  (e.g. bribing or otherwise financially aiding right-wing politicians), or 
  by criminal conspiracy (several have secretly reintroduced slavery on 
  their estates, using kidnapped homeless people, Nightbane or supernatu­
  ral beings), or by magic. The leaders of the Lords also possess a number 
  of Rituals and other magics with which they attempt to safeguard their 
  interests and privileges. Whenever possible, members of The Blood are 
  trained as sorcerers or Acolytes. 
  Within this group, all members have clearly defined ranks and ver­
  bose titles; mainly "Knight of ... " and "Lord." This is a group which 
  thrives on hierarchy, pomp, and ceremony, but few realize that their 
  leader (their "High Knight of Purest Blood," or Master) is really just an 
  opportunist, the bastard son of a farm laborer who uses the group to ma­
  nipulate and share in the lifestyle of these arrogant snobs. The group is 
  increasingly influential in the hierarchy of business and high-society, 
  and quite ruthless in protecting their heritage, positions and fortunes. 
  They are wonderful spies and agents easily manipulated and used by the 
  Nightlords. 
  The Great Circle 
  There is a great city in the Nightlands, in the place where in the mor­
  tal world, Washington, DC stands. And there (where in the mortal world 
  a placid lake is overlooked by blossoming cherry trees and monuments 
  to dead Presidents), there is a lake of black flames, overlooked by 
  scores of immobile Night Princes and the mausoleums of dead(?) 
  Nightlords. And in this lake of flames a thousand human beings(?) have 
  been chained together in a great ring, their skin healing almost as soon 
  as it is burned, the new flesh fusing with the iron chains that bind them 
  or with the flesh of their neighbors in the Great Circle. 
  These are mortals who have pursued knowledge at any cost --(;on­
  centration camp doctors and vivisectionists, insane sorcerers and evil 
  occultists, arms industry scientists and fanatical academics - who have 
  been brought here to serve the Nightlords in perpetual agony. 
  Inspired by the flames, they shriek out barely coherent sentences and 
  phrases, telling secrets they have never known and futures that will 
  94 
  never be; understanding and forgetting in the space of a few seconds, 
  great magics or secrets of science; forming plans and strategies to over­
  come enemies they have never heard of. 
  This is the Great Circle. Created by the Nightlords, its purpose is to 
  know what cannot be known, and to understand what cannot be under­
  stood. It is said that every member of the Circle has stared into the soul 
  of the universe and seen the beginning and ending of all things. They 
  have known all things, and forgotten more than they have known. None 
  even remember their own names any more, and all are entirely insane. 
  The Night Princes who stand dispassionately around the lake listen 
  to the screaming in the hopes of hearing some information which will 
  be of use to their Lords. But Namtar also come here. 
  Assigned by the Nightlords to serve the Circle, the Namtar weave 
  themselves into deformed human shapes, every detail of their appear­
  ances inspired by the cries of the Circle, and then travel to the mortal 
  world as Messengers. The orders and requests that they carry are in­
  spired by the semi-coherent and conflicting shouts of the Circle, and in 
  return for obedience from those who hear their "messages," they offer 
  new spells or other useful pieces of information, The messengers may 
  also present physical gifts to the Masters of True Illumination, usually 
  magical artifacts, experimental items, or servants/slaves (all actually 
  gifts from the Nightlords which, especially in the case of servants, re­
  main loyal first and foremost to the Nightlords and spy on the Masters 
  and their minions as much as serve and assist them). Any objects, 
  books, or other things sent by the Masters to the Circle are hurled into 
  and consumed by the black flames of the lake. Any information or wis­
  dom hurled into the lake is immediately known by the entire Circle ... 
  and forgotten. 
  Yet somehow, the orders transmitted to the Masters make sense 
  (well, usually). Strategies to eliminate enemies and gather new knowl­
  edge evolve effectively despite the incoherent ramblings and insanity of 
  the Circle. And so the Brotherhood of True Illumination grows in power 
  and madness. 
  Campaigns using 
  the True Illumination 
  The obvious use of the Brotherhood of Illumination in a campaign is 
  as arch-villains, master plotters, secret societies of the worse kind, and 
  the human minions of the Nightlords (both magical and ordinary). The 
  player characters can be regarded by the True Illumination as members 
  of an organization which the Brotherhood wishes to destroy, rivals, 
  pawns, troublesome fools or arch-enemies. The Brotherhood might be 
  assigned to protect a place, person or thing which the player group is 
  committed to destroying or capturing, and vice versa. 
  As an example: One of the characters has an inexplicable ability to 
  see into other worlds, perhaps other realities, or fictitious places. Medi­
  cal opinion is probably that the character is insane, having visions of 
  nonexistent places being a pretty abnormal thing to do. Perhaps the 
  character actually receives information from these visions (this could be 
  a Supernatural Ally, as described in Chapter Two). In any case, the 
  character can access information, or another time or another reality, that 
  no one else can access. The Circle wants this means of access and wants 
  to know all about this time or place. So the Circle orders one or more 
  Masters to capture the character (or take his or her head) and to deliver 
  the unfortunate to them. Once sent to the Nightlands, the character 
  would be included in the Circle or just be cast into the flames. 
  In any case, the player characters will be harassed by the True Illu­
  mination, and must, over a series of adventures, work out what the 
  Brotherhood wants and figure out a way to deal with it. If they can fig­
  ure out what reality the character is accessing, they might want to figure 
  out other ways to reach or communicate with it, so that the character is 
  no longer the only way to access it and thus loses all importance. Or the 
  NPC character might choose suicide, figuring that this is the only way 
  to be sure that the Nightlords will not get access to this other reality. 
  Quentin Milton (Order #26014138)
  
  Ambitious player characters might seek to destroy this branch of the 
  True Illumination or even the Great Circle (a virtually impossible task). 
  This plot also works well as a subplot in a long campaign which also 
  gives the characters other explicit objectives. 
  Other adventure ideas. A less obvious way to use the True Illumi­
  nation in a campaign is to have some or all of the player characters start 
  as new members in a branch of the organization; nice guys with good or 
  anarchist alignments who do not yet realize that they are working for 
  the bad guys. Give them a charismatic, sympathetic Master who can 
  easily convince them that the Brotherhood is a well-intentioned or neu­
  tral organization. Have them perform several missions for the leader of 
  the group (the Master), perhaps infiltrating some other suspicious or 
  evil organization, and undoubtedly much advancing the cause of the 
  Brotherhood and the Nightlords. Slowly, the player group should pick 
  up hints and clues that the Brotherhood's goals and motives are thor­
  oughly unpleasant. They might meet with members of a less outwardly 
  respectable Branch, or be tipped off by another disillusioned member 
  (who later dies mysteriously), or uncover lies and deception. Or they 
  might start hearing nasty rumors about the Brotherhood via the Shad­
  owleague. Perhaps some of the people they gather information on for 
  the group leader (their Master) might later disappear or be murdered, or 
  they might be sent to retrieve a "valuable artifact" which can only be 
  used for the most hideous of purposes, or information they uncovered is 
  used to hurt good or innocent people. Perhaps they uncover a link to the 
  Nightlands or the Nightlords. Make the players reexamine their loyal­
  ties and work out what to do next. Do they try to subvert the Branch or 
  Brotherhood from within? Or do they try to find out about and gain an 
  audience with the Great Circle? Or do they betray their erstwhile Master 
  and colleagues, or try to quit the organization? G.M.s, let them decide 
  what they want to do and respond appropriately; remember that there 
  will be consequences and reactions to every action and decision they 
  make. 
  Unpleasant characters (anarchist and evil alignments) may feel right 
  at home in a Branch of the True Illumination. In this instance, the G.M. 
  should allow them to join a Branch where the Master is willing to give 
  them positions of power, responsibilities and perks in exchange for their 
  loyal service. This can get them involved in the politics of the Branch, 
  and perhaps lead to their taking it over or setting up their own Branch. 
  Be wary of this option, though. Nightbane work best when they are 
  sympathetic folk struggling against evils which they barely understand. 
  If the player characters are scoundrels serving evil forces, the game be­
  comes less tense and may become rather tasteless. 
  Lesser Brotherhoods 
  In addition to the Seekers and the True Illumination, there are many 
  other Brotherhoods in operation throughout the world. These may be 
  organizations and factions set up only recently as "self-help" groups by 
  fledgling magicians, scholars, and adventurers, or they may be centuries 
  old, which have merely expanded or gone underground after Dark Day, 
  when more potential recruits have become available or necessitating 
  greater secrecy. 
  Most Brotherhoods are usually larger and more organized than the 
  True Illumination's "Branches," and are less tied to one place or mem­
  bership. Typically, a Brotherhood has at least 50 members and may 
  have as many as several hundred members (some may have a few thou­
  sand), with its own library and leadership structure that shares informa­
  tion and training and provides opportunities to less experienced 
  practitioners of magic. Membership often stretches across several states, 
  provinces, countries or even continents. Most so-called Brotherhoods 
  are magic oriented, attracting one or more different types of magical 
  O.C.C.s. Many are limited to only one particular study or type of magic, 
  while others welcome students (and races) of all disciplines, and/or psy­
  chics, Nightbanes and ordinary people with an interest in the mystical 
  95 
  and supernatural. Others are composed of psychics, or Nightbanes and 
  researchers into the unknown who do not possess or desire training in 
  magic, but who have an interest in magic, the supernatural or the Night­
  lords, although these tend to be in the minority. 
  The following are only a handful of some lesser, but notable Broth­
  erhoods. 
  The Order of the Cobra 
  The Order of the Cobra has operated for centuries from Japan 
  through China and India to Egypt. They are thieves, assassins and con­
  men, using stealth and pseudo-mystical powers to make their dishonest 
  livings throughout the years. After Dark Day, they found their powers 
  multiplied, as many developed into full-blown mystics, sorcerers or 
  Fleshsculptors. Where once they had used petty magics, meditation and 
  alchemy, they are now able to utilize powerful magics. 
  Made bold by their new powers, members have now started to oper­
  ate further west than usual, to north Africa and southern Europe, and 
  further east, to the west coast of the Americas. Here they may operate as 
  art thieves or hit-men, corporate saboteurs or expensive private investi­
  gators, always finding new ways to earn their livings. 
  The Order of the Cobra has no huge bureaucracy. Its members meet 
  informally once every three years, taking several weeks to swap stories, 
  trade stolen goods, plan thefts, warn each other of threats to the Order, 
  and so on. Locations for each meeting are decided at the previous gath­
  ering. The next meeting will be in Bangkok, in a few months. 
  Between each meeting, contacts between members are rare. The 
  only frequent contacts are between "Parents" and "Children," as the Or­
  der's hierarchy describes itself. 
  Quentin Milton (Order #26014138)
  
  Each member has a "Mother" or "Father," the person who trained 
  them or accepted them into the Order, and is thereafter considered their 
  "Son" or "Daughter." This Parent, on accepting the new member, con­
  ducts a brief ritual whereby he or she plunges a silver nail into the 
  member's heart. The nail does not harm the member, at least not imme­
  diately, however, if the nail is ever removed, the unfortunate will die 
  immediately. Furthermore, the Parent may, at any time, simply will the 
  "Child's" death! A Parent may only kill his/her own "Children," not 
  those initiated into the Order by others. Finally, if the Parent ever dies 
  of anything other than purely natural causes, then all his or her Children 
  also die (of heart failure). In countries where capital punishment still 
  threatens thieves, smugglers and assassins (i.e. through much of the 
  third world and in parts of the US), Children are thus obliged to keep an 
  eye on their Parents and to ensure that no harm comes to them. This 
  means Children often stay and work closely with their Parents. 
  Parents, however, are expected to perform certain functions for their 
  Children. They are obliged to buy goods from their Children if asked 
  (although they need not give more than 25% of the object's value) and 
  are expected to provide shelter and access to resources like fake IDs as 
  required. This can be expensive, and Parents are therefore only those 
  members with good finances and enough contacts to sell items provided 
  by their Children. Furthermore, the Parent is expected to kill Children 
  should they ever betray the Order, or commit crimes (e.g. theft or mur­
  der) against other members. 
  It is the responsibility of the Parent teach the Child the ways of the 
  Order, how to meditate and the ritual required to enchant the silver nail 
  (Level Ten, 300 P.P.E.) so that they too can become Parents someday. 
  In other words, the Parent trains the Child in the rudimentaries of sor­
  cery. 
  The Child, in return, is expected to provide for his Parent's basic 
  needs, paying him whatever is required to meet these costs. In practice, 
  the Order expects Children to pass on one third of their earnings to their 
  Parent, and Parents who think that their Children are shirking have the 
  ultimate sanction, the ability to just kill them. However, most do suc­
  cessfully function as a small and effective unit or team (typically one or 
  two Children per parent). 
  If a Child is unhappy with his Parent, he can be "adopted" by an­
  other member. This involves the adopting parent plunging his own new 
  nail into the Child's heart, so that the original silver nail can now be 
  safely (if painfully) removed. 
  The order has spread rapidly through the east, where it now has 
  around a thousand members, each with different amounts of status de­
  pending upon how many Children they have, how many Children their 
  Children have, etc. Most of these members are relatively low-level 
  criminals (average 1 04+2 level thieves, smugglers and assassins; only 
  25% actually become full-fledged sorcerers, level 1 04) running rackets 
  or gangs, rather than dashing international master-criminals, but some 
  are notorious. The Order only recruits strong-willed and focused indi­
  viduals, and its meditations and mild spirituality are catalysts for magi­
  cal awakening. In the west (USA and Europe) however, it has no more 
  than a dozen or so members. 
  Members can be identified in two main ways. One is by the silver 
  disk (the head of a nail) which seems stuck to their chests. The other is 
  by the life-size tattoos which all wear, showing a black cobra, usually 
  on the torso or curled around the left arm. 
  Benefits of Membership: The Order of the Cobra does not provide 
  any intense magical training, only a basic Understanding of the Princi­
  ples of Magic, meditation and the Ritual of the Nail. It is too loose knit, 
  and its members too self-serving, for much more. However, members 
  may acquire false IDs and passports, and other forged paperwork virtu­
  ally whenever they wish (and often for as little as a hundred dollars, 
  with groups of forgers working in the third world to fill orders at low 
  prices), and their superiors will buy any stolen goods from them, no 
  matter how hot or hard to sell, for one quarter of its actual value, pro­
  vided they can't get a better deal else where. Magicians trained as mem­
  bers (rather than outsiders accepted later in life) may select Espiconage 
  96 
  or Rogue skills at a +5%, but because they were brought up in the third 
  world they get no computer-related skills, and as a major downside, all 
  members have those potentially fatal nails in their chests, and give­
  away cobra tattoos. 
  The Iron Band 
  The Iron Band grew up after the second world war, based in Beruit, 
  as a private group of bodyguards - effectively a group of mercenaries 
  who hired themselves out to guard the rich and powerful in Lebanon, 
  Turkey, Jordan, Greece, and much of the then unstable eastern Mediter­
  ranean. Most of the members were ex-soldiers, without work after the 
  war ended, and the group continued to function throughout the rest of 
  the twentieth century. 
  After Dark Day, the group expanded. They formed a legally consti­
  tuted corporation (quoted on the Paris stock exchange's Alternative In­
  vestments market), seeking anyone who might be able to act as a 
  bodyguard to protect against newly discovered threats such as the Hunt­
  ers and Hounds. Publicly, of course, these threats do not exist, but pri­
  vately, the Iron Band's political clients knew otherwise, and were 
  terrified. 
  Now, the Band has offices in Paris (serving Europe), Beirut (the 
  Middle East), Tokyo (east Asia) and New York (US and Canada). A 
  dozen Cybermages, Nightbane, and forty other practitioners of magic 
  now work for it, along with the firm's fifty ex-military types. 
  All employees serve as bodyguards, the magicians functioning pri­
  marily to identify as well as fight supernatural enemies, while the ex­
  soldiers provide raw firepower. Iron Band bodyguards might be found 
  from Mexico to Latvia, Libya to Alaska, guarding corporate tycoons or 
  politicians, diplomats or military officers. The Iron Band doesn't care 
  who they work for, whether Preserver officials or Spook Squad leaders, 
  just so long as they get paid. Their morality is the profitethic. One 
  man's cash is as green as another's, although they will never sell out or 
  betray someone they have been contracted to guard, regardless of the 
  inducements offered - that would be bad for their image and lose them 
  Quentin Milton (Order #26014138)
  
  business in the future. However, while they may swear to protect, the 
  group never engages in acts of revenge or first strikes. 
  Hiring an Iron Band bodyguard costs upwards of five thousand dol­
  lars per month, and the client must provide board and lodging, too. To 
  act as guards, they either recruit fully trained magicians, Nightbane, or 
  soldiers (who then earn any from $2,000 per month for low-risk work, 
  up to $ 1 5 ,000 per month), or else acquire and train recruits from scratch 
  (there is no shortage of desperate beggar children volunteering on the 
  streets of Beirut), recouping the cost of training by paying less to their 
  home-grown operatives. 
  The only strange aspect of the firm's work is that they never work 
  for other practitioners of magic. In part this is due to the iron rings 
  which each bodyguard wears like a badge. The rings are magical ob­
  jects, and the Iron Band does not want other magicians hanging around 
  these objects, for fear that they might figure out what the rings do. 
  In theory, the iron rings or "bands" are homing beacons, so that if a 
  member ever goes missing (e.g. is kidnapped, imprisoned, etc.) the firm 
  can locate their operative; and in part, this is true. But the rings also al­
  low the firm's bosses to spy on their agents, seeing and hearing all that 
  the wearer experiences, which often means spying on their clients. Each 
  iron ring is in fact one of a pair: one (worn by the bodyguard) is a 
  "transmitter," the other, kept by his bosses, is the "receiver," allowing 
  the boss to focus on what is happening around the other ring. In prac­
  tice, the firm's bosses are too smart to deliberately spy on their clients, 
  and certainly never keep records or disseminate information gathered 
  from the rings. These magical items are simply useful for checking up 
  on and keeping watch over the bodyguards (who do not themselves 
  know what the rings do). However, if a "receiver" ring ever fell into the 
  wrong hands, it could be very embarrassing for the Iron Band company 
  should its full purpose be uncovered. 
  Benefits of Membership: Iron Band operatives are well paid for 
  their work, and usually get basic health insurance and board and lodg­
  ings included in every assignment (additional perks may be included 
  depending on the generosity of the client). In addition, the brotherhood 
  will teach spells to sorcerous agents at half the usual prices (deducted 
  from pay), and all operatives are issued an Enchanted Weapon (as in the 
  spell) for the duration of their service, along with other more conven­
  tional weapons and equipment. 
  The True Templars 
  Back in 1 998, a "businessman" (a failed used car salesman) named 
  Jim Stanton set up The Holy and Inspired Order of The True Tem­
  plar Mysteries (better known simply as "The True Templars"). It was 
  an occult group with the usual trimmings. Stanton claimed access to the 
  "lost magical secrets" of the ancient Templars, including the Holy 
  Grail! He set up the group with nine Orders (levels) of Initiation, with a 
  hefty fee to progress to each new level. A small Temple was built, 
  where pompous ceremonies and sham rituals were enacted. And for 
  several years the True Templars were, from Stanton's point of view, 
  very successful. 
  After Dark Day, the True Templars attracted a host of new members. 
  Stanton (now calling himself "Father James") increased the "donation" 
  payable for each initiation from $500 to $3,000. Several hundred new 
  initiates, plus established members being promoted through the ranks, 
  made Stanton a rich man, and the drivel that he spouted about "magical 
  secrets" attracted a number of genuine magicians. 
  In 2002, Stanton cashed in on his investment. He faked his own 
  death, and fled to the Bahamas with around a million dollars. He still 
  lives there, comfortably, off the proceeds of his invested cash. 
  After Stanton's "death," one of the members took over the organiza­
  tion, taking the name of "Father Joseph." Although himself a genuine 
  magician, "Joseph" (Adrian Childes) also understood that the organiza-
  97 
  Quentin Milton (Order #26014138)
  
  tion was a con, and that its purpose was to make money. Unfortunately, 
  he was less astute and less convincing than Stanton, and within six 
  months his subordinates caught him with his fingers in the till. He was 
  deposed and expelled. 
  After Joseph's departure, the new leader, "Father Thomas" (Abdul 
  Bakhir), discovered that there were no books of secrets, no Holy Grail, 
  and no money. It was concluded that in addition to the missing million 
  dollars from the accounts (taken by Stanton) Father Joseph had also 
  stolen a large sum, and was probably responsible for the organization 
  having no books or relics. Father Thomas and the other members, after 
  all, "knew" that the organization had owned many such objects. Their 
  revered founder, Father James, had often spoken about them, and had 
  even shown them the (fake) items. Joseph's home was looted, several of 
  his cronies were expelled from the group, and eventually Joseph was 
  magically murdered. 
  And so the organization which was originally a fraud, is now run by 
  genuinely powerful magicians. Moreover, the membership is now dili­
  gently seeking the great relics and books which have been "stolen" from 
  them, blissfully unaware that these objects never existed. 
  The True Templars now have about 400 members, almost all re­
  spectable middle-class folk, some with much influence (company direc­
  tors, civil servants, etc.). This is way down from the one-time high of 
  2,000 members, as many have left since the squabbles and scandals be­
  gan. Of these members, 300 have no magical abilities. They are only al­
  lowed into the bottom First and Second Orders of the organization. 
  Another 50 (in the next two ranks) are Acolytes (as per the O.c.c. de­
  scribed in this book), while the remaining 50 (in the top Fifth to Ninth 
  Orders) are sorcerers. Payments to join and to rise in ranks are now 
  $500; just enough to pay for the group to keep going, and to pay for the 
  trappings of its weekly "traditional templar rituals" (invented by Stan­
  ton). Of course, additional donations are both welcomed and encour­
  aged. 
  As well as its doomed search for the Holy Grail, the True Templars 
  have two other problems to deal with. First, rumors of their mythical 
  treasures and secrets have gotten out, reaching the ears of Seekers and 
  others, and since they don't want the embarrassment of admitting that 
  they have lost these wonders, they are currently plagued by outsiders 
  using threats and bribes to gain access to these fictional treasures. 
  Moreover, there is a threat from within the group, as a member of mod­
  erate rank has suddenly announced that he has been contacted by "the 
  spirit of Jaques Mollay" (Mollay was the last head of the real Templars, 
  burned at the stake in the fourteenth century), and on the strength of this 
  "spirit's" patronage, has started to demand more power in the group and 
  to criticize their spurious rites. Note: The spirit probably isn't Mollay's 
  ghost, but some supernatural creature (Vampire Intelligence? Guardian? 
  Night Prince?) who knows enough to sound convincing and would like 
  to get its dupe into a position of power in the group. 
  Benefits of Membership: Considerable effort is made to train jun­
  ior members, to help the powerless develop magical powers and to 
  teach less potent magicians. Loyal service is rewarded with the free 
  teaching of new spells or rituals, but the nature of such magic is always 
  such that they would be useful in recovering the group's fictitious treas­
  ures (spells to gather information, etc.). Remember that currently, only 
  about 25% of the active members possess any level of genuine magical 
  knowledge and powers. 
  98 
  The Bossu 
  The common people of Haiti have long held it unsafe to travel at 
  night, particularly alone. Tales have long told how unwary travelers 
  might be waylaid by groups of devilish sorcerers, called Zobop or 
  Bossu, who prowl the roads in columns or lay ambushes on bridges. In 
  more modem times, gangs have been said to use cars, bundling victims 
  inside and whisking them away. The gangs are said to be cannibals, 
  able to change their appearance and transform into fierce dogs, and that 
  each of these fiends must sacrifice a close relative on induction into the 
  group. 
  The victim is leaped upon by the sorcerers, who bind him with ropes 
  made of entrails and ask one question: "In or Out?" The victim who an­
  swers "In" is greeted as a member of the gang and given a draught of 
  blood (perhaps human blood) to symbolize their initiation. Those who 
  answer "Out" suffer an agonizing death, and are then supposedly eaten. 
  Those inducted into such bossu groups are supposedly at the leaders' 
  mercies, and often suffer hallucinations and delusions. Those betraying 
  the group are usually killed, but the attentions of a Houngan or Mambo 
  (voodoo priest) can allegedly sever the bond between an unwilling 
  member and the leaders. 
  Rare before Dark Day, the Bossu have flourished and spread since. 
  As the Mirrorwall has weakened, the entities who support the Bossu 
  have been able to grant greater powers to their followers. The "sorcer­
  ers" of these gangs are in fact evil Channellers, whose powers come 
  from the dark creatures to whom they make blood sacrifices and whose 
  causes they serve. 
  Bossu gangs are now found throughout the Caribbean, and in Cen­
  tral America and the southern United States of America. Each gang in­
  ducts members through a Ritual (level three, 20 P.P.E.) which simply 
  establishes a link between the new initiate and the sponsoring entity 
  through human sacrifice. Generally, the unfortunate sacrifice is a rela­
  tive of the initiate, and the remains are later left for the police to find. 
  The effect of this is that the initiate is at the mercy of, and obliged to be 
  loyal to, the gang who might subsequently report him to the police or 
  his family if he ever betrays them. Each gang of 6-1 0  Channellers is, in 
  theory, independent, with no links to any other gang. In practice, how­
  ever, the "spirits" whom they are in contact with (the entities who em­
  power them) often direct them to work together or to perform services 
  to aid one another. 
  It is not known exactly who the Bossu serve, although it does not 
  seem to be the Nightlords. Most likely, the entities which grant them 
  their powers are denizens of some Astral Domain or other dimension. 
  The gangs' objectives seem to involve gathering humans for cannibalis­
  tic sacrifice (presumably so that the sponsoring entities absorb the vic­
  tims' P.P.E., and perhaps their memories), and establishing control over 
  specific areas and sites. They might drive tourists away from remote ar­
  eas or terrorize the inhabitants of remote villages, the logic being (ap­
  parently) to create areas where no one will dare go for fear of these 
  cannibal serial killers. What happens in these desolate areas is a mys­
  tery. Perhaps their inhuman sponsors have set up gateways there to their 
  domains, or have even set up colonies on Earth in these regions. 
  Benefits of Membership: The Bossu tum initiates, normal folk, into 
  Channellers, often selecting the nastiest locals in an area for their gangs 
  (brutal husbands, brawling thugs, half-insane ex-soldiers, etc.). They 
  are told that they will eventually be rewarded with power and status in a 
  future (or alien) nation, and receive for now, their supernatural powers. 
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  The Immortals 
  In addition to the magical Brotherhoods, there is one other group of 
  magicians who wield great power: the Immortals. 
  There are, at present, about fifty Immortals living on the Earth -
  people who have in centuries past, learned to cheat death and to live 
  forever (or near enough). Their personalities and backgrounds vary 
  wildly. 
  Some are debauched hedonists requiring ever wilder experiences to 
  satisfy their jaded appetites, some are apathetic and idle (for if your 
  time is limitless, then there is no urgency in doing anything), others are 
  manic and paranoid (striving all their lives to gain immortality, they are 
  now obsessed with holding on to life), others astoundingly banal, still 
  finding joy in simple things, and revelling in leading a series of bliss­
  fully ordinary lives. Some have won Immortality through sorcery, some 
  through struggles and deals with supernatural creatures, some by al­
  chemy and others by meditation and profound spirituality. (Check out 
  Palladium's Mystic China sourcebook for loads of ideas on Immortals, 
  plus statistics and rules for eastern Immortals). All of them have some 
  sort of supernatural powers, and many are frighteningly powerful magi­
  cians. 
  Many of these Immortals know one another. Some are acquaintances 
  or rivals. Others have simply become aware of the others over the cen-
  99 
  turies. Their relationships are usually distant, but are often based on a 
  kind of unspoken respect and fellowship, and any rivalries which sepa­
  rated earlier in life are likely to have faded as all of their enemies and 
  allies - the causes for which they fought - have passed away. 
  Each Immortal is likely to be in contact with 2-3 others (although a 
  few are total loners, and some cling closer to others who survive from 
  earlier times), and so although there is no formal organization or net­
  work uniting them, information of interest (threats, opportunities, super­
  natural gossip, etc.) tends to be communicated informally between them 
  all, eventually. However, this grapevine rarely works swiftly. With an 
  eternity on their hands, the Immortals are rarely in a hurry, and tend to 
  think of a year as a pretty short period of time. 
  More importantly, in terms of the politics of arcane groups, several 
  of these powerful Immortals have cause to keep involved with mortal 
  sorcerers. This may include a desire to remain in touch which their hu­
  man side, or because they need assistants for the rituals which keep 
  them alive, or they can use a brotherhood's members to gather rare ma­
  terials and ingredients for alchemical potions. This means that one or 
  two very powerful magicians and the occasional Immortal can be found 
  amongst the senior ranks of some brotherhoods. At least one of the 
  Seekers' Council of Nine, Mary O'Leary, for example, has held her 
  post for over three centuries. 
  A Brief Census --
  In the world after Dark Day there are perhaps 1 20,000 practitioners 
  of magic, including Sorcerers, Cybermages, Fleshsculptors, Mystics, 
  etc., but excluding Chanellers and Acolytes. That is from a total popula­
  tion of nearly six billion people. Not a high percentage. 
  So, in the US there are only about 6,000 genuine arcanists of notable 
  experience and power (that's about 1 20 per state). Of these, perhaps 10-
  50% will be involved in occult groups, Brotherhoods, the Seekers, etc., 
  with the rest simply muddling through their daily lives with the added 
  boon of supernatural abilities. 
  So, a typical major city in the US, Canada or Europe might have per­
  haps 50 magicians resident, which might include: a small Branch of the 
  Brotherhood of True Illumination (6 members), half a dozen Seekers, 3-
  4 agents of other brotherhoods, 4-5 independent opportunists, and about 
  30 people who have no interest in the squabblings of these factions nor 
  in getting involved with political, criminal or otherwise dangerous 
  struggles. 
  Magicians, therefore, are not plentiful. If the player characters 
  slaughter half a dozen per adventure then they will soon have killed off 
  all of the active magicians in their home city. Practitioners of magic 
  should remain, therefore, arch-villains, occasional enemies, allies, 
  player characters, and incidental characters - rarely just "cannon fod­
  der." 
  In terms of total membership, the various Brotherhoods mentioned 
  line up roughly as follows: 
  Shadow league: 1 ,000-2,000 
  The Seekers: 1 ,000 
  Brotherhood of True Illumination: 800-1 ,200 
  The Order of the Cobra: 500-700 
  Bossu: 200 (and growing) 
  The True Templars: 400 
  The Iron Band: 50- 1 50 
  Of course, not all members are equal. The Shadowleague's members 
  generally lack any sort of loyalty or commitment to the League, and the 
  Seekers' members are often academics and investigators. The Iron 
  Band's smaller membership, by contrast, is more ready to face danger 
  and is better organized than most. 
  Note, also, that the loss of even a single magical member for any 
  Brotherhood (and especially a whole group of members) is a serious 
  blow. No one will readily forgive player characters for butchering their 
  members! Even comparatively unimportant members. 
  Quentin Milton (Order #26014138)
  
  Quentin Milton (Order #26014138)
  
  CHAPTER 7: Magical Sites 
  This chapter looks at enchanted, tainted and naturally magical 
  places. Sites where player characters may stumble across adventures, 
  inspirations, dangers or just plain weirdness. 
  Legendary Sites 
  There are places across the world which are reputed to have magical 
  powers - often the locales of great achievements of past civilizations, 
  to which modern folk have superstitiously attributed supernatural prop­
  erties or mysteries, as well as a host of places mentioned in myth and 
  legend but which are assumed not to actually exist. 
  It is mildly patronizing to assume that all of the relics of the past are 
  somehow magical or mystical in nature. Why do so many people seem 
  to need to make the Egyptian pyramids magical constructs? Why can't 
  people just accept that they were built as big tombs as part of an ancient 
  culture and religion, rather than being "magical" artifacts (or even the 
  creation of UFO aliens)? 
  Of course, in a role-playing game context, most G.M.s and players 
  will want to involve genuine "ancient sites" in their games, and will be 
  disappointed if at least some of these do not turn out to have some su­
  pernatural powers or significance. Consequently, this section gives 
  some suggestions for famous and infamous legendary sites ... even the 
  pyramids. 
  In order to suit the flavor of their adventures, or to frustrate players 
  who have regrettably read this book before playing, G.M.s should feel 
  free to change any or all of the details presented here, about any or all 
  of these sites. Note: Beyond the Supernatural and numerous books in 
  the Rifts® series are two other potential RPG sources for ideas and in­
  sight to famous historical and mythical locales reputed to be magical or 
  supernatural. The local library, book store, and Web Sites will offer 
  even more. 
  Outstanding Sites 
  Many ancient and mystical sites are unique and shrouded in mys­
  tery. Often because of their age, little is known about them, their "real" 
  purpose, use and even who built them (or how). The most famous are 
  usually one of a kind items. For example, there is only one Stonehenge, 
  although there are loads of places where artificial hills or standing 
  stones have been raised. Likewise, Egypt is the only place where pyra­
  mids rise from the desert, although South and Central America has 
  more than its fair share of (flat topped) pyramidal stone structures and 
  lost cities. 
  Moreover, many myths and legends speak of single places which are 
  special, haunted or magical. An Armenian legend, for example, tells of 
  a great cave where two brothers have been chained up for thousands of 
  years: both are immortal and identical, but one wields immense evil 
  powers and the other equal powers for good. Now that isn't something 
  you stumble across every day, and there must be an adventure idea in 
  that somewhere. 
  So, let's run through a few major ancient and mythic sites. 
  ATLANTIS! Legends about the lost city (or continent) of Atlantis 
  have persisted since the time of the ancient Greeks. A great civilization 
  located somewhere in the Atlantic Ocean and which sunk under the 
  waves after a terrible cataclysm. Some point to the Canary Islands as 
  Atlantean mountain tops sticking out above the sea. Some believe it was 
  survivors of the great disaster who brought culture to the Egyptians and 
  taught them how to build the pyramids. Others suggest ancient Atlan­
  teans might be responsible for the creation of Stonehenge and/or the 
  pyramids and cultures of ancient South Americans (Olmec, Mayans, 
  etc.). Legends of the sunken land of Atlantis, and the faerie country of 
  Tir Na n'Og said to exist west of Ireland, also suggest a magical land in 
  the Atlantic Ocean. 
  101 
  The strangeness of the BERMUDA TRIANGLE might point to 
  such a place still existing, but hidden from human eyes or accessible 
  only via portals on our world to another dimension. G.M.s wondering 
  what this place might be like might let their imaginations run free, or 
  might check out Rifts® World Book Two: Atlantis for some ideas. 
  BIFROST was the Rainbow Bridge of Norse legend. It connected 
  Midgard (our Earth) to Asgard (the world of the Norse gods). 
  In Nightbane this could be considered to have once been a portal to 
  another world or dimension. Perhaps it even still exists (a permanent 
  portal or one that can be reopened), now long forgotten, extending from 
  some inaccessible area of Scandinavia into the homeland of the Guardi­
  ans, Nightlands or some other alien/magical place. The bridge's guard­
  ian, Heimdall, was said to be a god whose senses were so acute that he 
  could hear grass grow and see for a hundred miles ( 1 60 km). 
  EL DORADO was the mythical city of gold, believed by optimistic 
  Europeans to lie hidden in Mexico or South America. 
  This might refer to the headquarters or base for the world's "elder" 
  Guardians, which might perhaps lie in another dimension or Astral Do­
  main. Most likely the Guardians have (or once had) a series of these 
  bases, perhaps one per major continent, as there are other similar stories 
  of glowing cities in human folklore, such as the Copper City of Arme­
  nian myth, or the jewel-encrusted lands of King Prester John (believed 
  by medieval Europeans to lie somewhere in Africa or Asia), and even 
  some stories of Atlantis. Or perhaps it was (is) a dimensional trap of the 
  Nightlords, mystical slavers, or other dimensional terrors. 
  The HIMALAYAS, according to Western occult traditions, are the 
  home of the "Secret Masters" who have secretly been manipulating the 
  world's civilizations for generations from their hidden subterranean 
  city. This city might be the home of a Nightlords' "embassy" to our 
  world, or a Guardians' base (see EI Dorado, above), a Brotherhood of 
  Immortals or sorcerers, a pocket dimension, a faerie tale, or any number 
  of things. Another interesting option might be that it was once the base 
  for some sort of supernatural or alien race, but now seems to be aban­
  doned -only after much investigation might explorers (e.g. player 
  characters) realize that someone else (a Vampire Intelligence, or an Im­
  mortal eastern sorcerer or demon) has now taken up residence here and 
  is jealously guarding the place's greatest secrets. 
  MU or LEMURIA are two of the names given to a supposedly lost 
  continent, somewhere in the Pacific ocean. It is said to have been a con­
  tinent inhabited by an advanced culture with science, magic and great 
  sorcerers and healers that surpassed all others (at least compared to 
  those that existed 5000 to 15,000 years ago). Like Atlantis, legend 
  claims MU sank into the ocean after a series of terrible earthquakes and 
  natural disasters. Although some scholars and occultists claim to have 
  found artifacts said to be relics from MU, no cities, technology, people 
  or even underwater land masses have been found to support that MU 
  was anything other than myth. In the Nightbane setting, it's possible the 
  entire continent was swallowed whole by some powerful magic or di­
  mensional anomaly. Perhaps it never existed on Earth, but was only ac­
  cessible through magic portals? Perhaps it is, or was, an Astral Domain, 
  or the true, original homeland of the Nightlords - destroyed when they 
  were punished and forever sent to the Nightlands? Or perhaps it was an 
  Earth civilization that was destroyed by the Nightlords and is the hor­
  rific crime that condemned them to life in the Nightlands. 
  The PYRAMIDS of ancient Egypt - nearly a hundred of them 
  -were built to preserve and protect the bodies of Egypt's nobility for 
  all eternity, in the days when Egypt was a powerful kingdom and the 
  Nile valley was lush and fertile. By the twentieth and twenty first centu­
  ries Egypt has become an arid land. Is it possible that the Pyramids are 
  magical constructs that have sucked all of the fertility and "life" out of 
  the valley (by accident or intent). Could the Pyramids be great batteries 
  Quentin Milton (Order #26014138)
  
  of P.P.E. - of "life" itself? If so, spells designed to heal, nurture, grow 
  or create life (and/or "un" life/the undead) have five times the normal 
  effect/power/result, or five times the duration, etc., when cast in or on a 
  Pyramid. And with the right rituals, a sorcerer might absorb the energy 
  from one of the Pyramids to renew his own youth and vigor, or to be­
  come immortal. Or perhaps they are doorways to other dimensions, in­
  cluding the Nightlands? Or the magical constructs that link the 
  Nightlands to Earth or which enabled the Nightlords (their original 
  creators?) to keep a tenuous hold on Earth? 
  SAINT PATRICK'S PURGATORY. There is a cave in Ireland, 
  associated with Saint Patrick, in which, it is said, one will dream of pur­
  gatory or of hell. 
  In Nightbane, any character sleeping there should roll I D20. A roll 
  of 20 always indicates a failure, but if the total is less than the charac­
  ter's P.P.E. or I.S.P. (whichever is highest), then the character has 
  dreams and visions (a group of characters will all have the same dream). 
  These visions function like the Nightbane talent Mirror Sight, except 
  that the viewer sees into random areas on the Nightlands (rather than 
  looking into the area corresponding to his or her current location). 
  The character (and player) cannot control what visions are received, 
  but usually they provide insights and information which will prove use­
  ful to the character in the future. The scenes viewed in this way may 
  seem irrelevant or trivial for now, but the G.M. should make sure that 
  most of the visions contain information which will become useful later 
  in the adventure or in a future adventure (the face of a Nightlord Dop­
  pleganger or other minion, a magical ritual, the name of a Nightlord en­
  emy, etc.). 
  Remember, of course, that certain Nightlands creatures can sense if 
  they are being watched through Mirror Sight and can cross over to con­
  front spies. The same is true of these vision. Throwing a few large crea­
  tures at sleeping(?) or entranced player characters should discourage 
  them from overusing the cave. 
  STONEHENGE (in southern England) was built four thousand 
  years ago, as a circle of upright rocks with huge stone lintels across the 
  top - like a circle of oversized doorways, in effect. Many of the stones 
  now lie toppled on the ground, but in the world of Nightbane, G.M.s 
  might like to see the place as a set of interdimensional portals, each 
  "doorway" leading (if correctly "opened" with long-forgotten rituals) to 
  a different world or Domain. 
  Chinese legend tells of a VANISHING MONASTERY which has 
  existed since the third century AD. It disappears and reappears at ran­
  dom, and is usually found by accident by those following the sound of 
  its tolling bell. It seems that the wise men who gather here are all 
  strangers to each other, and that they come from all over China and be­
  yond to discuss esoteric subjects. 
  In the world of Nightbane, this is a place which can only be entered 
  on certain evenings from the mountains of China, but it may also be en­
  tered from any point on the earth by those who are wise enough to step 
  into it from their dreams (i.e. via the Dreamstream™). All of the people 
  who enter here are sedate, reasonable and extremely wise - monks, 
  mystics and others, providing suitably enlightened and mystical charac­
  ters with an opportunity to discuss problems (e.g. mysteries connected 
  with the Nightlands) or spiritual issues (e.g. what is the sound of one 
  hand clapping?) with other equally mystical fellows. Those who are ex­
  ceptionally wise and sedate may even be offered the chance to reside at 
  the monastery (an excellent bolt-hole and a bizarre home). The G.M. 
  should feel free to invent a suitably strange Abbot for the place; a calm 
  Guardian, perhaps, or a three-thousand year old Immortal monk, or a 
  dragon. 
  YELLOWSTONE National Park, in America's Midwest, boasts 
  an impressive array of natural phenomena which are just crying out to 
  have supernatural origins in the world of Nightbane. Pools of boiling 
  mud which stink of sulphur could be the home to a particularly nasty 
  group of creatures of the G.M. 's devising; creatures who laid dormant 
  until Dark Day, but have now awakened. Boiling springs and huge gey-
  102 
  sers suggest the outflow from some huge, subterranean furnace or fac­
  tory. Think of a factory the size of a small city, powered by arcane ma­
  chines and worked by enslaved humans for the good of the Nightlords. 
  A sort of magical power-station creating energies which the Nightlords 
  can use to resculpt the Earth's reality (unless the player characters stop 
  them?). Or perhaps these geysers are actually connected to the Night­
  lands. Do minions of the Nightlords crawl from them? Can Nightbanes 
  and refugees from the Nightlands, suitably protected by magic, swim 
  through their counterpart in the Nightlands to appear back on Earth? 
  Unleash your imagination and explore all the possibilities of these and 
  other places. 
  General Types of Sites 
  There are more general "types" of supposedly magical sites which 
  reoccur across continents, or across the world, standing stones, sacred 
  springs, etc., either ancient monuments or places which time and again 
  are referred to in myths and folktales. 
  Information on and ideas for each general type of site is given in this 
  section, along with an example site for each type which might provide 
  the basis of an interesting encounter or short adventure. 
  Blood Temples 
  There are places across the world where priests, mystics and sorcer­
  ers have shed blood in order to give living gifts to supernatural powers, 
  or in order to magically exploit the life-giving potential of human or 
  animal blood. 
  The most obvious examples of these are the great temples of South 
  America, Central America, and Mexico where the Aztecs and others 
  presented the still-beating human hearts of their sacrificed captives to 
  their gods. But in Voodoo, across Africa, and beyond, the sacrifice of 
  cattle or other animals to "spirits" has been a common practice. There 
  are also unusual places and stories associated with blood sacrifice, such 
  as the castle of would-be-sorceress Countess Bathory, in medieval Hun­
  gary (see below). 
  The key feature of such sites is that a great deal of life-related magi­
  cal power has been formed and spent in these regions, usually to feed a 
  powerful supernatural creature (a demon or Nightlord in the nastier 
  cases, but perhaps something more benign in other cases, as the G.M. 
  wishes). The spells and life-giving magics which have so long gone un­
  attended in these places may well have given life to any number of un­
  natural creatures which lurk in ancient Aztec ruins or in African 
  jungles. Spells with an intelligence and "life" of their own, may also 
  have been given birth at these locales, while entities and other super­
  natural creatures may be drawn to lingering magic and/or painful 
  memories etched indelibly into the land. Worse, the beings which were 
  originally maintained by these sacrifices may now be desperate for 
  more blood - particularly since Dark Day. 
  Numerous plots and adventures might follow. Perhaps the player 
  characters travel to South America to seek ancient wisdom and magics 
  in lost ruins, only to find that - days' travel from any aid - they have 
  disturbed dark creatures which have come to life in the caverns beneath 
  the ruins. Or perhaps the player characters must foil the plans of an evil 
  sorcerer or cult, who is trying to lure a group of humans to one of these 
  places in order to sacrifice them to some Nightlord or demon in return 
  for superhuman powers, or to reawaken sleeping (evil) gods. 
  EXAMPLE: 
  Csejthe Castle, Hungary 
  Csejthe Castle was the ancestral home of the Counts of Bathory, un­
  til it fell into the inheritance of the last Countess, Erzebet Bathory, in 
  the late sixteenth century. In 1 6 1 0  this last Countess was walled up 
  alive in her own castle! She was convicted of the murders of over six 
  hundred girls and young women, her servants and accomplices being 
  Quentin Milton (Order #26014138)
  
  burned at the stake. Her interest was not only in murder, however, but 
  also in sorcery, for she bathed and showered in the blood of her victims 
  in order to remain forever young. 
  Records state that Countess Bathory died in 1614, and the castle 
  then crumbled away. The events of Dark Day, however, seem to have 
  "resurrected" the castle, which stood at the site of a ley line nexus in 
  modem Hungary. It would seem that the surge in magical power which 
  accompanied that Day has reempowered the faded magics which had 
  maintained the life and home of the Countess. But in a sense, the Count­
  ess never died, her castle never crumbled. Both had simply passed 
  through into the Nightlands where the Countess i).ad undoubtedly felt 
  quite at home (she was a Night Princess). 
  Those stumbling upon the castle in the hills of Hungary, in a loca­
  tion where no modem map shows any structure, find magical and relig­
  ious inscriptions etched into every windowsill and doorstep. A 
  successful lore skill roll (e.g. Demons and Monsters, Religion, or Night­
  lands) reveals that these are semi-Christian (seventeenth century?) 
  charms and prayers designed to stop supernatural creatures and powers 
  from crossing into or out of the castle. No ghost, demon, Nightlands 
  denizen, or similar creature can leave or enter the castle, while Night­
  bane, mystics and sorcerers (all part-magical and part-mortal people) 
  feel uneasy as they step into the castle. Also, the warding prayers pre­
  vent any magics from entering the castle, so that spells cast outside can­
  not affect the castle or the contents within. Spells cast inside cannot 
  affect the outside world but can affect those inside. 
  Note that although the castle is at a ley line nexus, there are none of 
  the usual benefits of being at a nexus for magicians or psychics (all of 
  the lines' energy is being absorbed to keep the castle and Countess in­
  tact and on Earth). 
  The castle is beautifully decorated in seventeenth century style, al­
  though without running water or electricity. Dozens of black cats prowl 
  or snooze around the castle. All are actually Scuttlers, or similar crea­
  tures (see Chapter 3) who revert to their Nightlands shape if attacked. 
  An ancient looking servant called Dorko (actually a magically animated 
  corpse/a zombie) silently brings food to any visitor. The Countess her­
  self soon arrives to entertain her guests, introducing herself as "Lady 
  Erzebet Nadasy." 
  The castle has many secrets, including a blood-drenched torture 
  chamber in the dungeons (accessible only through a secret door, hidden 
  behind three other locked doors; the Countess has the only keys), a bot­
  tomless well of blood in the courtyard (the physical manifestation of the 
  5,000 P.P.E. magic which keeps the Countess young and alive), a li­
  brary of books all written before 1 6 1 0  (containing not only a sorcerous 
  103 
  library, but also an account of the life and trial of Erzebet Bathory, start­
  ing from her marriage to Ferencz Nadasay at the age of 1 5 ,  and finish­
  ing with her conviction of 610 murders and condemnation to be sealed 
  forever inside the castle), and any other nasty surprises the G.M. wishes 
  to add. 
  The bedroom of the Countess is the heart of the castle. Hidden in 
  one comer of the room, shrouded in shadow, is a great magical mirror. 
  It shows no reflection, only the castle itself as it was before Dark Day, 
  squatting in the black mountains in the Nightlands with crimson clouds 
  rolling overhead in a perpetual thunderstorm and the Countess (in this 
  image, a blood-soaked crone) howling in ecstacy on the battlements 
  while gnawing at the body of some human victim. 
  In the corresponding region of the Nightlands - reached, for exam­
  ple, by stepping through this mirror - there is only a jumble of ruins. If 
  anyone smashes the mirror in the bedroom, the entire castle cracks and 
  crumbles, transforming to black glass which falls harmlessly around the 
  heads of any mortal visitors. If such an occurrence unfolds, said mortals 
  (including Nightbane) in the castle simply find themselves standing on 
  a bleak Hungarian mountain top, amidst the ruins of a long-crumbled 
  castle. They are uninjured by the castle's disappearance, and have suc­
  ceeded in returning it to the Nightlands, taking the immortal Countess 
  with it. All that remains of its most recent manifestation are a few 
  shards of the great mirror, showing the castle as it was in the mortal 
  world, in the sunny hills of Hungary, with its beautiful mistress walking 
  the battlements. Note: The shards might make good souvenirs, but 
  could also be used by the unscrupulous to "summon" the castle back 
  from the Nightlands and/or for the Countess to summon the holder of 
  the glass to the Nightlands. 
  Countess Erzebet Bathory - Quick Stats 
  The Countess is very courteous to visitors, introducing herself as 
  "Lady Erzebet Nadasy." She politely bids travelers welcome to her 
  home, and charmingly makes small-talk with them. She discusses his­
  tory, theology, philosophy, literature and other educated topics with wit 
  and refinement. She listens politely to stories and smiles at jokes, hop­
  ing to win the characters' friendship and (if she can win the affections 
  of a refined man amongst them) even the love of one. 
  The Countess has two objectives. One is to trick the characters into 
  destroying one of the magical inscriptions on one of the doorways. Nei­
  ther she nor her (magically animated) maid can go anywhere near them, 
  but if one were broken she would be free to leave the castle to prey on 
  the local peasants. One such ploy might be to claim that her "father" 
  searches for her to release her from an undisclosed curse, but cannot lo­
  cate her because his spells cannot penetrate the wards. They must there­
  fore be destroyed so that the father can "save her." She may promise 
  marriage or vast wealth to any character who will destroy one of them 
  for her - a small favor. 
  Her other objective is to lure any young female characters amongst 
  her visitors into her dungeons to murder them. If the players' characters 
  are going to visit the castle, the G.M. should ensure that if none of them 
  are young and female, a suitable female NPC or two accompanies them 
  (the more sweet and innocent the better). Winning the characters' trust 
  and luring one to her dungeon should take some time (at least one 
  whole evening if not several), giving the characters plenty of time to in­
  vestigate the castle. 
  If the mirror in her bedroom is smashed, the Countess, too, turns to 
  black glass (which takes one melee), cracks open, spilling a sea of fresh 
  blood (which takes a second melee) and, with the sound of six hundred 
  cries, explodes into a shower of mirrored fragments (at the start of the 
  third melee), inflicting 4D6 damage on anyone within 16 feet (5 me­
  ters). 
  Alignment: Diabolic evil! Magically maintained mortal. 
  Attributes: I.Q. 15, M.E. 20, M.A. 16, P.S. 1 5 ,  P.P. 14, P.E. 20, P.B. 
  1 8/3, Spd. 14 
  Hit Points: 60; S.D.C.: 15 
  P.P.E.: 1 12 
  Quentin Milton (Order #26014138)
  
  Age: The Countess appears on Earth as a beautiful girl, fifteen years old 
  with long black hair, wearing an old-fashioned silk gown which is 
  sometimes virgin-white and sometimes blood-red. In reality, she is 
  over 400 years old and immortal. 
  Skills of Note: Art 85%, all Lore skills 98%, various Languages (in­
  cluding Latin, Hungarian, Italian), Hand to Hand: Expert. Spells in­
  clude See Aura, Befuddle, Concealment, Fear, Heavy Breathing, 
  Levitation, Magic Armor, Draught of Life and Death, Maggots' 
  Curse. 
  Level of Experience: 1 0th level sorceress. Considered a Night Princess 
  in the service of the Nightlords. 
  Special Powers: The Countess may absorb P.P.E. from any person 
  whom she ritually and brutally murders in her dungeon. Note that 
  this is the only way that she can regain P.P.E., and although the en­
  chantments on the castle and the power of the nexus keep her im­
  mortally young, she must murder to increase in power. Furthermore, 
  the deranged Countess believes she must bathe in blood to stay 
  young and is obsessed with doing so. 
  The Countess cannot be killed. Her bloody sorceries have ren­
  dered her immortal and will keep her forever young. Destroy her 
  body and she will only return to her castle hours later (and none too 
  happy). But she can be returned to the Nightlands by smashing the 
  great mirror in her bedroom. 
  Caves 
  Throughout world history, people have seen caves as places of mys­
  tery and menace, where hidden truths may be found and dangerously 
  wise spirits lurk. Caves are often considered the homes of spirits or 
  gods, often female spirits who control such "feminine" powers as fertil­
  ity, weather, and water. Many believe that through entering and ree­
  merging from these sacred caves, men often experience a kind of 
  epiphany or "rebirth." It isn't surprising that caves are seen as feminine, 
  womb-like places, and equally unsurprising that they have also been 
  seen as being close to or linked to the underworld and the dark world of 
  the dead. 
  In Greek and Celtic mythology, the underworld or faerie world 
  could be reached through caves. Ancient Romans and Arab cultures 
  have held that dangerous magical spirits can often reside or can be 
  found underground in caves (think of the story of Aladdin, where the 
  Genie is first encountered in an enchanted cave). Throughout the Pa­
  cific, goddesses and nature spirits were considered to have lived in 
  caves and giant stones. 
  There is certainly something poetic about the idea that player char­
  acters might descend into the dark (of a cave) and re-emerge with new 
  wisdom ... or perhaps, in a way, as new people. Mystics, for example, 
  might begin their careers through an initiation which involves entering a 
  sacred cave and spending time in meditation or conversing with the 
  "spirits" there. A Mystic player character might enter a campaign, per­
  haps, at the moment when he or she reemerges from such a cave. 
  EXAMPLE: 
  The Glass Man's Cave 
  On the southern shores of Java lie the caves where, locals say, the 
  Ocean Goddess's servants live. And one of these is the home to the 
  creature whom the locals call Glass Man - said to be a spirit who was 
  once a man, cursed for his disobedience to the goddess. It is also said 
  that at night, Glass Man emerges from his cave, shining with a blue 
  light like the dawn, and that one day in every one hundred years, he 
  may appear to a mortal who enters his cave. 
  Glass Man may be a Guardian, or some other supernatural creature 
  at the G.M. 's discretion, and although he may only voluntarily appear 
  one night per century, he may also be summoned with the correct ritu­
  als. His great power is that through his aid, any person may be released 
  from any captivity, anywhere in the Megaverse! 
  104 
  In order to ensure the release of a person, a petitioner must bring an­
  other in exchange. Someone who comes willingly, understanding that 
  they, themselves, will never be free again, and must serve the Glass 
  Man for the rest of their days. In exchange, Glass Man may present pe­
  titioners with a key of glass which will open any door (e.g. to open the 
  door to a magical prison), reveal the location of the captive person, and 
  explain how they can be let out, or (if there is no other way) can arrange 
  for them to be reborn, thus free, usually with the petitioner falling preg­
  nant with a child who later turns out to be the reincarnation of the im­
  prisoned person. Glass Man cannot simply teleport a person out of 
  captivity, though he knows where all captives and hostages are held and 
  can arrange (as described) for them to be freed or found. 
  Demons' Pools 
  Another common idea, found throughout the world, is that of spirits, 
  demons, serpents or other creatures living within or emerging from 
  water. Examples of this range from the Ancient Egyptian myth that the 
  first land and first god rose from water, to modem stories of sea and 
  lake monsters. The most common examples are of spirits, demons or 
  gods living within springs or pools. 
  Ancient Celts threw offerings into sacred pools as gifts to the gods 
  associated with them, and from this came the European belief in faeries 
  and demons living in pools. From Japan to Senegal to Scandinavia there 
  are stories of serpents, dragons or spirits emerging from a fountain, sea 
  or lake, and demanding that young women be given to them (either to 
  be his wife or a sacrifice to him). In the west, perhaps the story of 
  George slaying the dragon is the best known of the dragon stories. 
  Other cultures have held that brides should be offered to the spirits of 
  certain waters, or that sacrifices should be made to them. 
  EXAMPLE: 
  The Lady of the Lake 
  In the story of King Arthur there is a magical or faerie Lady of the 
  Lake, who entrusts the magical sword Excalibur to him, and to whom 
  the sword is returned upon his death. 
  The Lady, Niniane, is in fact an immortal creature, dwelling in an­
  other universe and merely taking on the appearance of a humanoid 
  woman in order to interact with humans. Her home lies beyond the Mir­
  rorwall (the reflective surface of her pool, somewhere in Britain or 
  France, allows her to step through here on fine days), but her schemes 
  extend across the Megaverse, as she has supported and combated sor­
  cerers and heroes for millennia in attempts to win power and knowledge 
  for herself. Not only did she provide King Arthur with his sword, but, in 
  some versions of the story, she also fought with the magician Merlin, 
  and her squabbles and interferences have extended through mortal his­
  tory. 
  The deal which Niniane offers is always the same. She will grant a 
  single magical boon, such as a hugely powerful weapon, in exchange 
  for the soul of the human's firstborn son or daughter (in Arthur's case, 
  this was Mordred). When the child is born, Niniane steals and devours 
  its soul, and instills into it instead an intelligent magic of her own devis­
  ing, making it (more or less) a loyal servant to her. 
  While the prospect of losing their firstborn may not trouble player 
  characters (who tend not to think about parenthood), it makes an inter­
  esting backdrop for an adventure or campaign sub-plot. An associate of 
  the player characters, for example, might have made such a deal and 
  now, as his first child is due to be born, he is looking for a way to wrig­
  gle out of the bargain and save his child. Or, the player characters' ally 
  is plagued by an evil enemy whom he (the ally) refuses to kill and, in 
  fact, protects. The evil enemy is, of course, the ally's son, and if the 
  player group is to gain the ally's aid against the fiend, they must per­
  suade him that this enemy is no longer human nor truly his son. 
  Quentin Milton (Order #26014138)
  
  Sacred Groves 
  Throughout human history certain trees have been said to have 
  magical powers or supematural inhabitants. In medieval Europe it was 
  believed that witches could transform themselves into Elder trees, 
  which bled if cut, and that oak trees would protect those sheltering be­
  neath their boughs from all magics. In Japan and Africa, many trees 
  were believed to be the homes of spirits, such as the Baobab tree (also 
  remarkable for its shiny, almost mirror-like bark) which Kenyans have 
  believed must not be felled unless the resident spirits are first given 14 
  days notice to find a new home. A Japanese legend tells how an entire 
  family was slaughtered by a huge, invisible monster in retaliation for 
  the destruction of a certain old nettle tree. An Indonesian tradition states 
  that the greatest trees are the homes of "bela," which are demigods who 
  can grant prophetic dreams to chosen mortals. 
  All of these ideas could be used in Nightbane games. For example, 
  specific enchanted trees might have magical powers. Or through certain 
  trees, Nightlands creatures, or Guardians, or other beings might mani­
  fest or view the mortal world. 
  EXAMPLE: The Elder Grove 
  This grove of Elder trees dates back to the early eighteenth century, 
  at the end of the witch hunts. Local folklore, now remembered only by 
  the oldest and most rustic locals, tells of how the grove was a witches 
  assembly, turned into trees by the vengeful power of God. It is said only 
  one member of the coven escaped, a man named Silas Cale who was 
  later burned as a witch. In the crypt of the local church there still re­
  mains the papers of Silas Cale, impounded when he was arrested, which 
  include his journal. The man was, it seems, almost certainly a sorcerer, 
  and his notes relate how, during a protracted squabble with a "demon 
  lord," he transformed a group of the demon's underlings into Elder 
  trees. Those reading the notes and making a Lore: Nightlands skill roll 
  recognize from the descriptions in the text that these "demon's under­
  lings" were Ashmedai. 
  The grove itself is a clump of unhealthy looking Elders, each with a 
  gnarled trunk and four stubby branches. The trees look half dead, and 
  rarely have many leaves. If cut, they do indeed seem to bleed, but the 
  thick dark blood swiftly turns back to normal sap. In the center of the 
  grove is a small brackish pool. 
  In the Nightlands, at the corresponding location, a cluster of petri­
  fied Ashmedai, apparently turned to stone, stand around a similar pond. 
  If one of the trees should be cut down or destroyed, then the corre­
  sponding Ashmedai in the Nightlands is freed from its paralysis, turns 
  back from stone to flesh, and is likely to go seeking vengeance. Silas 
  Cale's magic has kept these creatures trapped, but fully conscious for 
  over two hundred years; they are all in a foul temper. Of course, Cale is 
  now dead, and so the creatures will have to find some other poor victim 
  to take their rage out on. When they return to fleshly shape, the crea­
  tures can slip into the mortal world by stepping into the pool in the 
  Nightlands and emerging from the pool in the mortal world. 
  A nice little adventure, combining detective work and violence, 
  might stem from the destruction of the grove. One by one the trees are 
  felled, perhaps by a farmer or land owner, or by a construction com-
  105 
  pany. And one by one the Ashmedai slip through the pools to seek re­
  venge on the deceased Cale. The Ashmedai are initially unused to the 
  modem world (they have not visited this world since before the time of 
  electricity and automobiles), but swiftly adapt. Their killings are in­
  itially random, but then they begin to murder men who fit a certain 
  physical type (resembling Cale), and begin to track down Cale's de­
  scendants. The player characters are sent to investigate these killings, 
  and should be able to figure out where the creatures are coming from 
  and what they want - perhaps through research, perhaps by interrogat­
  ing the creatures (pretending to offer aid to them should illicit consider­
  able information). At least at first, the Ashmedai (wearing archaic 
  clothes and unused to technology) should be easy enough to spot. With 
  luck, the player characters should solve the mystery before all of the 
  trees are felled. Those creatures which are already free will have to be 
  destroyed. After two hundred years of dreaming of revenge, they won't 
  be dissuaded from their killings by mere words. Those who remain in 
  the grove can easily be slain or stopped, either by traveling to the Night­
  lands and destroying their petrified forms, or just by filling in the pool 
  so that they cannot travel across at this point. The longer it takes the 
  player characters to work out what is going on, the more trees are de­
  stroyed, and more Ashmedai are freed. 
  Haunted Houses 
  The "haunted house" motif is a common one in horror fiction and 
  folklore. The basic idea is that foul deeds performed at a site, or the 
  spirits of previous residents, continue to exert an influence over the 
  building and its inhabitants, years later. 
  By and large there are four basic reasons why, in the world of Night­
  bane, a house might seem to be "haunted." 
  First, it is possible that some creature resides in the house, and its 
  presence provokes strange effects, or those who see the resident per­
  ceive it as a ghost. In a really crass example, an old deserted mansion 
  might be home to a slovenly squadron of Hunters, who gobble up fool­
  ish trespassers and give rise to stereotypical legends of strange shadows 
  seen flitting around the house and of people vanishing if they enter. 
  Secondly, it may be a force, energy or power, rather than a creature, 
  which loiters in the area, such as one or more old spells in operation 
  here, or the side effects of prolonged magic casting or a spell in the area 
  that might have become self-aware and autonomous (see "living magic" 
  and the random tables in Chapter Three), or enchanted items buried be­
  neath the house may be exerting strange effects on the place, and so on. 
  Many arcanists' homes gain reputations as haunted sites. 
  Third, it might be that the site is frequently visited by strange crea­
  tures. Perhaps it contains a doorway to an Astral Domain or a portal to 
  the Nightlands, or is visited by members of a cult or Brotherhood. 
  Lastly, it might be that, as in archetypal ghost stories, the spirits or 
  echoes of previous residents are still having an effect on the place. In 
  terms of the Nightbane® RPG rules, the easiest way to look at this is 
  to consider these "echoes" to be fragments of P.P.E., just like spells, 
  which have specific effects (or entities, supernatural energy beings; see 
  Beyond the SupernaturaFM or Monsters & Animals, 2nd Edition). 
  When a magician casts a spell, the strength of his/her will causes an 
  amount of P.P.E. to take on a particular form, and to function in a par­
  ticular manner. If a person feels particularly strongly about something, 
  exactly the same thing can occur. So, consider this standard story-type: 
  A young woman's true love is away at sea, and she longs for his re­
  turn. Every day she sits at her bedroom window (or stands on the head­
  land by the house, etc.), watching for her true love's ship. One day the 
  ship is sighted, but the weather is rough and before her very eyes the 
  ship is driven aground and all aboard are drowned. The woman's grief 
  is profound, and before the year is out she has died of a broken heart. 
  Still, to this day her ghost can sometimes be seen watching from her 
  window/headland/etc., waiting for the lover who will never return. 
  This is a common ghost story. In different forms it is told across the 
  world, with only the names and places really changing. 
  Quentin Milton (Order #26014138)
  
  In game terms, the strength of the woman's hope, love and sub­
  sequent grief leaves a sort of "psychic imprint" on the area, so that a 
  portion of it (supplied by her P.P.E.) lingers there, preserving these 
  emotions. This P.P.E. or "spell," or ghost, or whatever you want to call 
  it, causes the woman's figure to appear, and if the woman's emotions 
  (and M.E. and P.P.E. pool) were strong enough, the figure may also be 
  able to speak with strangers. A Haunting Entity is another (similar) pos­
  sibility. 
  EXAMPLE: Glamis Castle 
  Allegedly, Scotland's most haunted house, the ancestral mansion of 
  Glamis Castle (pronounced "Glarms") boasts nine ghosts and a dark se­
  cret. 
  It is said, that upon reaching the age of 2 1 ,  the heir to the Earldom is 
  taken aside and shown the "rightful Earl," in whose stead each mortal 
  Earl acts as a mere Reagent. This is supposedly a creature with no neck, 
  tiny arms and a huge, bloated body, and may be the "monstrous child" 
  said to have been born to the family in the eighteenth century and 
  bricked up in its room to die. 
  Better attested are the nine ghosts, which include Macbeth (as in the 
  play), Earl Beardie (a notorious gambler who can be seen at midnight 
  playing dice with the devil), a somber Grey Lady in the chapel, a Ton­
  gueless Woman who can be seen fleeing through the grounds on dark 
  nights, and a Mad Earl who scrambles over the rooftops in midwinter. 
  In the world of Nightbane, Glamis Castle can be assumed to be 
  placed over a permanent portal to the Nightlands, and as a result of this 
  link, the Mirrorwall between the Earth and Nightlands is dangerously 
  weak. The foul monster is a Night Prince, whose palace stands beyond 
  the portal in the Nightlands, and the legendary secret room is simply the 
  concealed entrance to this portal. The visions seen in the house and 
  grounds are often glimpses seen through the Mirrorwall of the mayhem 
  in the Night Prince's own palace, although from time to time, creatures 
  may come through the portal, or through other cracks in the Mirrorwall, 
  and prowl the grounds. 
  The ancestral owners of the Castle have, of course, been contacted 
  and corrupted by the Night Prince since Dark Day, and with little of 
  their humanity remaining, they now act as depraved aristocrats usually 
  do in pulp horror movies and fiction - riding with hounds to hunt 
  down defenseless peasants, sending minions to kidnap attractive local 
  women, abusing their shackled servants, serving roast human for din­
  ner, etc. 
  In the world of Nightbane, Glamis is a stronghold of the Nightlords 
  on Earth, and a hive of mystery, legend, and utterly depraved horror ar­
  chetypes. It might be a base of operations for the player characters' ene­
  mies, a place to infiltrate, search and explore, either to gather secrets or 
  to assassinate the "foul creature" known to rule here (no one will know 
  to tell these would-be heroes that the creature is a Night Prince who ac­
  tually lives beyond the castle in the Nightlands). Poor or homeless char­
  acters might be kidnapped to serve as slaves in the castle, or be hunted 
  down for sport. Or upper-class characters might unwittingly visit as 
  guests of the owners. 
  Modern Monuments 
  Whereas it is all too easy to invent supernatural associations for an­
  cient or natural sites (caves, springs, pyramids, etc.), G.M.s shouldn't 
  overlook the possibilities of building weird supernatural stories around 
  modem, familiar landmarks. 
  Creating supernatural twists for modem monuments is fairly easy. 
  Here are some possible examples: 
  The few remaining sections of the broken Berlin Wall are the last 
  fragments of the world's greatest shattered barrier. As such, the con­
  crete wall can be used as if it were a mirror for crossing over through 
  the Mirrorwall. Moreover, all attempts to cross over through the Berlin 
  Wall, between the Nightlands and Earth, are unusually easy: only half 
  the normal P.P.E. costs are required, and creatures (like Scuttlers) who 
  106 
  might sometimes be able to cross over may do so here at will. Magi­
  cians or creatures able to acquire large chunks of the wall (door-sized or 
  greater) may also use such chunks to cross over, as they have the same 
  powers as the remaining intact sections. The corresponding wall in the 
  Nightlands still stands intact, and is something more akin to the Great 
  Wall of China, standing 30-50 feet (9- 1 5  m) tall and 20 feet (6 m) wide. 
  Hunters are perched atop sentry towers and Hounds and other minions 
  crawl upon its surface. 
  The EitTel Tower, in Paris, is a perfect object for a group of Astral 
  Mages or Cybermages to use as a huge transmitter. They have built an 
  underground magic-casting room directly beneath the tower, with ritual 
  created circles in which they can stand to communicate with others 
  within the Nightlands or Astral Domains, and/or elsewhere. The tower 
  acts, in effect, as a giant, magical radio antenna. 
  For many, the Golden Gate Bridge has been the gateway to a new 
  world. In fact, it is the gateway to many new worlds. When the stars are 
  right, and if the traveler knows the correct spells and rituals, it is possi­
  ble to pass under the bridge and into an alternative version of Earth -
  into a version where Dark Day never happened, for example, or into a 
  version where the planet has been invaded by aliens. 
  At Ground Zero, where the first atomic bomb was detonated near 
  Alamogordo, New Mexico, a huge echo of that destructive power still 
  lingers. Any magician casting destructive magics at this point finds that 
  such spells have only half their normal P.P.E. cost, are saved against at -
  1 ,  have double normal duration, and ten times normal range. Unfortu­
  nately, any magician making use of this overwhelming destructive 
  power must save vs magic or else take 4D6 damage (direct to Hit 
  Points) and age I D6 years. 
  Wall Street, New York City, is not only a world center for mundane 
  finance and business, it also contains numerous secret offices (hidden 
  behind anonymous facades, or in magically concealed buildings, or 
  through portals) which trade in more arcane commodities. Love and 
  hate, loyalty and betrayal, pleasure and pain can all be purchased here, 
  in bulk quantities, and the offices are always willing to buy such com­
  modities for US dollars. The heart of a faithful husband (love), the right 
  hand of a loyal servant (loyalty), and similar items can all be sold for 
  one hundred dollars apiece. Exactly who buys these commodities is not 
  entirely clear, but as Preserver governments and similar groups world­
  wide, spread their bigotry and intolerance, striving to tum the citizenry 
  into a mindlessly obedient mass, there is a definite surge in demand for 
  hate, loyalty and pleasure. 
  And think about all of those Communist Statues of Lenin and Stalin, 
  in their dusty warehouses across Eastern Europe, publicly venerated for 
  decades and since the '90s, despised and cast aside. Each of those stat­
  ues is a potential magical artifact, imbued with P.P.E. by the attentions 
  of the masses and now slowly dying. What do these statues feel, and 
  how are they reacting to their betrayal and neglect? 
  EXAMPLE: Mount Rushmore 
  Think of Mount Rushmore. You know, the faces of dead Presidents 
  carved into the hill. If you live in North America, you and your players 
  are most likely familiar with it. 
  You could have Mount Rushmore as a huge enchantment in its own 
  right, so that when it was created it was deliberately planned by a group 
  of American sorcerers to stand as a magical beacon to liberty, democ­
  racy, etc. Perhaps that's why they built it on sacred land. Now that Dark 
  Day has come, the facade is actually crumbling as America's demo­
  cratic traditions are being eroded. 
  That's fine, although a little jingoistic, but it lacks subtlety and im­
  plies (and presupposes) that much of the world's history has been deter­
  mined and dominated by magical conspiracies. Now, if your game is 
  going to be heroic, patriotic, and deal with huge, powerful conspiracies, 
  then this is OK. But if you want a game which is darker and more com­
  plex (less like a four-color comic book) then you might use Mount 
  Rushmore differently. 
  Quentin Milton (Order #26014138)
  
  So, remember that Rushmore was once part of sacred Native Ameri­
  can lands, stolen from them in breach of treaty in the nineteenth cen­
  tury. The Sioux have always felt aggrieved at the theft (this may be 
  amplified by the corruption and injustices of the Preserver Party). After 
  Dark Day, many Native American shamans are discovering genuine 
  powers - becoming mystics - and the resentment of the nation can 
  take a dramatic and effective form, as P.P.E. from every muttered curse 
  and coalesces around the site. Meanwhile, Mr. and Mrs. Middle Amer­
  ica still see Mount Rushmore as a monument to America's fine ideals, 
  and the hopes and patriotic prayers of thousands of tourists also gener­
  ates a large amount of P.P.E. So, Sioux mystics can conspire against the 
  place (causing the faces of all those treacherous white leaders to crum­
  ble away, or sneer, etc.). Meanwhile, the contradictory prayers and feel­
  ings of the Sioux and the whites inspire ghostly armies of heroic 
  warriors to clash and shout through the dark nights. The whole place is 
  gaining a reputation as being haunted, and occasionally, the phantoms 
  actually kill living folk as well as one an other, while the monument 
  slowly crumbles away. 
  By the way, is there a monstrous, Nightlands reflection of this place? 
  What is it like? Whose faces are carved into the land? Do they moan, 
  laugh, speak prophecy, or eat people? 
  Minor Sites 
  In many ways, the most interesting magical sites on earth are not the 
  legendary places, but the petty sites. The places replete with human de­
  tail, where the characters can get some good role-playing with earthy 
  human NPCs. 
  These may be the minor and relatively common places that pass into 
  modem folklore and get a few lines in sensational books on the super­
  natural - such as hills on which phantom hitchhikers are often seen, 
  the sites of cattle mutilation, monsters lurking in the shadows, or a re­
  gion where strange noises and/or lights or footprints appear. Little mys­
  teries to solve and strange role-playing encounters can easily follow 
  from these sorts of places, especially in a world where, after Dark Day, 
  the supernatural has a stronger hold on reality: e.g. a player character 
  stops to pick up a hitchhiker on a dark and stormy night. The hitchhiker 
  climbs into the car, and the character can clearly see that she has a very 
  pale complexion and a gaping hole in her neck where her throat has 
  been slit! She smiles at the character with pale lips and says "thanks for 
  the lift... hey, I'm dying for a coffee, how about we stop at the next 
  diner and chat a while?" What does she want to talk about and what lit­
  tle mystery or adventure might it lead to? 
  Or these sites may just be places which have gathered little enchant­
  ments, or which have suffered from the overzealous experiments of a 
  magician. For example, the cabin retreat of a now-dead magician might 
  have a couple of defensive spells still lingering on (a menace to charac­
  ters until they find out how to get around or to control the enchant­
  ments, but potentially useful as they will defend any player character 
  who can get past them to shelter in the place) and maybe a couple of un­
  natural details or quirks (see Chapter Three for examples of what hap­
  pens when mages cast too much magic in one place). On the other hand, 
  the place may be the secret hideout, home or favorite place of a Night­
  bane, rogue (good guy) Doppleganger, a cult, mad scientist, minions of 
  the Nightlords, teenagers looking for mischief, or hoaxsters. 
  A location needs little actual magic to be present to provoke a cou­
  ple of interesting encounters, chance meetings, or a whole adventure, as 
  the following example demonstrates. 
  EXAMPLE: 
  Saint Matthew's & Saint Anthony's 
  In a secluded hillside wilderness - with its own little rooftop heli­
  port and beautifully landscaped gardens - an unorthodox doctor has 
  established a private clinic, "Saint Matthew's," where for extortionate 
  107 
  sums of money, the wealthy may take her "miracle drug" to cure their 
  incurable illnesses (e.g. cancer, Aids, etc.). And the miracle does actu­
  ally work. The doctor claims that the drug is a rare herb from the Ama­
  zon, and has set up a clinic around an old chapel to Saint Matthew 
  (patron Saint of Bankers, Accountants, etc.). 
  In fact, the doctor is a sorceress, using Draughts of Life and Death 
  (a spell that sacrifices the life of one person to save another. She might 
  even be an evil Fleshsculptor secretly using those unique magical pow­
  ers to experiment on the poor to save the wealthy; see Chapter Two, 
  O.C.Cs. and Spells, Chapter Four). 
  With some of the vast proceeds of Saint Matthew's, the doctor main­
  tains a hospice for the terminally ill and appallingly poor. People who 
  no one cares about and who may well die anyway. This is the squalid 
  Hospice of Saint Anthony of Padua (patron saint of the poor), and al­
  though publicly, no one knows exactly where it is, it has actually been 
  built in the dank cellars beneath the luxurious rooms of Saint Mat­
  thew's! The poor are brought in at night, in windowless vans, through 
  the clinics' Goods Entrance and kept well out of sight of the wealthy 
  folk up above. The good doctor wouldn't want her wealthy patients' re­
  coveries (or willingness to pay) to be affected by the sight of the great 
  unwashed masses. 
  So, the doctor can use her foul magic on a dying pauper in the cellar 
  to cure a rich patient in one of the rooms above without either of them 
  seeing the other or being aware of their connection. So the poor die, the 
  rich recover, and the doctor becomes very wealthy (and is praised for 
  her "charity" to the poor). 
  However, the daily use of magic at the clinic and hospice (combined 
  with the murder of hundreds of innocent people) causes a build-up of 
  loose P.P.E., and weakens the divide between earth and the Nightlands. 
  Soon, little dark creatures - scouts for larger beings, insignificant 
  enough to "squeeze" through the "cracks" that are appearing in the bar­
  riers between the two worlds - are crawling around the buildings in 
  the night. Mostly they come out of the greasy mirrors in the dark cellars 
  of Saint Antony's, though several find their way into the rooms above 
  and one or two are often found in the Doctor's office. With time, as the 
  barrier thins further, larger creatures may begin to "visit." And (if the 
  G.M. is using the Beyond The SupernaturaJTM rules for entities) there 
  may also be Haunting Entities of the murdered poor in the cellars (and 
  perhaps other types of entities or ghouls). 
  Player characters may come across this institution either if they or a 
  friend are admitted as patients (to either Saint Matthew's or Saint An­
  thony's!), or if they are asked to investigate strange sightings there 
  (hired by a wealthy patient? or sent by their superiors in The Seekers?). 
  As well as the detective work involved in avoiding the Doctor's discreet 
  security guards (and local police, if the characters try obviously crimi­
  nal methods), having uncovered the conspiracy, the characters then 
  have a moral dilemma. Should they stop the doctor? She is killing peo­
  ple, and weakening the barrier with the Nightlands. Or do they let her 
  continue? She is also saving lives, and by reducing the frequency with 
  which the Draught is used, or by using it over a wider area, the side ef­
  fects might be reduced. Of course, characters of a good alignment could 
  never justify the taking of one life to save another. 
  On Other Worlds 
  Magical sites on Earth must inevitably be fairly subtle: the existence 
  of magic is still denied by the majority of Earth's inhabitants, and this 
  would be impossible if magical sites were so obviously powerful that 
  every passerby noticed their effects. 
  If a G.M. wants to create more striking magical sites (mile-high stat­
  ues of living wood, waterfalls of blood, monuments made of skulls and 
  bones, etc.) then these are best set on other worlds such as the Night­
  lands or in a Domain within the Astral Plane, for example. 
  The huge advantage of these otherworldly sites is not simply that 
  they can be weirder or bigger than those on our Earth. Weirder isn't al-
  Quentin Milton (Order #26014138)
  
  ways better and size, as the say, isn't everything. The advantage is that 
  imaginative G.M.s can use these sites as metaphors, jokes, or to pro­
  voke thought about any subject they wish. As examples: An other­
  worldly Capitol Hill might be a huge arcane machine, in the middle of 
  which well-dressed puppets give rambling speeches without ever affect­
  ing the functioning of the machine which pulls their strings. An other­
  worldly Disneyland might be a huge series of fountains, pouring out 
  poisoned nectar which renders the drinkers blissfully happy, obedient 
  and docile, and/or where cheerful cartoon costumed characters are evil 
  custodians who torture, kill and devour their visitors. 
  EXAMPLE: Nightlands' Belsen 
  In the Nightlands, the death camp of Belsen still stands. Occasion­
  ally the sound of a steam train can be heard on the wind and a steel door 
  sometimes clangs in the distance. Otherwise it is deserted. Here and 
  there, however, is a pair of glasses, a broken watch, a discarded suit­
  case, a hank of a woman's hair. 
  The area is perfectly safe, so long as no character tries to cast magic 
  or goes to sleep here. Any sleeping character wakes soon after with the 
  sound of a single scream ringing in his or her ears. It can take up to half 
  an hour for the scream to pass away, and the character must save vs a 
  horror factor of 10 or gain an appropriate phobia (a phobia of soldiers in 
  uniform, or of captivity, of cattle trucks, or showers, etc.). Getting back 
  to sleep here is impossible. 
  If a character tries to use any sort of magic or psychic power to dis­
  cover any sort of information (Mirror Search, Telepathy, Empathy, etc.) 
  CHAPTER S: 
  Arcane Echoes 
  One of the horror genre's staple tricks is to create an air of mystery, 
  power and uncertainty by referring back to the past. There are times and 
  events in history that always make us think of barbarity and danger (the 
  period of the Spanish Inquisition, for example), and by invoking a sense 
  of antiquity, we can invoke a sense of power and emotion. Ancient 
  equals powerful. There is no logical reason to make this connection, but 
  we all seem to do it. This reaction may be in part, due to the fact that so 
  much of the past is a mystery to us. It is impossible for anybody to 
  know exactly what happened or what people thought or felt in the past. 
  Another element is the sensation that if some mysterious person, place, 
  force or device has survived for centuries, it must be powerful (sneaky, 
  cunning, deadly) to have survived that long. So, a dagger created in the 
  flames of a medieval forge is always more evocative than a pocket-knife 
  bought from the local hardware store, and the idea of an ancient evil is 
  far more frightening than a recent or modern (probably more recogniz­
  able/familiar) evil. 
  In any case, by giving events, plots, places and items an historical 
  past by creating the idea that an object or ritual is centuries old, a G .M. 
  can create a sense of mystery and danger. 
  Some magic artifacts, plot ideas and danger 
  from the past, brought to life in the present 
  The following magic objects are presented as the catalysts for any 
  number of stories that a Game Master can extrapolate upon and insert 
  into his or her own campaigns as needed. An Adventure Hook is in­
  cluded for most, and both an I.Q. score and Alignment are included for 
  items which have developed their own intelligences. Note that the back­
  ground for each item gives it an historical origin appropriate to its feel 
  and function. These creations of dark magic should also give the G .M. 
  ideas on how to build stories around similar items. Remember, the 
  world of the Nightbane is not limited to one conflict after another with 
  108 
  then the same scream starts, taking up the whole of his or her con­
  sciousness. The character must save vs a horror factor of 18 or else flail 
  around, panicking, covering his or her ears and gasping for breath. This 
  effect lasts for a total of nine million lifetimes or until the character is 
  physically removed from the vicinity (which is likely to come first). 
  When the character does escape the area, slhe will shiver in fear and 
  feel sick for 2D6 hours (-30% on skill performance) and may suffer 
  from a phobia (as above). All spells cast here, as one might expect, 
  automatically fail, and psionic powers are at half strength (any use of te­
  lepathy, empathy or sensing powers will instantly induce the effects 
  noted above). Psychic sensitives automatically feel great sorrow, fear, 
  death and danger without actually using any psionic powers. They also 
  feel that it will be dangerous to use mental probes and powers of mental 
  communication. 
  Denizens of the Nightlands are not immune to these effects, and or­
  dinarily avoid the area. However, they may propose the site as a meet­
  ing ground with powerful mortals to conduct negotiations without the 
  risk of magic or psionic senses being used to discover their lies and du­
  plicities. 
  On the mortal world, Belsen lies in ruins, shrouded by woods. Sev­
  eral hundred yards away, where a main highway runs close to the site, a 
  small, unofficial billboard has been erected, bearing the words "We 
  Will Never Forget." The words have been covered over with posters ad­
  vertising rock concerts and raves. Next to it, a larger billboard pro­
  claims that the surrounding land has been bought to build a new 
  shopping mall. 
  Quentin Milton (Order #26014138)
  
  the Nightlords. There are other menacing forces in the world that ad­
  venturers and researchers of magic, the paranormal and the unknown 
  will stumble upon. 
  The Grey Tarot 
  of Abelardo De Medici 
  P.P.E.: 50 
  Alignment: Diabolic 
  I.Q.: N/A 
  In a small oak chest, its hinges and fittings made of pure silver, is 
  kept a deck of twenty two Tarot cards - the Major Arcana - rumored 
  by some to be the first Tarots ever, of which all subsequent decks are 
  futile copies. The cards first belonged to a member of the infamous 
  Medici family in fifteenth century Italy, but although they are over five 
  hundred years old, they are hardly worn. 
  Covering the back of each card is an intricate confusion of grey 
  swirls cascading across a darker background. The face of each card is 
  an archetypal Tarot symbol, though twisted and out of proportion, and 
  painted with the lewd colors of a Technicolor musical. The reds, dis­
  turbingly, are particularly garish, and even the blacks and grays seem 
  paradoxically bright. 
  The deck was actually created by and is in effect, an extension of 
  one of the Nightlords, so when a question is put to the cards it is actu­
  ally answered through them by that Lord. The answers will always be 
  apt and generally true, but they will not always be impartial or honest. 
  On the contrary, the Nightlord will distort the truth to serve his own 
  plots, protect his servants and promote conflict, misery, pain and insan­
  ity. Still, the answers given by the cards will seem uncannily accurate; 
  all the better to hide the untruths which are judiciously inserted into the 
  readings. 
  The backs of the cards may also be used for divinations. The ques­
  tioner picks a card representing the subject on which s/he seeks infor­
  mation: The Tower for catastrophe, The Hierophant to represent a 
  bishop, etc. By concentrating upon the question one stares at the back of 
  the card for around an hour. The swirling patterns during this time be­
  gin to take on meanings for the questioner, suggesting an answer to his 
  questions. However, these answers too are equally biased: Great in­
  sights may be gained into a situation or person by this method, but the 
  information is designed to mislead, a person's failings being empha­
  sized above their virtues, the trustworthiness of allies underestimated, 
  the danger posed by an enemy understated, and so-on. 
  The greatest disadvantage of using the cards, besides their inaccu­
  racy, is that the more a person uses them, the more the Nightlord learns 
  about that user. As the user becomes more accustomed to them, so the 
  Nightlord becomes more accustomed to him or her, so that after a dozen 
  or so readings, the Nightlord will always know where the user is and 
  what s/he is thinking. Finally, anyone frequently using these cards may 
  eventually be visited by a messenger of their creator. The Nightlord has 
  revealed many secrets ... now the fiend wants payment for his help/in­
  formation ... and payment will be extracted one way or another. 
  The Dull Jar of AI' Adin 
  P.P.E.: 600 
  Alignment: Diabolic 
  I.Q.: 25 
  Most legends have a grain of truth somewhere behind them. The 
  story of Aladdin may now be sanitized Disney fare, a pretty story to 
  amuse children, but centuries ago, the sorcerer AI' Adin did find a great 
  spirit in a container in a cave; and decades later he buried the spirit 
  again, cursing the day he had first released it. Of course, he hadn't mar­
  ried any Princess, but he had plotted and schemed for decades to win fa­
  vor in his Sultan's eyes. Later legends would attribute many of his 
  darker deeds to his "older uncle," but in truth, AI'Adin and his great en-
  109 
  emy were (physically) the same person. Still, it is certain that the young 
  idealist who first released the spirit from its jar was not the same aging 
  megalomaniac who replaced it all those years later. 
  AI' Adin' s jar is carved from solid stone, bears an inscription too an­
  cient for any human to decipher, and stands about six feet ( 1 .8 m) tall. 
  To a casual inspection the jar seems empty, but it is home to a powerful 
  spell which lives within the stone itself. By passing a hand across the 
  largest of the inscribed symbols (e.g. if trying to wipe away the grime to 
  read the inscription), the "spirit" of the spell is called from the jar, pour­
  ing forth as a black cloud from the mouth of the jar to hover above it as 
  a humanoid shadow. 
  The spell does not grant wishes. It does, however, grant information 
  - complex, hidden information, such as the secrets of spells, or the hi­
  erarchies of secret organizations, or the architecture and floor plans of 
  the palace of a Nightlord. It does not speak except to ask what informa­
  tion its summoner desires, and if rebuked, insulted, threatened or 
  mocked, it simply returns to its jar. Note that the magical force consid­
  ers being asked a petty or dumb question like, "what will I have for din­
  ner tonight?" as mockery. 
  If a person asks for some information, the "spirit" moves across to 
  the character and melds physically with him or her. The process is 
  physically painless for the character, but as the spell invades his body 
  the mortal sees all sorts of images fIltering through his or her mind: 
  murders and wars, starving children and giant limousines, funerals and 
  gala dinners, arcane rituals and infernal factories; most of them unset­
  tling. The spirit lingers for I D6 melee rounds, during which time the 
  character cannot move, speak or even think. When it departs, it leaves 
  the desired information uppermost in the character's mind. Unfortu­
  nately, the spirit also leaves behind a whole load of other ideas, images, 
  desires and feelings buried more subtly in the mortal's mind. 
  Any character who has received information from the creature must 
  save vs possession in order to suppress or reject these alien (and evil) 
  ideas. If the save fails, then these ideas are integrated into the charac­
  ter's mind (there is no way of removing them later). This means the 
  character will have dark and dangerous thoughts (revenge, murder, tor­
  ture, envy, discompassion, etc.) in regard to certain people, organiza­
  tions or actions. At first, these thoughts will come only during moments 
  of intense emotion or stress (anger, frustration, depression, etc.). How­
  ever, every time the character uses the jar, these thoughts and feelings 
  become stronger. After four uses (whether the character has success­
  fully saved vs possession each time or not), he or she is -1 to save vs 
  possession for each subsequent use of the dreaded jar, as it slowly cor­
  rupts him. After three failed saves, the character's alignment will shift 
  toward selfish or evil. The player must now choose a new alignment for 
  the character, with a few restrictions: a selfIsh character may not switch 
  to a good alignment, only to another selfish or evil alignment; an evil 
  character may only select another evil alignment; and lastly, a diabolic 
  character does not shift alignment but welcomes these "new" ideas and 
  insights toward greater evil and doesn't fight them at all. In fact, after a 
  character reaches diabolic (and/or is diabolic and welcomes such evil ­
  has failed at least five possession rolls), the character falls completely 
  under the direct, personal control of the thing in the jar (which is also 
  diabolic), becoming its puppet. If a player character, he now becomes a 
  villainous Non-Player Character (NPC). 
  The spell's sole objective, in fact, is to fill a person with so many of 
  its own thoughts and ideas that their mind comes to resemble its own 
  and it can then live "through" them, controlling their actions and experi­
  encing the world via their body. 
  The inscriptions on the jar are not in any human language, but a 
  Principles of Magic roll (or similar) discerns that they are ancient magi­
  cal symbols, probably connected with divination. The jar was once a 
  powerful magical device, created in order to reveal hidden information, 
  but over the centuries the magic in the jar developed its own interests 
  and vile personality. 
  The magic in the jar now has a mind of its own, and as such, it can 
  be investigated by telepathy, empathy, etc. Characters looking into its 
  Quentin Milton (Order #26014138)
  
  diabolic daydreams aren't going to like what they see. The jar is, above 
  all, curious, and it spends its days wondering about vivisection, torture, 
  and other acts of inflicting cruelty, pain and sorrow. It likes these 
  strong, vivid emotions. 
  If it gets control of any character, then that character (now an NPC) 
  will start trying to satisfy the jar's sick curiosity by experimenting with 
  all sorts of horrendous acts of torture, violence and murder. One of 
  its/their great questions is, "can the moment of death be captured for 
  eternity?" Keep in mind, of course, that the jar has had thousands of 
  years to collect obscure and arcane information, so it knows the names 
  and histories of many Guardians and Nightlords, as well as more spells 
  than you would find in a dozen role-playing supplements (and all it 
  needs to cast them is a body to control and P.P.E.). Even worse, the hor­
  rible essence is cunning, deceptive, has a phenomenal LQ. and no con­
  science; no regret or guilt. 
  Destroying the enchantment either requires smashing the jar: A.R. 
  17, 240 Hit Points and 400 S.D.C.; but it can magically regenerate dam­
  age at a rate of 2D6x l O  hit points or S.D.C. per day, is impervious to 
  normal cold, heat, and fire (magical versions do half damage), and is 
  impervious to light firearms (pistols, revolvers, sub-machineguns) and 
  all slashing or stabbing weapons. Blunt (smashing) weapons, explo­
  sives, high-caliber rifle rounds and magic inflicts full damage. Of 
  course, it can summon and use any or all of its possessed pawns and 
  their lackeys and minions to protect itself (imparting mystic knowledge 
  as needed). It can also fake its death. This is usually done when it fears 
  defeat/destruction, and with great fanfare, with the black cloud appear­
  ing just for an instant as a screaming mouth and then vanishing. Any 
  detection for magic or intelligence/presence in the stone jar will show 
  nothing (presumably it is destroyed/gone). Any possessed minions will 
  110 
  fall into a catatonic state, drool running from their gaping mouths and 
  their eyes blank. This strange power (an ancient spell?) completely 
  hides the magical, evil "spirit," however this is done only as a last re­
  sort, because the creature loses all contact with its pawns, the jar and re­
  ality for 4D6 months - effectively existing in a helpless limbo state, 
  which it hates. When it returns to consciousness, any people once pos­
  sessed by it also awake from their catatonic states and continue its leg­
  acy of evil. Note: The damned jar can possess as many as two dozen 
  people (as described above). If the jar is destroyed (zero H.P. and 
  S.D.C.) all those possessed fall into a catatonic state and die after 6D6 
  months. 
  ADVENTURE HOOK: A friend or acquaintance of the player 
  characters (perhaps a fellow member of a Brotherhood or group to 
  which they belong, like the Shadowleague, or a curator at a museum or 
  a collector of antiquities) begins to act erratically, and after a while, 
  seems to have changed in personality completely. This NPC has, in fact, 
  come into contact with (if not actual possession of) AI' Adin' s jar, and 
  through asking too many questions, has now come under its control. 
  The characters must find out what has happened to their friend or ac­
  quaintance, and/or stop his insane experiments and acts of cruelty. Un­
  fortunately, they may have to kill him or her in the process. Having 
  "dealt with" the NPC, our heroes should try to determine what "got into 
  him," if they can. If they inherit his possessions, they will also get a 
  very interesting looking magic jar ... Of course, they may never learn 
  the reason (or at least not quickly) until another few people (the de­
  ceased character's wife, son or business partner who inherits the jar, 
  etc.) are affected by it. Note: The possessed individual never reveals the 
  source of his power or anything about the magic jar. Protecting the jar is 
  top priority. 
  Quentin Milton (Order #26014138)
  
  Mad Michele's Sculpting Hammers 
  P.P.E.: 40 
  Alignment: Miscreant 
  I.Q.: 5 
  Michele di Apolia was a young sculptor in sixteenth century Italy, 
  tormented by grief over the death of his beautiful mistress, Lucrezia. 
  For a while he sought to immortalize her in marble (from her death he 
  sculpted only female figures, and all had the same face, her face), but 
  due to the depth of his grief and loneliness, he could not be so easily 
  consoled. 
  And so Michele began to resculpt flesh. At first he murdered poor 
  women and runaways, rearranging their features to resemble Lucrezia's. 
  His first attempts were crude and messy, but after his friend, the Bishop, 
  lent him the forbidden books from the Cathedral's library, he learned to 
  sculpt flesh as easily as stone. 
  Then Michele realized that he need not limit himself to dead flesh, 
  and he began to "sculpt" the features of live women. The transforma­
  tions were physically perfect, though terribly painful. Unfortunately, the 
  women were not eager to play the role of Lucrezia. So, Michele killed 
  each and began to work with new subjects. Slowly, after repeated at­
  tempts, the womens' personalities became warped by the sculpting, 
  their characters coming to more closely resemble the dead Lucrezia's. 
  Michele never recreated his lost love, at least not in his lifetime. He 
  died young, stricken by disease (or, some said, by poison or sorcery: 
  Michele's wealthy friends and patrons kept him from ever being tried 
  for his crimes, but he gained many enemies). But his sculpting tools, his 
  chisels and hammers, vanished around the time of his death. Ever since, 
  the tools have conspired to finish the work that the sculptor started, to 
  recreate Lucrezia. 
  111 
  Michele's tools can be used by anyone with any artistic talent or 
  training to resculpt living human flesh. The victim may be sculpted to 
  appear as any other human, real or imagined, though the tools cannot al­
  ter height or build. They can, however, change the victim's sex, skin, 
  hair and eye color, et cetera. However, this bizarre method of magical 
  fleshsculpting is incredibly painful and the changes are unstable. A 
  sculptor might be able to reshape a mortal (doesn't work on the super­
  natural) as s/he wishes, but sooner or later (sometimes years, sometimes 
  months, sometimes hours later), the victim begins to change, slowly 
  transforming into Michele's lost Lucrezia, adopting her appearance, an­
  swering to her name, and eventually gaining her personality and hazy 
  memories. 
  ADVENTURE HOOK: The player characters might become in­
  volved with the cursed, enchanted tools if investigating the disappear­
  ance of a young woman. The woman, of course, has been transformed 
  by them (her family will be upset that her personality has been altered), 
  and there is also the question of why anyone would use Michele's tools. 
  The Haussman 
  Memorial Slaughterhouse 
  P.P.E.: 2000 
  Alignment: Diabolic 
  I.Q.: 10 
  The Haussman Memorial Slaughterhouse is a huge structure, built 
  with a vast facade of red brick on the outskirts of a modem city, hidden 
  by a thin veil of evergreen trees. 
  A Tarmac road and two railroad lines run through the woods to its 
  great iron gates. Within the thick walls (designed so that the hellish 
  sounds within can never seep out to disturb the happy meat-eating mor­
  tals whose houses lie back in the woods), fifty thousand animals are 
  brought in each day to be mechanically massacred, butchered, and 
  wrapped. Gears whirl, bolts shoot into skulls, great engines drive saws 
  and knives and packing machines. Death has a sound here, the roar of a 
  thousand machines. Cold iron runs red with blood. 
  The drains run into a huge cistern beneath the slaughterhouse, which 
  feeds the gore into the local sewage system. And at the end of a little­
  used service tunnel, on the shore of this reservoir of blood, a small row­
  ing boat is tied, allowing access to the other drains and service tunnels 
  that run from the lake, and to a small brick island in its center. 
  The slaughterhouse was designed and built by a group of unscrupu­
  lous magicians towards the end of the nineteenth century, as industriali­
  zation took hold of the West. Impressed by the efficiency of modem 
  industry, and annoyed by the slowness of traditional magical sacrifice, 
  they conspired to create a rational, mechanized process of sacrifice. The 
  architecture of the place, the layout of its drains, the weird ceremonies 
  conducted on the site while it was being built, all of these have en­
  chanted the site so that a little P.P.E. is now drained off from the 
  slaughtered beasts and concentrated at the artificial brick island. It 
  would be virtually impossible to destroy the enchantment without first 
  demolishing the building, as its very design is a part of the magic. 
  One point of P.P.E. is gathered from each slaughtered beast (that is 
  fifty thousand points per day! !), but cannot be stored for longer than 24 
  hours. This P.P.E. is accumulated each day at the island in the center of 
  the lake. This may be used by magicians to fuel any ritual performed at 
  the island in the bloody lake, taking the place of P.P.E. which would or­
  dinarily be supplied by the presiding magicians or by animal sacrifice. 
  Unfortunately, the huge reservoir of P.P.E. causes small, temporary 
  dimensional portals and random anomalies, calling forth entities as well 
  as creatures from the Nightlands and giving birth to hideous monsters 
  which wallow in the bloody lake. The magic can also take on the form 
  of any flesh-related enchantment that the Slaughterhouse desires. 
  All creatures and enchantments caused by or brought from other 
  worlds by this excess P.P.E. are under the Slaughterhouse's control, for 
  Quentin Milton (Order #26014138)
  
  112 
  the building (or rather, the enchantment built into it) is so huge and 
  powerful that it has already gained self-awareness and more than a rudi­
  mentary intelligence (I.Q. 1 0). And, like the building itself, the enchant­
  ment seeks only to destroy and kill. It delights in the slaughter of the 
  beasts within its walls, and its magics have gathered a small group of 
  Hunters and/or Hounds, and less easily defined creations (abominations 
  of the G.M. 's own design with 3D6xl O  hit points and I D6xl O  S.D.C.) 
  who live around the bloody lake, and swim out into the sewer system to 
  hunt. They never strike within 1 0  miles ( 1 6  km) of the slaughterhouse 
  itself to avoid drawing attention to it. The magics and the creatures here 
  have little loyalty to the humans who own or work in the slaughter­
  house, but they know that without them the animals will not be killed, 
  and so the Hunters and others leave them alone: unauthorized intruders, 
  however, are another story. 
  The build-up of P.P.E. also attracts scavengers (mainly rats) and car­
  rion birds, which have settled in vast numbers around the plant, and 
  gives the whole place a tangible reek of death. 
  A hundred men work at the slaughterhouse, loading, checking, mop­
  ping blood from the floors, sawing bones, fixing machines, and han­
  dling paperwork. The loose P.P.E., strong sentient magic, and the work 
  that they do, has twisted their minds, hardening them to death, making 
  them see slaughter as a neutral process. Concerned for their jobs and 
  filled with an unspoken loyalty to the plant, most will do almost any­
  thing to protect it. The workers are rarely absent, late or careless; they 
  serve the plant unusually well. More than one nosy interloper or union 
  troublemaker has ended up carefully diced, minced, and flushed into the 
  sewers beneath the plant. The same fate has befallen those who come to 
  investigate (or use) the aura of magic or to investigate strange disap­
  pearances or deaths in the community (and who come too close to the 
  truth). 
  The site was in fact unused for several decades around the end of the 
  twentieth century, after the original creators and their heirs had died or 
  moved away, and a series of brutal serial killings and disappearances 
  ravaged the city for that period. But these events have now stopped (at 
  least in the immediate area, outlying communities aren't so lucky), as 
  the Slaughterhouse is now under new management (the sentient magic 
  itself). 
  G.M. Note: Exactly how many Hunters, Hounds and other monsters 
  exist in the sewers and around the slaughterhouse is left entirely to the 
  G.M. Other creatures such as entities and Scuttlers may also linger in 
  the subterranean network of drains and sewage, and may not be under 
  the direct control of the Slaughterhouse, but instinctively know to de­
  fend the place - their new home. In all cases, their numbers should be 
  relatively low. An army of monsters is difficult to conceal, so even the 
  Hunters, Hounds and abominations of its own designs (demonic cattle­
  things? giant insects with the heads of slain humans?) are not likely to 
  number more than a half dozen each. 
  The Hand of Simon de Barre 
  P.P.E.: 100 
  Alignment: Miscreant 
  I.Q.: 1 9  
  A French immigrant to the United States, Simon de Barre has de­
  vised a novel method of reincarnation. He has created ten gritty candles, 
  made from incense, toad's fat, graveyard dirt, hellebore, and his own 
  left hand. 
  His writings, which fail to mention how the candles were made, ex­
  plain that they ward off malignant spirits. Each bums for around eight 
  hours, and (his writings claim) are best used in the night. If burned on a 
  bedside table they guarantee the occupant of the bed a sound night's 
  sleep. After his death, these candles (with letters explaining their sup­
  posed effect) may be left to younger relatives or servants, they may be 
  auctioned off with the contents of his house, or they may be left hidden 
  to be found later by a stranger. 
  Quentin Milton (Order #26014138)
  
  In fact, the candles do not ward off spirits. On the contrary, they 
  summon de Barre's own personality, which he has left embedded in the 
  enchantment on the candles. As the candles bum, the personality is 
  released to possess anyone sleeping near them. The sleeping victim 
  dreams of being smothered and wakes to find his bedclothes soaked in 
  sweat (Have the victim make a roll to save vs possession, but don't tell 
  them what they're rolling against. A failed roll indicates that de Barre's 
  personality has possessed him or her, though s/he will not be aware of 
  this yet). 
  Over the next year, the victim comes to require more and more 
  sleep, eventually sleeping away over half the day. Then, de Barre's per­
  sonality takes control of the body for an hour or so each night: The vic­
  tim neither remembers nor is aware of his/her body's actions, except as 
  a hazy dream, but de Barre's hedonistic excesses are likely to land the 
  possessed character in trouble. De Barre may alter the victim's legal 
  documents, squander his/her money, drink heavily, engage in gambling 
  and debauchery, or even cut off his/her hand to make another set of can­
  dles. After a few years, the victim will wake for no more than a few 
  hours each morning, while de Barre's personality controls his/her body 
  for up to twelve hours a day. After a few more years, the victim will 
  never wake, leaving the personality in complete control of its new body. 
  ADVENTURE HOOK: This gradual possession might make for an 
  interesting subplot in a long-running campaign, as a player character, or 
  an NPC associate, slowly loses control of his or her body and struggles 
  to understand and deal with the predicament. It may be simpler, though 
  no less interesting, to have a friend or relative of the player characters 
  thus possessed, requiring them to seek a way to free him of the possess­
  ing spirit. 
  113 
  The Perfect Heart 
  P.P.E.: 400 
  Alignment: Miscreant 
  I.Q.: 10 
  In the days of Egypt's Fatimid Caliphate (around AD 1 100), a Gen­
  eral named Murad al-Athir approached an aged sorcerer, Aziz Dhikr. 
  He sought one thing: perfect courage. He desired that nothing should 
  ever cause his sword arm to pause, nor his footstep to falter. 
  Aziz Dhikr agreed to grant the General the courage that he so 
  wanted in exchange for permission to marry the General's fairest 
  daughter. The General agreed, and the sorcerer crafted for him a perfect 
  heart. A heart that would never know fear. A clockwork heart made of 
  iron and bronze. 
  In his cave, Aziz Dhikr tore out the General's organic heart, and re­
  placed it with this cold metal machine. From then on, al-Athir knew no 
  fear. He also knew no love, nor guilt, pity, joy or sorrow. All of the 
  General's feelings were taken from him. And without these scruples, 
  the General began to plot, bribe, threaten and murder his way to power 
  in Egypt, hoping that he might himself become Caliph. During this 
  time, the Cybermage mechanical heart absorbed the General's lust for 
  power, and many of his attitudes (his belief in the superiority of nobles 
  over common mortals, for example, and his dislike of Christianity). 
  Despite his cold and calculated maneuvers, al-Athir never became 
  Caliph. He was murdered by a band of hedge-magicians, who leamed 
  of the magic and killed him so that they might take his heart and give it 
  to one of their own political allies. The enchanted Heart begrudged the 
  murder. Permanently tainted (and, in part, empowered) by the General's 
  lust and attitudes, it enforced enough of its will to direct the thoughts of 
  its next host to ensure that all the hedge-wizards were murdered. The 
  Heart believes that Aziz Dhikr must have arranged for the General's 
  murder (none but al-Athir and the sorcerer knew of the heart's exist­
  ence), and thereafter has always hoped to avenge itself on Dhikr, and/or 
  his descendants. 
  In the centuries after its creation, the Heart became something of a 
  legend amongst magicians of the near East. Practitioners of magic vied 
  to own the heart in order to fortify their pawns, but in the 1 3th Century 
  it was carried off by the Mongols. Since then, it has reappeared sporadi­
  cally - being discovered at the Imperial Court in eighteenth century 
  China, and again in a Royal Torturer in Iran in the late 1 960s, before it 
  disappeared again. 
  If placed in the chest of a recently slain mortal, he or she is revived, 
  with full memory and faculties, but with + 10 P.E., doubled Hit Points 
  and no emotions, conscience, or scruples. The only conditions are that 
  the body be in basically good condition, and that it must still be warm 
  when the magical mechanism is installed. The host also gains a driving 
  lust for power (thanks to the original host, General al-Athir), may not 
  have a good alignment (good alignments drop to anarchist and, with 
  time, evil), and can be subconsciously influenced by the Heart (per­
  suaded to trust or distrust certain individuals, inspired to hate Aziz 
  Dhikr's descendants, and so on). This mechanical heart, of course, does 
  not beat, and does not pump blood. The mortal host must be dead, and 
  so magics designed to affect the Undead can kill or affect him or her. 
  Note: As long as the Heart is physically attached to a body, its magic 
  and intelligence/influence cannot be magically negated or exorcised. 
  When removed from the body, the force inside the mechanism is dor­
  mant, becoming an active force only after it is installed. 
  Physically destroying the host body does not damage the magical 
  mechanism, which can be installed in yet another ambitious fool willing 
  to sacrifice all of his/her conscience and more than a bit of his soul. 
  Physically destroying the artificial heart (A.R. 10, 50 S.D.C.) will re­
  lease the energy contained within. It will immediately try to possess a 
  nearby living person (other than the one who specifically destroyed it; 
  for him, it reserves revenge). In this case, the enchantment can no 
  longer animate a corpse or increase a person's toughness, but the magic 
  is free to insinuate itself into a living heart. 
  Quentin Milton (Order #26014138)
  
  If it cannot possess anybody (it only gets three tries in a one minute 
  period), it fades away to oblivion. If it possesses a person, it will slowly 
  exert its corrupting influence as it did as a mechanism of magic, and it 
  will try to have that person create a new mechanical heart for it to in­
  habit, for it is too vulnerable without one. If that character is slain be­
  fore a new heart is made, the malignant magic force vanishes forever. 
  Likewise, without the mechanical heart to physically link it to its host 
  body, it can be forced out via exorcism, returning the possessed charac­
  ter to normal. Unless the mystic force can find a new host within one m­
  inute (three tries), it is forever destroyed! 
  ADVENTURE HOOKS: 1 .  The Heart can be introduced to a cam­
  paign as one of the belongings of a powerful adversary. What do they 
  do with it? What if it falls into the wrong hands? 
  2. Or, if they serve unpleasant masters themselves, they might be 
  sent out to steal it (tough on the current owner if the Heart is installed 
  inside him) for their patron. 
  3. One or more innocent (perhaps even non-magic practicing) de­
  scendants of Aziz Dhikr are being murdered (after torture? including 
  the character's in-laws, cousins, etc.). The murders will go on un­
  checked unless the player characters intercede. The person responsible? 
  Somebody with power and the Perfect Heart of General Murad al-Athir! 
  An old acquaintance, perhaps. 
  4. They encounter or learn of a political or military leader who is 
  without conscience and who is engaged in foul, secret plots to further 
  his or her power at the expense of others. Plots that may involve, magic, 
  demons or the Nightlords. 
  Raiding History 
  In the earth's four thousand years of written history, the planet's 
  various inhabitants have already created a wonderful resource for 
  imaginative G.M.s, offering their myths, legends and folklore, which 
  tell of thousands of charms, talismans, magic items, and magical won­
  ders and curses. Raiding historical folklore is an excellent way of gain­
  ing inspiration. 
  The following are examples and ideas for various charms, talismans, 
  · items and magic inspired by existing myths and legends pulled from 
  historical imaginings. 
  Note: Game Masters should use only what seems suitable and com­
  fortable for him or her and the players. Avoid topics, mysticism, cul­
  tures and beliefs that might offend or disturb the players' personal 
  beliefs. 
  : Voodoo Enchantments 
  The following four are fictional examples of Voodoo talismans and 
  their ingredients. These are examples of how to bring these things to 
  · "life" in your campaign. To give them a sense of wonder and mystery. 
  G.M.s should have little difficulty inventing other, similar charms, or 
  concocting spurious "recipes" for charms from other cultures and tradi­
  tions. 
  Charm of Protection: An amulet worn to guard against sorcery 
  may be made from the tooth of an alligator. The tooth must be prepared 
  by soaking it in a bottle containing the bile of a bullock, boar, goat and 
  · sow, alligator meat, blood of a virgin mouse(!?), ash, and other similar 
  substances. Adds + 1 to a specific saving roll (must be indicated when 
  created; + 1 to save vs magic, or poison, etc.). 
  114 
  Charm/Good Luck: "Gambler's bags" could be made from 
  leather, red cloth and a shark's tooth. The leather is inscribed with the 
  amount of money which the person wishes to win, and the tooth is sewn 
  between the leather and the cloth. Adds + 1 to a specific saving roll 
  (must be indicated when created) or +5% to all rolls concerned with 
  pure luck or chance, like playing roulette. 
  Curse/Warning of Doom: Simply delivering to a person a dead 
  lizard in a matchbox. Said to represent the recipient in his or her coffin 
  - indicating s/he is marked for death, and sometimes considered suffi­
  cient to cause the recipient's death. It puts most people on edge, which 
  in tum can make them jumpy and careless. 
  Magic Attack: A small bag made of human skin, filled with black 
  wax and dried blood, can purportedly be used to cause the death of any 
  desired target if the correct words are spoken in their presence. 
  It costs 100 P.P.E. to create in a ritual that takes one hour. Range: 1 5  
  feet (4.6 m). Duration: The magic attack occurs one o r  two minutes af­
  ter the talisman is activated in the target's presence, but the pain, panic, 
  and paralysis inflicted lasts for one minute. Damage: The victim feels as 
  if s/he is having a heart-attack, with chest pains, head pounding, etc. 
  lasting for one minute. Suffers 5D6 (total) damage direct to hit points 
  from the attack, accompanied by panic, confusion and one hand and 
  arm goes limp/is paralyzed. This magic attack is especially lethal if the 
  attack happens while the victim is driving, swimming, standing on a 
  balcony, and other situations where momentary loss of control (as a re­
  sult of convulsing pain and panic) can lead to additional injury (i.e. car 
  crashes, drowns, falls, etc.) - in less precarious situations, its use may 
  be a warning. 
  A medical examination of the survivor (or the deceased as the case 
  may be) indicates nothing out of the ordinary, although accounts by the 
  survivor or witnesses of the event would suggest a mild heart attack. 
  Note: This attack can only be performed against the same individual 
  once per 24 hours. The attacker, with the magic bag, must always make 
  a personal appearance and speak the words that activates the magic in 
  the victim's presence. 
  Quentin Milton (Order #26014138)
  
  The Salus Rings 
  Another charm, these ancient rings resemble archetypal "occult" tal­
  ismans. Salus rings carry the mark of a serpent eating its own tail, form­
  ing a circle around a pentagram. These were worn as finger rings by 
  devotees of the Etruscan goddess Salus (or Hygiea, daughter of Aescu­
  lapis, in Greece), who was worshipped as a goddess of Home and 
  Hearth. 
  Hers was no dark, mysterious cult, but celebrated publicly in the 
  hopes of securing peace, prosperity and fertility for the community. For 
  themselves, devotees sought health and good luck, and she was consid­
  ered to be a patron of medicine and healing. 
  G.M.s might permit such rings to have any one or two of the follow­
  ing powers: +5% to the Homeopathic/Holistic Medicine skills of any­
  one trying to heal the wearer, or + 1 % to all Medical skills which the 
  wearer knows, or (to simulate a "good luck" charm) + 1 to save vs poi­
  son, disease, insanity, etc., or +5% to any skill roll to avoid or save 
  against arbitrary misfortunes that might cause injury. 
  The cult, however, has been extinct for nearly two thousand years. 
  No new rings could now be created, and those which still exist are mu­
  seum pieces. 
  Spirit-Driven Spells 
  There have been traditions in many cultures whereby ordinary peo­
  ple have attempted to use the powers of the dead. Not merely specialist 
  shamans and sorcerers, but burglars, adulterers, and young lovers, 
  amongst others, who could enlist the dead for their causes, at least ac­
  cording to these traditions. 
  The European "Hand of Glory" (described elsewhere in this section) 
  is an example of a burglar using the power of the dead to aid his crimi­
  nal activities. Similarly, burglars in Java have sprinkled earth from a 
  grave around houses that they intend to rob, believing that the earth 
  causes those in the house to sleep as soundly as the dead. A similar na­
  tive belief from Peru is that powdered bones can be scattered over an 
  area to induce deep sleep. 
  In other cultures, similar methods have been used to achieve differ­
  ent objectives. So, for example, young lovers sprinkled bones or grave­
  yard dirt onto a house's roof to render those sleeping below as deaf as 
  the dead, hoping that they will therefore not disturb sleeping parents. 
  In Bulgaria, coins used to be placed over the eyes of corpses before 
  burial, and a custom developed whereby adulterers would dig up these 
  coins and wash them in water: the water, if consumed by the cuckolded 
  spouse, would render him or her blind to the adulterer's dalliances. 
  In a game of Nightbane, of course, it would be absurd if player char­
  acters or villains could incapacitate a house full of people just by scat­
  tering a handful of dirt or bonedust. However, G.M.s may use these 
  traditions as inspiration for spells and rituals that may magically induce 
  a similar effect. So, for example, a sorcerer might use bone or dirt as in­
  gredients in a spell or ritual to put a house's inhabitants into a deep 
  slumber or coma for several minutes to an hour. Note: Check out the 
  guidelines for creating new spells and rituals in Chapter Three. 
  Alternatively, a malignant magician or Night Cultist might be able to 
  achieve a similar effect. Here, with a suitable spell or Ritual, the ghost 
  of the person whose bone or grave's dirt is used may be persuaded to 
  render a house's occupants senseless for the duration of one night: the 
  Night Cultist sprinkles the bone or dirt on or around the house, and the 
  spirit visits each inhabitant, attempting to draw each sleeping occupant 
  into a coma (saving rolls vs possession made as normal). If the ghost is 
  successful, the victim is rendered senseless until dawn and the spirit 
  may move on to another target, but if the victim resists, then he or she 
  sleeps normally and the ghost, exhausted by the effort, is banished. 
  Similarly, many cultures (including Africa, Japan, China and the Na­
  tive American Indians) have legends about friendly, ancestral spirits 
  who help them in times of need. Such spirits were said to offer flashes 
  of insight (divination), advice (suggestions and warnings), and even 
  115 
  protection against other spirits and the supernatural. Thus, such helpful 
  spirits might be summoned in a ritual and asked to protect a home or 
  family members from an invading spirit with foul intent, or warn the 
  character of the presence of other spirits or supernatural evil. Note that 
  in this tradition, the same spirit usually appeared to help, and was typi­
  cally a close family member (father, mother, grandparent, brother, etc.). 
  Six Major Demons 
  Medieval European Churchmen and sorcerers created a complex 
  cosmology, naming and describing hundreds of angels, demons and 
  more ambiguous spirits. In the world of Nightbane, these "demons" 
  may indeed be dark spirits, but consider the possibility that they were 
  actually misunderstood descriptions of Nightlords. The six greatest of 
  these demons are described below, and G.M.s should find plenty of in­
  spiration here for creating powers and descriptions of Nightlords and 
  Night Princes in their campaigns. 
  Twenty-first century characters should have little difficulty discover­
  ing the names and legends of these creatures. By the 1 990s, most town 
  and University libraries hold occult-related Encyclopedias in their refer­
  ence sections. 
  ASMODEUS was probably derived from the Zoroastrian archangel 
  Aeshma. In the Jewish tradition, Asmodeus was named as King of the 
  Demons, briefly enslaved by Solomon. Christian folklore held him to be 
  a demon of rage and lust, often identified with storms. Medieval writers 
  saw Asmodeus as an expert on astronomy and mathematics, but it was 
  also believed that he could find hidden things and bestow the power of 
  invisibility, and advised that he be shown great respect (bowing one's 
  head in his presence, etc.). The Lemegeton describes him as having 
  three heads (bull, human and ram), carrying a spear (possibly associated 
  with lightning), with great wings and a cockerel's feet, usually riding a 
  dragon. Alternatively, he rode on a white horse and was apparently hu­
  man with only one, human head, upon which he wore a crown, without 
  which his powers were greatly diminished (reduce by at least 50-60%). 
  Adventure Hook: "All I want you to do is steal a piece of jewelry ... a 
  crown, actually ... although its owner rarely removes the object ... " Per­
  haps a mortal wishes to steal some of the creature's powers, or simply 
  wants to disable it or extract a ransom for the return of the crown. 
  ASTAROTH (or Ashoreth) was originally Asarte, the goddess of 
  the Canaanites, a deity of fertility and love. The Judeao-Christian tradi­
  tion, however, transformed her into a male demon. Astaroth was con­
  sidered slothful and idle, with usually malevolent power over fertility 
  and lust; knower of all secrets. Medieval diabolists claimed that he 
  could tell every detail of the past, present and future, and the medieval 
  Grimoire Verum names him as The Grand Duke, third in command of 
  all the demons. When summoned, Astaroth is usually supposed to ap­
  pear as a naked man, half black and half white, or else as a mutated 
  mule. When left alone in hell, he was said to command forty legions of 
  demons and to act as "hell's Treasurer" (counting souls rather than 
  money, no doubt). Adventure Hook: This sounds like some infernal 
  bureaucrat - a creature with power over a huge horde of knowledge 
  (say, an infinitely huge library), who also administers the jails or work­
  camps of the realm and perhaps some military force (an army? or secu­
  rity force?). Characters might be sent to discover information or ensure 
  the release of a captive slave, whether through trickery or negotiation. 
  BAPHOMET. An invention of the thirteenth century, Baphomet 
  was said to be a demon whom the Knights Templars worshipped when 
  they allegedly turned from Christianity (The King of France became 
  very rich as a result of these allegations, which may have had little truth 
  in them.) Idols representing Baphomet were supposed to have the face 
  of a skull, or one, two or three human heads, with or without a beard, or 
  with the head of a goat. In fact, the stories contradict each other so 
  crassly that G.M.s may as well portray Baphomet in any way which fits 
  in with their adventures. From the fourteenth century, Baphomet has 
  been considered a source or creator of evil, and a patron of lust, fertility 
  and wisdom, and symbolizing this later tradition gave it the head and 
  Quentin Milton (Order #26014138)
  
  legs of a goat, the body of a woman, feathered wings and a flame flick­
  ering on its forehead. 
  BEELZEBUB, meaning "Lord of the Flies," was originally a He­
  brew pun, ridiculing Baal-Zebul, the Philistines' "High Lord." Some 
  medieval demonologists described their Beelzebub as a creature of great 
  height, seated on a throne and wearing a crown of fire, covered in black 
  hair, and with bat-like wings, webbed feet and a horrific face. Others 
  claimed that he came as a giant fly, while others described him as a 
  gruesomely mutated calf. Some considered that Beelzebub's tacit aid or 
  permission was required to summon lesser demons, and noted that in­
  adequately protected sorcerers might easily be slain by the creature. The 
  Grand Grimoire names Beelzebub as the second in command of all the 
  demons, he was often thought to preside at witches sabbaths, and some 
  witch-hunters believed that witches denied Christ in order to worship 
  him. 
  LILITH was once thought to have been the first woman on earth, 
  made by God to be Adam's wife and equal, but she left or was cast 
  from paradise. Legends say that she then gave birth to hordes of de­
  mons (one hundred per day), fathered by other demons or by Adam, 
  and that she prowls the world at night, slaying and devouring children, 
  and seducing men in order to drink their blood. She is usually described 
  as a beautiful woman, apparently able to mimic the appearance of any 
  mortal lady, though marred by rather hairy legs. King Solomon, it is 
  said, suspected that the Queen of Sheeba was Lilith on account of the 
  Queen's unshaven limbs. Adventure Hook: Rather than being a crea­
  ture of the Nightlands, the stories of her slaying children and drinking 
  mens' blood might refer to an ancient, immortal vampire. Some sort of 
  Queen of the world's independent Wampyrs, or simply the oldest of 
  them? A quest for this creature and an attempt to determine her nature 
  and identity -perhaps leading characters to seek her aid against the 
  Nightlords - could be an epic adventure. 
  LUCIFER, Light-Bringer, was generally considered to be the ruler 
  of the demons, and was often said to be the Devil himself -Satan, the 
  morning star, the son of the morning, a source _of evil and magical 
  power. As the greatest of all deceivers, his appearance was misleadingly 
  innocent, so he usually adopted the guise of a handsome young man, 
  and when angered did no more than blush. Other descriptions describe 
  the Light-Bringer as radiating light, or appearing to be on fire. It was 
  widely assumed that Lucifer knew all dark secrets, and could confer 
  great powers upon human servants, for he was Emperor of the Fallen 
  Angels, who ruled all of Europe and Asia as his personal demesne. Ad­
  venture Hook: Players will inevitably assume that Lucifer is either a 
  "demon" in the traditional sense, or a Nightlord. So, surprise them. You 
  might run a campaign where they start off opposing this "demon," later 
  to discover that he is in fact a Guardian (whom they will assume to be 
  the "good guys" of Nightbane), and then later find that this Lightbringer 
  has plans for the Earth that are every bit as chilling as the Nightlords' 
  and Preservers' . 
  OTHER HISTORICAL "DEMONS" included NEBIROS, Luci­
  fer's Field-Marshal, who had the power to cause harm to whoever he 
  chose, and privy to all secrets concerning herbalism, metals and ani­
  mals; LUCIFUGE ROFOCALE was considered to be Lucifer's Prime 
  Minister, with power over all the world's wealth (a perfect sponsor of a 
  yuppie Night Cult!); SAT ANACHIA was commander in chief of hell's 
  armies; SARGANT ANAS was a handy demon for a sorcerer to invoke, 
  as he commanded hordes of lesser spirits, and his powers extended to 
  divining secrets, opening locks, teleportation, invisibility and even ani­
  mal husbandry. 
  Books Extant 
  Game Masters wishing to litter their scenarios with authentic, his­
  torical details may appreciate the following list of supposedly magical 
  texts, all of which were available by the mid-twentieth century. The plot 
  uses are fairly obvious. "In the dead man's notes you find a reference to 
  a book in the Biblioteque National ... " "Open on the desk is a Latin 
  manuscript, which seems to be concerned with ... ", "The antique dealer 
  116 
  smiles and says that, if the price is right, he can obtain a unique Hebrew 
  original of the legendary ... " etc. 
  Most of these works have been stored in national and municipal mu­
  seums and libraries for hundreds of years, and many have been publish­
  ed in various editions and translations. Such antique manuscripts are 
  most easily found in the Bibliotheque National in Paris, the Vatican Li­
  brary in Rome, and the British Library. Other great European libraries 
  in Berlin, Brussels, and Oxford also house substantial collections of old 
  papers. The finer University libraries of Europe and North America 
  may have modem editions of these texts. Player characters should have 
  no problem in accessing these to pursue leads or investigate references, 
  but keep in mind that in the age of high-tech surveillance and computer­
  ized record keeping, the NSB and others would easily learn of individu­
  als who showed an unhealthy interest in library copies of these books. 
  In most cases, these ancient tomes do not contain complete spells, 
  but offer insight and information that a practitioner of magic may be 
  able to extrapolate upon for use in his or her magic, or in figuring out a 
  particular component or aspect in the creation of a spell or ritual. They 
  may also help the mage to get a better understanding of magic or help 
  him to determine how to use magic or a magic item. 
  The KEY OF SOLOMON exists in Latin, Italian, German and 
  most frequently, French manuscripts. The first part, or "Greater Key," 
  was first published in an inferior and amended English edition in 1 889. 
  It is a two-part Cabalistic grimoire, much concerned with listing secret 
  Names of spiritual entities, originally written in the middle ages, per­
  haps in Hebrew. The "Greater Key," contains many spells which are 
  petty or absurd (for detecting stolen goods, becoming invisible, etc.), 
  but G.M.s might rule that some genuine spells exist in this, too, espe­
  cially in a Hebrew original, if one were ever found. The LEMEGETON 
  or "Lesser Key" is the rarely published second part of the same book, 
  containing hundreds of Secret Names (for "demons" and "angels"), as­
  trological information, outlines of four "choirs" of spirits and complete 
  (if sketchy) rituals for the summoning of the seventy-two most powerful 
  "devils." It would be an invaluable aid for a sorcerer constructing a 
  Summoning or similar spell: however, anyone using the spells as they 
  stand courts disaster, particularly since the spells to gain control over 
  the creatures are hopelessly ineffectual. 
  The three-part DE OCCULT A PHILOSOPHIA of the "Christian 
  Magus" Cornelius Aggripa, published in the sixteenth century, concerns 
  the Divine Names, the use of arcane signs and symbols, enchanting 
  magical tools, the performance of ritual, and so on. It is a partly Caba­
  listic and partly Hermetic text which presumes that any sorcerer will be 
  an ordained Catholic Priest, and suggests amongst other things, that 
  such a magus could control the winds, cure the sick and raise the dead. 
  THE HERMETICA is a Greek collection of theoretical treaties and 
  Gnostic religious texts, written from the third century BC onwards. It 
  was widely available in Europe in Latin and Italian from the fifteenth 
  century (although older fragments exist), and in an abridged English 
  edition from 1 924. It contains information on the use of gemstones, as­
  trology, and so on, plus copious amounts of obscure philosophy. Essen­
  tially a theoretical work. 
  The thirteenth century ZOHAR is the key writing in Cabalism, con­
  cerning numerology, meditation and Jewish spiritualism. Translated 
  into numerous languages, its secrets may be of some use to sorcerers, 
  but its numerology is probably of no use unless applied to the Hebrew 
  language. 
  THE ASCLEPIUS is an early medieval or Roman text, in Latin, 
  often included in the Hermetica, because its author, Apuleius, attributed 
  it to Hermes. It is concerned primarily with metaphysics, the nature of 
  humanity, and the power of signs and symbols, and their use in animat­
  ing statues. May be used as a study aid for those hoping to learn or in­
  vent spells to animate inanimates. 
  The SACRED MAGIC OF ABRAMELIN THE MAGE is a typi­
  cal medieval manuscript, claiming to be of Jewish origin, but being in 
  fact the work of a French diabolist. It contains much dross, and numer-
  Quentin Milton (Order #26014138)
  
  ous spurious rituals designed to conjure Christian devils with a veneer 
  of Christian piety. It was first published in English at the beginning of 
  the twentieth century, and is a typical textbook with which a naive 
  would-be sorcerer could inadvertently summon up all manner of nasti­
  ness (adventure hooks abound) and generally get himself into trouble. 
  Similar is the GRAND GRIMOIRE, an infamous work, absurdly attrib­
  uted to King Solomon, which may be found in French and possibly Ital­
  ian manuscripts. It details a complex ceremony to summon "Lucifer," 
  and its infamy derives from its deliberately anti-Christian and blasphe­
  mous language more than its true arcane power. 
  Other well known works of blatant medieval prejudice and origin 
  are 
  the 
  GRIMORIUM 
  VERUM, 
  The 
  CONSTITUTION 
  Of 
  HONORIUS (attributed to a Pope of that name) and TRUE BLACK 
  MAGIC (based heavily upon the Key of Solomon and far from "true"). 
  The incantations and rituals found in these books are unlikely to be 
  what they claim. A spell to summon "the devil," for example, may well 
  be a Summoning spell, but instead of conjuring a Christian demon, sor­
  cerers are likely to be confronted by a Nightlands denizen or other ex­
  tra-planar monstrosity. Remember that in all cases, the magicians of the 
  past will have interpreted the creatures of the Nightlands (and other 
  places) in terms which they could understand, according to their own 
  beliefs and cosmologies of that period. Thus, Christian sorcerers are 
  likely to have written of angels and demons, Arabic magicians of dJinn, 
  Egyptian authors of "servants of Thoth," and so on. 
  Ancient spells and text should be presented to player characters in 
  these subjective terms, leaving them to decide what they think a spell is 
  most likely to do (if anything at all; many spells in such grimoires may 
  be quite spurious, achieving nothing). Player characters should have no 
  way of deciding which spells are or are not effectual, except for trial 
  and error, and wise characters should be loath to experiment with many 
  such magics. Indeed, even trial and error will not always be able to tell 
  which spells are or are not real, as some might have particularly subtle 
  effects or work in ways not expected. 
  A Note about Magic Ingredients 
  "Round about the cauldron go, 
  In the poisoned entrails throw. 
  Toad that under cold stone 
  Days and nights has thirty-one 
  Sweltered venom sleeping got, 
  Boil thou first i'th'charmed pot. 
  Fillet of a fenny snake, 
  In the cauldron boil and bake. 
  Eye of newt and toe of frog, 
  Wool of bat and tongue of dog, 
  Adder's fork and blind worm's sting, 
  Lizard's leg and owlet's wing, 
  For a charm of powerful trouble, 
  Like a hell-broth boil and bubble. 
  Scale of dragon, tooth of wolf, 
  Witches' mummy, maw and guff 
  Of the ravined salt-sea shark, 
  Root of hemlock picked i'th'dark, 
  Liver of blaspheming Jew, 
  ... tiger' s chauldron .. . 
  ... baboon's blood .. . 
  .. .leopard's bane .. . 
  ... blood of bat... 
  The juice of toad, oil of adder ... 
  Thus, according to Shakespeare, magicians have used dark and dis­
  tasteful components in their Rituals. Those above are from the play 
  "Macbeth," and are given as ingredients for a ritual to call up "spirits 
  black and white." Some are imaginary, others betray a distasteful xeno­
  phobia or anti-Semitism, and many are unlikely, but most are both plau­
  sible and inspirational. 
  The Tools of Black Magic 
  According to many European medieval sorcerers, there are thirteen 
  Tools which are required to conduct Rituals, all of which must be prop­
  erly prepared, according to certain obscure rituals. The following ten, 
  according to the "Book of Black Magic," are absolutely necessary for 
  the effective casting of magical rituals. G .M.s should see these as exam­
  ples of the lengths to which sorcerers have gone (and in Nightbane, 
  continue to go) in order to cast spells and Rituals. A spell may look easy 
  when it's just described in a few lines in this book or in the rule book, 
  but take a look at these examples, and you'll begin to see just how much 
  effort a magician must put into his/her "arts." 
  First and second, a white handled and black handled knife are re­
  quired, in order to threaten spirits and inscribe symbols respectively, 
  which must be forged of iron on a specific hour and day, the correct in­
  vocation being made over it, and the hot blade being extinguished in 
  blood, a suitably engraved handle then being fitted (Clearly, if the sor­
  cerer could not make the knife himself, he might have difficulty finding 
  a willing blacksmith to do the work!). 
  Third, an "arctave" (hook) is required, similarly enchanted, and most 
  importantly, a "bolline" (sacrificial sickle) must be fashioned: this must 
  be made of unused iron, extinguished in blood, showered with invoca­
  tions and exposed to various perfumed smokes, and at last, wrapped in 
  red silk . 
  Also required are the "stylet" (thin dagger), needle (like a sharpened 
  knitting needle), surgical "lancet," a rod, staff and sword - all suitably 
  created and enchanted. Additional swords must then be made for the 
  Gall of goat and slips of yew 
  Silvered in the moon's eclipse, 
  Nose of Turk and Tartar's lips, 
  Finger of birth-strangled babe 
  Ditch-delivered by a drab, 
  ... three ounces of a red-haired wench." 
  sorcerer's assistants (if any are required) in similar manners. 
  117 
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  The Rod & Stave 
  Many medieval grimoires describe the various wands and staves 
  which are said to be necessary or beneficial in ritual magic. Various 
  methods are described for the creation of such artifacts, but there are 
  certain similarities in most of the descriptions. 
  Such staves must be fashioned from straight, young boughs of Hazel 
  or Elder wood, cut either at midnight or dawn. Certain arcane symbols 
  are to be cut into the length at certain astrologically important times, 
  and an invocation uttered. Some grimoires suggest that such staffs 
  should be iron shod, and they are usually stored wrapped in black silk. 
  Some sorcerers may steal or inherit staves from their enemies or 
  mentors, but others consider it safer to make their own. For example, 
  the ghosts of previous owners may be summoned if a spell is miscast 
  while such a staff is used, enabling them to attack or even try to possess 
  the staff's present owner. 
  The Grand Grimoire, with typical hyperbole, presents a similar 
  method for the creation of a "Blasting Rod" which "causes the spirits to 
  tremble; which God also used to arm his Angel when Adam and Eve 
  were driven out ... wherewith, finally he smote the rebellious Angels, 
  precipitating their ambitions into the most appalling gulfs by the power 
  of this very Rod - of this Rod which collects the clouds, disperses 
  tempests, averts the lightning, or precipitates each and all upon any por­
  tion of the earth at the pleasure of its director." Whether such a rod can 
  actually be made, and how it may be made, must be left to the discretion 
  of each G.M. 
  Sacrifice 
  Spells designed to summon or make pacts with malignant spirits 
  often seem to require a blood sacrifice. The sacrifices detailed in most 
  grimoires are said to be "gifts" for the force being summoned, or else 
  that their death is somehow necessary to allow the creature to manifest, 
  but those mentioned tend to seem absurdly minor offerings for a great 
  spirit. A chicken, mouse, lamb, goat or cat is often suggested, and al­
  though these may seem paltry offerings, the writers of the grimoires 
  seemed sure that they were sufficient. Non-animal sacrifices are also 
  mentioned - the burning of a lock of hair and a dead man's bone as 
  examples. 
  G.M.s wishing to add more drama - or just more blood - to their 
  scenarios may consider that the writers of grimoires could conceivably 
  have mentioned such animals euphemistically. Thus, a writer may have 
  intended that a sacrifice actually be human, and have expected his read­
  ers to understand this, but has written that a minor animal be used lest 
  the book fall into the wrong hands and thus hang him. Note: As an 
  aside, some modern occult pamphlets do, actually, recommend human 
  sacrifice. In reality, however, the few rare instances of human sacrifice 
  reported in Europe and the US have tended to be linked to Satanism as a 
  religion, rather than to sorcery or wicca. 
  Wood 
  Wooden artifacts are frequently used in Formal Magics, as staves, 
  stakes, and bowls, or to be burnt. Certain woods, however, have special 
  significance, either according to tradition or astrology. 
  Ash trees were thought to protect against snakes, and the wood is 
  used in charms against witchcraft and storms, and in benign magics to 
  influence nature. 
  Elder wood may be used in spells to summon evil spirits (medieval 
  people believing that if burnt, the smoke attracted the devil), to avert 
  lightning, to guard against "witches," and to cure minor ailments. 
  Hazel wood is often used for divinatory spells and magics to control 
  spirits. 
  Holly wood (no pun intended) may be used in magics to prolong 
  life, and is associated with male fertility Gust as ivy is associated with 
  female fertility). 
  118 
  Juniper wood is also thought to protect against destructive magics, 
  and to drive away malevolent spirits. 
  Oak wood is used to protect against magics, witchcraft and evil 
  spirits (and also against lightning), and has been associated with spirits 
  for thousands of years. 
  Rowan wood is associated with life and health, and may be used to 
  cure disease in humans or animals, or as charms against illness or 
  witchcraft. 
  The Hand of Glory & Other examples 
  of Arcane Rituals and Artifacts 
  Frequently cited in spells from across Europe, the Hand of Glory 
  may either refer to the poisonous Deadly Nightshade (belladonna), a 
  magically created snake, or to the hand of a convicted criminal. In the 
  latter case, numerous special precautions must be taken by a sorcerer 
  wishing to procure such a "hand," though different texts advise that dif­
  ferent steps are taken. Typical requirements are that the criminal must 
  not have received a proper burial, the hand must be taken from the body 
  at night, the criminal must have been executed for his crimes, and that 
  all blood must be removed from the hand. G.M.s should have fun in­
  venting other such nasty spell ingredients for similar magic items, and 
  should be able to get a couple of good adventures or mini-adventures 
  out of player characters having to surreptitiously obtain similar items 
  for their rituals ("Well officer, I know it looks odd, me in this cemetery, 
  with this shovel ... but I can explain ... ") 
  Various spells incorporating the Hand of Glory are designed to 
  cause or avert death, to summon malignant spirits, to create money (if 
  the "hand" is a snake), or to ensure success in or protection from illegal 
  activities (if a criminal's hand). The Hand of Glory may sometimes be 
  used intact as a charm, or as a prop in a ceremony, or as an ingredient in 
  the creation of a paste or candle. In one spell, the hand itself is ignited 
  (allegedly being extinguished only by milk or the coming of dawn) and 
  while it burns, all those sleeping in the house remain asleep and cannot 
  be woken. 
  Sample Ritual: Making Clear the Unseen Spirits. Whilst uttering 
  two particular words, the sorcerer must blend together the brain of a 
  cockerel, unused wax, graveyard dirt scraped from the outside of a cof­
  fin, and almond oil. The mixture is wrapped in a sheet of unused parch­
  ment (paper will not suffice as a substitute), and an arcane symbol 
  drawn onto the wrapper. When lit, the mixture smolders slowly, and af­
  ter a few seconds, all invisible spirits close by become visible. The spell 
  lasts as long as the mixture continues to burn, and one pound (0.45 kg) 
  in weight is burnt up every ten minutes. 
  The range of the spell depends upon the number of P.P.E. expended 
  when the words are spoken and the mixture made. Invisible creatures 
  are made visible within a radius of one foot for every P.P.E. point ex­
  pended. Those on the edge of this area are visible only as vague shad­
  ows, while those close to the burning package appear more solidly. 
  Magicians may not add more P.P.E. than their level (e.g. a third level 
  magician may use up to 3 P.P.E.), and will not be able to "mass pro­
  duce" the candles, due to the difficulty in assembling the ingredients. 
  If this Ritual is cast incorrectly, it may have the effect of attracting 
  ghosts and such like, rather than making them visible. Other possible 
  side effects of this spell include the sorcerer being haunted by the ghost 
  of the person whose grave he defiled, and the mixture oozing blood (say 
  one pint every week, interminably). G.M.s should feel free to use such 
  side effects either if the spell is not quite properly cast (e.g. the caster 
  fails to make a Principles of Magic or LQ. roll), or in order to penalize 
  players who overuse such spells and need reminding that magics are 
  dangerous and fickle things. 
  Sample Ritual: Medea's Robes. When the legendary enchantress 
  Medea was deserted by her husband, the legendary Jason, she devised a 
  spell to avenge herself upon his new lover. She wove a cloak, imbued it 
  with herbs and cast her spell. The garment was delivered to the rival, 
  and it ignited itself when she put it on, burning her to death. 
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  While the original robes have long been ashes, it is reasonable 
  enough to assume that a Mediterranean tradition of sorcerers still guards 
  the secret of the spell, and are still able to use Medea's ritual to create 
  these flammable garments. The ritual would require several secret 
  herbal ingredients, known only to the great Thessalian sorceresses, but 
  largely ensures the death of the target: should others don the robe before 
  or instead of the intended target, no harm would come to them. 
  Sample Ritual: The Amatory Mass. In seventeenth century 
  France, a sorcerer, calling herself La Voisin, was hired by King Louis 
  XVI's favorite mistress to ensure that the King would not grow tired of 
  her. The spell required the sacrifice of two pigeons, whose hearts were 
  cut out and stitched together, thus ensuring that the King remained in­
  fatuated with his mistress. The magics succeeded for a while, but the 
  King eventually began doting upon other mistresses, and the spell had 
  to be repeated infrequently over the period of a decade to keep the King 
  suitably infatuated by La Voisin's patron. Eventually, the sorcerer re­
  peated the ceremony several more times, sacrificing children instead of 
  pigeons, hoping thereby to make the spell stronger. The conspirators 
  were captured and executed. 
  While "love potions" and similar magics might seem out of place in 
  a world as nasty as that of Nightbane, this gives an excellent example of 
  how casting even sentimental little magics can become horrible, bloody 
  affairs. 
  Sample Ritual: The Beans of Invisibility. In the Grimorium 
  Verum, a spell is given concerning the creation of beans which suppos­
  edly confer the power of invisibility upon the sorcerer. The conjurer 
  takes seven black beans and the head of a dead man, and places the 
  beans in the ears, eyes and mouth of the head, into the flesh of which he 
  then inscribes a certain arcane sign. The head is then buried, and each 
  day before dawn the sorcerer must return to the site and pour brandy 
  onto the ground. On the eighth day, a spirit in human form will await 
  the caster, and demand the brandy. If the spirit really is the ghost of the 
  head, then somewhere about him he will have the inscribed symbol, in 
  which case the brandy should be given to the ghost, which will then 
  vanish. The following day, the sorcerer should dig up the head and re­
  move the beans: Each of these should render the sorcerer invisible every 
  time that he places one in his own mouth. 
  Now, this may have seemed plausible to the writer of the medieval 
  grimoire, but to a modern mind it may seem just a little silly (or perhaps 
  it seems intriguing and dangerous because it's "old"). It is also far too 
  easy a way for player characters to become invisible. Characters may 
  come across this spell via the Internet (see the Shadowleague Chapter) 
  or in an old book, but however hard they try, they won't be able to use 
  it to make themselves invisible. On the other hand, there may be a ritual 
  (and expenditure of P.P.E.) that goes along with it, that might make it 
  work. 
  Sample Ritual: A Conjuration of Lucifer. The Book of Honorius, 
  attributed to a medieval Pope of the same name, sets forth a ceremony 
  to summon the devil himself, Lucifer, to be performed on a Monday 
  night, just before midnight or dawn. The book describes a circle which 
  must be laid out to protect the sorcerer, prayers which must be inscribed 
  to keep the devil at bay, and a set incantation which summons the fiend 
  by the power of uttering the secret "Ineffable Names of God." Other 
  equipment is required, including holy water, a knife, and the paltry sac­
  rifice of a single live mouse. The summoner is then advised to speak 
  firmly and authoritatively to the devil, safe in the knowledge that for as 
  long as he maintains his confidence he is quite safe and may command 
  the fiend as he wishes (which has great role-playing applications). 
  Again, this is too easy. The ritual should certainly summon up 
  "something" if performed correctly by a sorcerer, but it is likely to be a 
  Nightlord, Night Prince, demon lord, or (more interestingly) a very 
  nasty Guardian. Furthermore, the sorcerer neither has power over the 
  creature nor is protected from it in any way (or if as above, his/her con­
  fidence is quickly and easily shaken). Characters who are stupid enough 
  to try to summon up "the devil" deserve every nasty and obnoxious 
  foul-up and side effect that the G.M. can concoct! 
  119 
  Sample Ritual: The Scorpion Charm. It has been said that in Iraq 
  and Iran, a ritual is known to a select few, by which they can become 
  immune to a Scorpion's sting. The person must turn towards the stars of 
  Scorpio and recite a brief spell, clapping at the end of each line. If the 
  person who performs the Ritual rolls less than or equal to his Principles 
  of Magic skill (automatic success if the character speaks Arabic), all 
  those in his presence who hear the words become invulnerable to a 
  Scorpion's sting until the sign of Scorpio sinks below the horizon. The 
  person intoning the spell is protected even if s/he fails this skill roll, just 
  so long as the roll is not higher than 95; 96- 100 is always a failure. The 
  roll should either be made by the G.M. in secret, or should not actually 
  be made until a "protected" character comes into contact with a scor­
  pion (that's when you find out if the spell is protecting you or not), just 
  to keep the element of suspense. 
  G.M.s might reflect that an occult assassin who can safely handle 
  deadly scorpions would make an interesting villain for the player char­
  acters to hunt down and/or confront. Or perhaps the characters must 
  have this spell cast upon them to be safe from the scorpions which 
  guard an ancient tomb (but woe to them if they are delayed and must 
  stay after the spell has expired). 
  Historical Magical 
  Artifacts 
  The following items are all based on genuine historical legends, 
  slanders and folk tales. There are enough here to keep you going 
  through a few months of gaming, and when you've exhausted all of 
  these items, the Reference section of your local library (or the anthro­
  pology, occult and folklore sections) should yield up a few more books 
  from which further ideas can be gleaned. 
  The Talismans of Teta 
  In the nineteenth century, a set of twenty Talismans were "discov­
  ered" by a French occultist, allegedly having been created in the distant 
  past by one "Sage of the Pyramids," perhaps the magician Teta men­
  tioned in ancient writings. 
  Each Talisman (a circular design) is supposed to have a specific 
  power if used separately, and allegedly provided protection from all 
  spirits if all were worn simultaneously. These talismans may be forged 
  as rings, embroidered into clothing, or worn as medallions, and at the 
  time of their creation, must be enchanted by speaking certain Words of 
  Power over them. To be effective, the talisman must then be openly dis­
  played. The reputed powers of these symbols include: finding concealed 
  riches, causing lust or love, making the wearer invisible, granting con­
  trol over all supernatural creatures, destroying anything, transporting 
  the wearer anywhere instantly, opening all sealed doors, granting good 
  fortune when gambling, giving insight into others' intentions, etc. 
  G.M.s must decide whether these talismans do indeed have the pow­
  ers which they are said to have, and if so, to what extent (there should 
  be limitations). The G.M. should also be aware that popular texts of the 
  nineteenth century purported to give diagrams and instructions for their 
  creation. Characters should not find it difficult to obtain such instruc­
  tions, but may note that many of the diagrams show Talismans with 
  Latin or Hebraic inscriptions, which is quite inconsistent with their sup­
  posedly Egyptian origins. Perhaps the Talismans do indeed have quite 
  miraculous powers, and as a set could provide complete protection from 
  all supernatural creatures, but the available diagrams are obviously 
  flawed, and the Words of Power given may be wildly inaccurate or 
  completely wrong. Attempting to find the original designs and Words 
  for these Talismans would be an extremely lengthy and time consuming 
  process, if possible at all. Since nobody is known to possess any such 
  talismans (let alone make them), the latter would appear to be the case. 
  On the other hand, perhaps one or more ancient rings are uncovered in 
  an archeological dig (just imagine how many groups and powerful ma-
  Quentin Milton (Order #26014138)
  
  gicians would covet them), or have been secretly passed down for gen­
  erations to the leader of a particular magic Brotherhood. 
  The Shah's Talismans 
  Before their overthrow in 1 979, it is said that the Shahs of Iran col­
  lected some two hundred magical artifacts. Many may have been Arabic 
  "Islamic" pendants, formed from the letters which make up the names 
  of holy persons (the prophet Mohammed, or a Sufi saint), but many 
  were reputedly of Persian or pre-Islamic origin. 
  The greatest of these was said to be named "Merzoum," made from 
  gold and shaped like a star, reputed to guarantee to make traitors con­
  fess to their crimes. It is said that in one instance, merely showing the 
  star to one member of the Royal Family caused the suspect to break 
  down in fear and confess. Most simply, G .M.s might rule that if pressed 
  against the skin of a person it causes huge amounts of pain or induces 
  an overpowering sense of fear and/or guilt to effectively grant the user a 
  +30% intelligence or interrogation skill bonus. 
  Another of the Shah's Talismans was a lump of Amber, threaded 
  with a chain, said to have fallen from the sky fifteen hundred years ago, 
  and which renders a person invulnerable to damage if worn around the 
  neck. "Fallen from the Sky" may, of course, be a veiled way of referring 
  to a gift from "heaven" or another universe (e.g. the Nightlands). G.M.s 
  might note that if it were created by a Nightlord or other supernatural 
  creature, it might function only when it suited the creator to do so. 
  Nonetheless, it would still be an outstanding defense for any character, 
  particularly if s/he also wielded the Shah's enchanted scimitar, which 
  was said to render the user invincible in combat. Note: Possession of an 
  artifact as potent as this Amber should certainly take a heavy toll on a 
  character's health or mind. Perhaps it drains 2D6 P.P.E. from the wearer 
  each time that it absorbs any amount of damage, or permanently drains 
  1 M.E. per month in which it is worn, or perhaps allows the creator to 
  speak directly into the wearer's mind. Not to mention that it would at­
  tract the attention of countless villains who would covet such an item 
  for themselves. 
  The Royal Family's possession of these artifacts may, however, 
  have brought a curse as well as blessings. Prominent members of the 
  family were rumored to wear rubies and emeralds bound to their flesh 
  with silk straps as charms, to protect against a certain demon which they 
  lived in fear of. These gems evidently rendered the wearers immune to 
  the creature's magics. G.M.s might wonder what this creature wanted 
  with the family: presumably one or more of their Talismans were im­
  portant to it (as player characters might discover if they ever came into 
  possession of one). Still, the use of rubies and emeralds might suggest 
  to wily characters a way of protecting themselves from its powers. 
  If these Talismans ever truly existed, it is unclear what might have 
  happened to them after the Islamic Revolution. If the fundamentalists 
  had seized them, they would certainly have been destroyed as blasphe­
  mies against God. More interestingly, some or all might have been 
  looted or smuggled out, and still be in circulation. 
  The Lee Amulet 
  P.P.E.: 100 
  Alignment: Principled 
  I.Q.: 8 
  According to medieval gossip, the Scottish knight, Sir Simon Locard 
  of Lee, had returned from fighting in the Holy Land bearing a great deal 
  of gold and a magical gemstone. The gem was a small, red, triangular 
  crystal, which the knight had set into a silver coin. Water which it had 
  been left to soak in, it was said, could be drunk as a cure for any disease 
  or poison, and during the Black Death, such water became both notori­
  ous and extremely expensive. 
  This amulet is typical of many magical items, in that it is simple, 
  practical, and undramatic. One way of handling it in play is to say that 
  water in which it has been steeped can cure any poison or illness, but 
  120 
  that the sufferer must roll no more than his P.E. on I D20 to benefit, 
  subsequent draughts of water allowing the patient to roll no more than 
  once per day: moreover, the illness is not cured immediately, but gets 
  no worse and subsides over the next I D6 days, and the water is of no 
  use against magically caused ills. 
  The Babylonian Devil-Trap 
  P.P.E.: 30 
  Between the third century BC and the sixth century AD, Semitic 
  peoples in Babylonia used specially enchanted bowls to keep "evil spir­
  its" at bay. Four of these terra-cotta bowls, suitably engraved with 
  charms and prayers, were placed in a square - usually buried at the 
  comers of a house - to keep those within the area free from the influ­
  ence of malignant creatures. No known texts survive explaining the 
  creation of these bowls, although intact examples are recovered infre­
  quently by archaeologists: an Archaeology skill roll is required to suc­
  cessfully identify these bowls. 
  In the world of Nightbane, it may be assumed that each set of bowls 
  was made for a particular person or household, and that person would 
  have had to supply the P.P.E. (permanently losing several points) for 
  the enchantment: one point would be permanently lost for each bowl 
  (four for the entire spell) and the sorcerer presiding over their creation 
  would also have to expend (30) P.P.E. as usual to help cast the magic 
  spell. The effect of the items would be that, if laid out in a square no 
  more than ten yards/meters along each side, they would provide an area 
  into which non-corporeal creatures could not enter unless of higher 
  level than the bowls' creator (which would vary, of course, from one set 
  to another). 
  Explicitly intended as a barrier to keep spirits out of the area, G.M.s 
  may consider that beings within the area might equally be unable to es­
  cape (at least spirit, energy and Astral beings). It is also possible that the 
  bowls would only protect the immediate family (or descendants?) of the 
  man for whom they were made, or that they ceased to function upon his 
  death, making them effectively useless for modem-day users (although 
  they would still seem to be magical), as characters might learn through 
  bitter experience. 
  Change the Ground 
  Rules! 
  As a Game Master, you may feel that you want more freedom in 
  playing around with the magic system. Great. Go for it. It's your game. 
  The rules that we have given provide a starting point for your gaming, 
  and (we hope) they should give you a load of great ideas in a well-bal­
  anced system. If you want to develop any part of these rules, or drop 
  any part of the magic, then do so. So long as you keep in mind the need 
  for solid game balance - i.e. the need to make sure that no character 
  type or individual gains gross advantages over all of the others - then 
  Do As You Please Shall Be The Whole Of Your Law (to paraphrase). 
  The rules are here to help, not to hinder. 
  For example, you may think "Hey, what if those medieval Christians 
  and the born-again types were right - what if all magic really was the 
  work of demons? That would be a cool basis for a campaign!" In this 
  case, the player character magicians would only THINK that they were 
  casting magics; in fact, the magical effects would actually be performed 
  by the powers of evil spirits or demons (however you care to envision 
  them), who take the P.P.E. "spent" by the characters as payment for 
  their services; and of course, the demons would just be waiting for the 
  day when the player character reduced his P.P.E. pool to zero, at which 
  point they would take possession of his body or entire soul, or slay 
  him/her for fun. Just like Faust, the player characters would be trading 
  their souls for magical power. What would a group of well-intentioned 
  player characters actually do if, after several adventures, they found out 
  Quentin Milton (Order #26014138)
  
  that all along they had been the dupes of supernatural evil creatures?! 
  An interesting situation. 
  Remember, however, that what you are doing is a group pastime, 
  and should be fun for all of your players. Don't offend or upset your 
  players by disparaging beliefs which they may well hold sacred. Like­
  wise, keep in mind that the world of Nightbane is perilously close to re­
  ality, and there is therefore, a danger that the games may err too close to 
  reality. This isfantasy. Keep it that way. 
  Finally, as some examples of "good taste" in games, here are a few 
  facts and figures to consider. ( 1 )  Billions of people, worldwide, follow 
  the various branches of Christian, Moslem and related faiths. Adven­
  tures which claim that Jesus or Mohammed were sorcerers, or Guardi­
  ans, or Nightlords are not merely offensive, they are also rather 
  childish. Adventures which mock "minority" religions are equally taste-
  less, even though their adherents are less vocal or numerous. (2) Nine 
  million people were slaughtered by Hitler's regime (Jews, Gypsies, Je­
  hovah's Witnesses, homosexuals, communists, etc.), plus over fifty mil­
  lion others died fighting in the World War.: Adventures which "reveal" 
  that Hitler or his lackeys were "really" the agents of evil supernatural 
  beings are gross lies, denying humanity's own capacity for evil and be­
  littling those millions of tragedies. (3) Likewise, up to ten million peo­
  ple - whose only crimes were often old age and poverty - were 
  slaughtered by the European witch hunts (plus thirty-odd who died in 
  New England), so adventures which claim that the witch hunters really 
  were rooting out genuine evil, or that those "witches" really were the 
  servants of demons, are vindicating several million murders. Creative 
  freedom to all us role-playing storytellers -fair enough - but let's 
  keep a sense of taste and responsibility about it. 
  CHAPTER 9: Story Plots & Adventures 
  By Kevin Hassall, with additional material by Kevin Siembieda. 
  Some Story Guidelines 
  When characters come into conflict with a powerful mortal sorcerer 
  or supernatural villain, the obvious way for the conflict to be resolved 
  might run something like this: 
  Enemy sorcerer sends demonic minions to attack the player charac­
  ters, but the characters fight them off. The characters pick up the first in 
  a trail of clues which lead (via various fights with more of the sorcerer's 
  minions) to the villain's lair, where either the characters die, or the sor­
  cerer dies. Fight, fight, fight, fight. Dull. 
  As a few pointers when you're creating adventures and campaign 
  plots, consider some of the following. 
  1. Try to vary the amounts of violence, role-playing and brain-work 
  in an adventure. Some groups of players have problems with one of 
  these areas (they find combat boring, or can't talk "in-character," or 
  don't want to think), but within the confines of your players' abilities it 
  is as well to vary the contents of the adventures. And if you are going to 
  run lots of fights, then try to vary the objectives ("run in and kill every­
  one" gets repetitive). For a change you might have the players trying to 
  rescue someone; run into a place to accomplish a specific task before 
  fleeing from obviously superior foes; defending a place or person from 
  attack; run in and not kill everything because they are innocent people 
  possessed by something horrible (which must be found and neutralized 
  or chased away to free the innocent), and so on. 
  2. The best villains are those that return again and again. They es­
  cape at the last minute, or seem to die (but no one can find the body ... ), 
  or are the secret mastermind (only glimpsed or hinted at), so that they 
  can return to be evil another day. In the end, though, after a few near 
  misses, the characters have to kill or defeat and capture (see him put in 
  prison) their arch-villain, or else they will get frustrated. 
  3. Evil masterminds are evil masterminds because they mastermind 
  evil plots. Obvious? The point is that the characters will get more satis­
  faction from foiling a devious plot in the nick of time, saving some 
  lives, and killing the mastermind's lieutenant, than they will from just 
  having a stand-up fight with the villain. 
  4. Even good guys have bad plans. The characters may find them­
  selves in conflict with an ally, or someone they admire or whose help 
  they need, simply because of one plan, alliance, or error of judgement 
  which they made. So, they may have to stop their ally's one plan or alli­
  ance, but without damaging his overall organization or other plans, and 
  may have to act in secret so that they do not anger him or damage their 
  relationship with him. Likewise, "the best laid plans of mice and men" 
  121 
  can and do go awry. Sometimes things just go wrong (bad timing, bad 
  dice rolls, bad luck). That's okay. Go with the flow, just give the char­
  acters some means to crawl out of trouble, regroup and come back an­
  other day. 
  5. The twenty first century is the information age. Maybe the 
  TRUTH is less important than what people BELIEVE to be the TRUTH. 
  If the characters came up against a thoroughly evil public hero (a politi­
  cian or celebrity idolized by the press) then it would harm their cause to 
  be seen attacking (or killing) him or her. So, the characters would have 
  to defeat this particular villain (a false hero) in such a way that the me­
  dia (TV, newspapers, etc.) couldn't turn their actions against them (tak­
  ing his side and making them the bad guys), tum his defeat into a public 
  scandal or make a martyr of him - Le., so that their actions didn't gener­
  ate too much bad pUblicity. 
  6. Maybe a villain has better things to do than kill the characters. 
  Can the sorcerer USE the characters in some other way, manipulating or 
  tricking them to do or accomplish something that benefits the villain 
  (e.g. eliminate a rival, find and recover an ancient tome or magic, etc.)? 
  He could take magical control of them for awhile, or, rather than actu­
  ally attacking the characters, use his influence and magics to discredit or 
  frame them - turning erstwhile allies against them, or provoking pub­
  lic outrage and a police hunt to track them down? 
  7. Humor is a valuable tool, use it. Even in a horror game, there can 
  be moments that are funny, ironic and relaxing. 
  Plot Outlines 
  With these guidelines in mind, the following are a few plot outlines. 
  These need some work from the G.M. to turn into full adventures (NPC 
  statistics, names, and descriptions of locations are not included), but for 
  now, read through them and look at them as examples of how to begin 
  construction of intriguing and detailed adventures. Details that you can 
  add to your specifications. 
  1. Just Like Your Picture: In order to prepare the players for this 
  plot, the G.M. will have to weave this single phone call into the game 
  for one or two gaming sessions in advance. The player characters 
  should be pretty busy and certainly too tied up to go investigating a 
  petty domestic burglary when one character receives a phone call from 
  his mother: her home has just been robbed, and she's pretty upset. Re­
  ally, she just wants some comfort from her son (or daughter, as appro­
  priate). The usual stuff has been stolen: videocassette player, TV, 
  stereo, computer, some jewelry - but also some less obvious items (a 
  load of home videos, the family photo album, a school yearbook). What 
  Quentin Milton (Order #26014138)
  
  the player character won't realize, yet, is that the theft of the stereo, 
  jewelry, etc., was just a cover. What the burglars really wanted was the 
  family photo album and the family's home video collection. 
  To start the adventure itself, have the character receive a visit from 
  the police or (if the characters are hiding out from the authorities, and 
  can't be traced) the character sees a TV news bulletin about a recent 
  murder. Witnesses saw the character himself leaving the scene - but 
  the character knows that he was not there and has a solid alibi for that 
  date and time! 
  Other crimes follow. Usually murders or assaults on people working 
  for the character's own cause. The character's own allies start to get 
  nervous ("exactly whose side are you on? !"). How do the other charac­
  ters react? Soon, there is amateur video or photographic evidence of 
  someone who looks almost exactly like the character leaving a crime 
  scene. Note: ALMOST exactly like the character, but not exact. 
  The person committing the crimes actually looks younger than the 
  character (about the age the character was before he left home; i.e. as 
  old as he looked in the most recent of the stolen photos and videos). The 
  G.M. should try to be subtle about this, but if the player doesn't pick up 
  on the hints, more blatant clues might be required: "You know, when 
  you look at the photo you realize that isn't even your T-shirt; it's actu­
  ally your Dad's, and the only time you wore it was when you were 
  messing around with that video camera at Yellowstone ... come to think 
  of it, that was the last time you had a tan that deep." 
  Yes indeed, someone is using those old photos and video images to 
  impersonate and frame the character. So far, the character has had an al­
  ibi for each crime committed, but soon it may become impossible to 
  convince friends, allies, or the police, that he is innocent. 
  U sing magic the characters must track down the burglars, or track 
  down the stolen video and stereo and trace them back to the thieves, 
  bribe police officers to reveal who their suspects are, or use whatever 
  means are at their disposal. If the characters get stuck, then have the po­
  lice arrest the burglars (so that the other player characters can know 
  who they are) and then maybe release them on baiL 
  Bribery or the threat of violence persuades the burglars to confess 
  everything. They were hired to get the videos and photos; they were 
  paid for those and then sold the rest of the loot themselves. All they 
  have is a mobile phone number for their employer (he phoned them in­
  itially, made the deal over the phone, and then paid them a cash ad­
  vance, to prove his sincerity) and the address where they dropped off 
  the goods. 
  Bribing the burglars is preferable to bullying or killing them. 
  Corpses lead to a murder investigation. And if threatened or battered, 
  the thieves later phone their employer's mobile number in an attempt to 
  get some revenge on the characters: "Obviously we didn't tell them 
  anything, but they were asking about the burglary and they seemed to 
  know a lot already." This means that their employer will be ready for 
  the characters. Or worse, the thugs are murdered and one or more of the 
  player characters are implicated. 
  Phoning the mobile number gets the characters nowhere. The phone 
  is always switched off (at least when they call it), and an answering 
  service takes the calls. 
  The address where the photos were dropped off is a condemned 
  tenement (The players will probably want a fight by now, so have a lo­
  cal street gang paid to keep strangers out, or who just don't like strang­
  ers hanging out on their turf, attack. Or throw in some tougher 
  supematural guardians). Inside, the characters find a ritual circle drawn 
  with blood and liberally covered with home video tapes, photos of the 
  character, and rotting goats' entrails. A ritual spell cast here has created 
  a magical "double" for the character(s). A being which resembles the 
  character as shown in the videos and photos, perhaps with many of his 
  memories and personality traits (as inferred from the images), but with 
  objectives and instructions programmed by the sorcerer who created 
  this spell. When the characters enter this room, the "double" is sitting 
  quietly on a mattress in the comer, looking pensive. 
  122 
  If the character wants a fight, fair enough. Use the player character's 
  own statistics, skills, etc., but without supernatural powers or any spe­
  cial equipment, and give the creature the character's general fighting 
  style (e.g. mad berserk, immediate rout, etc., so that the "double" fights 
  and behaves exactly as the character would if attacked). The being, 
  however, is more likely to talk than fight, especially when he sees the 
  character he is copied from. The being is likely to be grappling with big 
  existential questions: Who am I? Why am I here? - in the style of the 
  replicants in Blade Runner (the movie) and Data (in the Star Trek: The 
  Next Generation series). The double can almost certainly be talked out 
  of committing any more crimes and is as much in search of answers as 
  the genuine character. It has been told that it has a duty to its "savior" 
  (the sorcerer who created it, or, as it has been told, who saved its life) 
  which requires it to kill certain individuals. It can certainly be dissuaded 
  from this, and there is some interesting role-playing to be had here (it 
  shares many of the original character's memories and personality traits 
  and to a certain extent, "is" that character). But it is not going to just 
  join up with the player characters on their adventures: it wants to find a 
  life of its own. 
  There should also be plenty of clues in the area to lead the characters 
  to the sorcerer responsible: A dropped business card (complete with 
  mobile telephone number ... ), the magical being's memory of what he 
  looked like, and/or something it may have overheard, etc. 
  The encounter with the sorcerer should be the big climax to the ad­
  venture. Make him a thoroughly evil villain, with a few tough hench­
  men around him, so that the characters can have the satisfaction of 
  defeating him in a fierce, tense climax. 
  So, the adventure ends in a big finale, but questions remain. Who 
  was the sorcerer working for, and why was he trying to discredit the 
  character(s)? And what happens to the character's magical double? Do 
  the character and the double stay in touch? Do they become close or re­
  sentful of each other? And does the double try to stay in touch with the 
  character's family and long-standing friends (and how do they react)? 
  2. Reports of My Death are Greatly Exaggerated. The player 
  characters are called in to investigate the death of an important Seeker, 
  who has been found dead in his own bed with a medieval katana (Japa­
  nese long sword) impaled through his chest. The katana was a unique 
  antique, recently presented to an eminent professor of history (himself a 
  less important Seeker). He has no alibi for the time of the killing, so he 
  may end up being convicted of the murder. 
  The player characters may be hired by or may be members of the 
  Seekers (in which case they are allowed to look at the corpse and crime 
  scene before the police do), or they may be involved in the police inves­
  tigation or hired as outside consultants (by the police, the professor or 
  the college). In any case, they should be able to examine the murder 
  weapon, have the resources to have forensic tests performed, etc. 
  The fact is that enemies of the Seekers (or rivals within the same 
  group) have contrived the plot. 
  The first clue is the katana, which was indeed a unique antique, pre­
  sented to the professor in a public ceremony (e.g. college dinner) after it 
  had been enchanted. The sword returns to its scabbard whenever the 
  scabbard's owner wills it, and the scabbard was never given to the pro­
  fessor. This allowed the villains to recall the sword from its locked glass 
  cabinet, without the professor's knowledge. As there are no signs of a 
  break-in at the professor's home, he lives alone and has the sole key to 
  the cabinet, he has been well and truly framed. With time (and study), a 
  magician amongst the players should be able to work out who en­
  chanted the sword. This may involve magical research (taking a month), 
  or the player character may notice some unusual (and un-Japanese) 
  runes on the blade, which are magical symbols often used by a particu­
  lar local sorcerer. 
  Secondly, the body is not all that it seems. An autopsy reveals noth­
  ing unusual, but in fact, it is a magically created double, an impostor. 
  The "murder victim" was never killed, but was kidnapped, and a fake 
  body was left in its place to guarantee that no one goes looking for the 
  Quentin Milton (Order #26014138)
  
  unfortunate wretch. Sense Magic will reveal that there is something odd 
  here, and careful investigators may notice that the body is not the vic­
  tim's (e.g. there are no scars or a particular birthmark, where there 
  should be). 
  From the scene of the murder, player characters can interview the 
  neighbors and get details about a van seen in the area. Traces of mud 
  were found on the carpet in the "victim's" home, mud of a type only 
  found in a certain part of town. These clues should lead the players to 
  search a certain part of town, where they find an old van in the yard of a 
  boarded-up gas station. 
  When the player characters check out the gas station, they find a nest 
  of supernatural nasties, and the chewed remains of the thugs who kid­
  napped the "murder victim." A fight (or swift retreat) should follow. 
  At the home of the sorcerer who enchanted the sword (they found 
  his symbols on the blade), the player characters can find out who paid 
  him to enchant the weapon. He talks openly, and doesn't like the idea of 
  his clever magic being used in a crime. However, a moment after he 
  tells them who he is working for, there is the crack of a rife shot and the 
  man's head is blown open. An assassin has been watching (and listen­
  ing in) since the murder, in case the man was traced. The player charac­
  ters will have to chase after and catch the assassin if they want more 
  answers. If they take him alive they get more information than if they 
  just kill him: taken alive, he will betray his employer for promises of 
  freedom; dead, he is just a corpse. He will not fight to the death and will 
  surrender. 
  From these two locations the players should have enough clues to 
  locate the factory where the "murder victim" is being held. As an emi­
  nent Seeker, he knows many secrets, and his captors intend to torture 
  him into telling as many as possible before they kill him. This final 
  showdown pits the player group against an array of thugs and at least 
  one Fleshsculptor (the guy who made the fake corpse), but at the first 
  signs of a siege or rescue attempt the kidnappers tip their captive into a 
  furnace or a vat of molten metal. Stealth and cunning is required. 
  Ultimately, the evil mastermind behind the plot is not present at the 
  factory when the player characters attack. He wouldn't dirty his hands. 
  The best that the group can do is to get proof of his deeds - meaning 
  that they need to get the captive out alive, or at least take some of his 
  henchmen into custody and persuade them to incriminate their boss 
  (even if his real name isn't known) and prove the professor's innocence. 
  An incinerated body and no henchmen is no evidence at all, and it will 
  take more than the player characters' words to convince others that they 
  really have solved the case. 
  With good evidence and a name, they can get a warrant for the mas­
  termind's arrest, and/or convince the Seekers to hunt the man down, 
  perhaps leading to a later adventure. Of course, this could be another 
  dead end, as the information proves to be inaccurate or a frame (or joke) 
  that implicates another innocent man (perhaps a police inspector or a 
  member of the Preserver Party just to make things interesting). The real 
  CUlprit is indeed an elusive mastermind with an as yet unknown. agenda. 
  3. Magic by Numbers. A magical Brotherhood with which the 
  player characters are members of, acquainted with, or are sympathetic 
  to, is having problems with its' members' computers being hacked into 
  and examined. Someone is trying to leam the Brotherhood's secrets by 
  looking at its members' computer files. The Brotherhood wants the 
  player characters to investigate and stop this espionage (some excellent 
  opportunities and/or money should be part of the incentive to take the 
  job). 
  The mysterious hacker seems to know, instinctively, when a com­
  puter is on-line, and what phone line it is connected to. Even machines 
  with only incidental relevance to the Brotherhood (such as computers 
  used by members at their places of work) have been violated. If the 
  Brotherhood changes telephone numbers, the Hacker finds them just as 
  easily. They have also tried using digital connections and mobile mo­
  dems so there's no physical connection to a phone line - in case the 
  Hacker is somehow using the physical telephone system - without 
  success. He still hacks in. 
  123 
  The player characters can catch the hacker at work by sitting in front 
  of a Brotherhood member's machine for a day or so, and waiting. Sure 
  enough, if the machine is connected to a modem the Hacker soon breaks 
  in and starts messing around. He doesn't change or damage anything, 
  but flicks through files (much faster than a human could normally 
  "read" them, but not nearly as fast as another computer could), and 
  steals copies of more interesting files. 
  The G.M. can make identifying the Hacker as hard or easy as s/he 
  likes. As examples: a Nightbane with the Lightning Rider talent could 
  go straight to the hacker (unless the G.M. rules that a non-physical, 
  digital connection is involved, in which case this would not work); us­
  ing the psychic ability Object Read (looking at the code and commands 
  entered by the Hacker) might reveal information on the intruder; or a 
  couple of Computer Hacking skill rolls by one or more of the player 
  characters may allow them to identify the telephone number from which 
  the Hacker is calling, and then get the name and address of the phone 
  line's owner from the telephone company's computers. 
  When the player characters track down the hacker, they find that she 
  is a research student writing a Doctoral thesis on imaginary numbers. 
  To support herself, she is doing some work on the side for an unknown 
  academic institution in another State, involving working through some 
  insanely complex equations for them on her computer. 
  As the woman works on the equations, they insinuate themselves 
  into her head and begin to control her. She slips into a trance and the 
  equations change and dance across the screen on their own. The equa­
  tions calculate which telephone numbers to dial, and she (with a kind of 
  electronic "Speed Reading" ability in her trance) hacks into and peruses 
  the files within the selected computers. She then puts all of the copied 
  files onto a floppy disk and seals the disk in an envelope. When she 
  slips out of the trance, the student remembers nothing about hacking. 
  She just thinks that she worked on the equations for awhile, becoming 
  quite absorbed by the work, and put all of her conclusions onto disk 
  and mailed it to her employer. 
  So, each evening, she mails a disk full of stolen files to her employer 
  and two days later, receives payment for that little bit of work. Some 
  quick research with the right people reveals the academic institution is 
  fictitious and can be traced to a group of Cybermages or sorcerers. 
  The female student is watched, of course, by agents of her employer 
  who try to kill nosy player characters and/or silence the student, and re­
  trieve the arcane equations as soon as the player group makes contact 
  with their pawn. If the player characters can rummage through the stu­
  dent's papers and computer files, or just persuade her to help them, they 
  can get a look at the weird equations and learn the mailing address of 
  her employer. 
  The calculations are a sort of spell in numeric form. A Principles of 
  Magic roll (or similar) by any player character can identify them as 
  complex, cabalistic formulations, but can tell litt1e else. The player char­
  acters can make no direct use of the equations. If they start concentrat­
  ing on them on a computer, they will slip into the same trance and hack 
  into the same computers that the student did; they can't control them­
  selves once under the numbers' control. 
  The mailing address may lead the player characters straight to the 
  snooping Cybermages or sorcerers responsible for manipulating the stu­
  dent into spying on the player characters' allies, or may lead to a mail­
  drop which the player group will have to place under surveillance to 
  learn who is really receiving the disks. The characters will then have to 
  steal back as many of the disks and files as they can by breaking into 
  the enemies' HQ and "persuading" the snooping magicians to cease 
  their spying. 
  Persuading the snoops to desist may be very simple. Perhaps they 
  stop as soon as they realize that they have been discovered, and imme­
  diately offer grovelling apologies and various books or trinkets as repa­
  rations - they were just nosy, arrogant hackers made bold by the 
  development of their unique cabalist spell. They didn't think anybody 
  could catch them, but now that they are caught, they acquiesce quickly 
  Quentin Milton (Order #26014138)
  
  (but will not share the secrets of their equation and other cabal magic). 
  Everything can end here quietly and simply (not every adventure needs 
  to end in violence), or the G.M. could extend things with old-fashioned 
  violence, or more intrigue. 
  In the latter case, one possibility could be: just as our heroes think 
  they've put a peaceful end to this matter, the NSB, a Spook Squad team, 
  minions of the Nightlords, or some other dangerous force (other mages, 
  Nightbane, demons, etc.) appears on the scene with a bloodthirsty 
  vengeance. It seems the player characters friends/employers weren't the 
  only organization that these idiots were hacking into, and these guys 
  aren't as understanding as the player characters. Worse, anybody seen 
  with the hackers is assumed to be part of their group and earmarked 
  either for capture or termination! This may even extend to the employer 
  and other allies of the player characters! 
  The first order of business is to escape, perhaps helping a few of the 
  hackers to escape with them (which is important if they want to get 
  more information about what's going on and who might be responsible 
  for this attack). Next, they are probably on the run, dodging would-be 
  assassins, spies and captors. Third, they need to find out who and why, 
  and try to put an end to this madness. This might mean handing over the 
  equation (or the hackers to an unknown fate), convincing their attackers 
  they don't know anything, or finding or destroying the person or per­
  sons responsible for this raid and subsequent manhunt. On the other 
  hand, the player group may have inadvertently eamed a new (at least for 
  the moment, unknown) enemy who dogs their every move and is a re­
  occurring attacker - forcing the group to go deeper underground than 
  they already probably were. 
  Campaign Subplots 
  While some G.M.s will run a campaign as a series of self-contained 
  adventures, or a series of related adventures, others will also be con­
  cerned about the "down-time" between adventures, or will simply inte­
  grate all of the adventures into a single long, rambling narrative. 
  In these latter cases, the G.M. will want to know what the player 
  characters are doing when not following specific plot-lines. Things like 
  what their lives are like, how they make a living, who their friends and 
  acquaintances are, hobbies, etc. The disadvantage of playing in these 
  styles is that it takes time away from actually completing adventures 
  and becoming bogged down with extraneous and petty information. 
  However, if handled right, the advantages are that it allows the players 
  to empathize with and become more involved with their characters and 
  the game world, and it allows the G.M. to integrate little side-stories, 
  subplots, and incidental encounters. All of which can add greatly to the 
  depth and color of the continuing adventures and the characters. 
  Part of this involves continuity. The incidental encounters used in 
  campaigns will depend upon the nature of the game that the G.M. is 
  running, and also upon the player characters' previous actions. If the 
  player characters have committed blatant crimes in previous adventures, 
  then police attempts to arrest them should follow. The player characters 
  may also be casual witnesses of Preserver Activists' vigilante activitird 
  or a road accident (psychic healing abilities could be very useful here), 
  or they might have the opportunity to stop a petty crime (e.g. a liquor 
  store holdup). Likewise, some of these NPCs may bump into them later, 
  as friends or as somebody who might fear or resent them and respond 
  accordingly: a friend will offer encouragement, information, a small 
  loan, a helping hand, while the frightened, resentful or an enemy will 
  call the police, start a brawl, inadvertently provide information in a 
  threat or a boast, etc. 
  The subplots offered below are ideas for ongoing story lines which 
  will generate a series of encounters to be scattered in between and dur­
  ing the main adventure(s). 
  EXAMPLE 1: A Friend in Need. One of the player characters 
  shares an easy friendship with a neighbor (or friend or relative). The 
  neighbor occasionally calls to chat with the player character, or to bor­
  row coffee or sugar, and tends to pass on magazines, newspapers, etc., 
  124 
  Quentin Milton (Order #26014138)
  
  to the player character. The neighbor is an archetypal "sweet old man" 
  (or kid or woman), a benevolent grandfather figure who is a bit stiff in 
  the joints and has a heart of gold. Over the course of a few adventures, 
  the characters should come to appreciate the old man's good-natured 
  friendliness: he's the sort of guy who will offer to give the character a 
  lift to the mall or superstore if his or her car is in the garage; he will 
  look after the house or apartment and/or hold mail or look after miscel­
  laneous possessions for the player character when s/he's out of town 
  (very handy for characters who travel a lot); if the player character were 
  burgled, the old guy would make his own computer available to the 
  character to use; et cetera. 
  After a while, the old man falls sick. He makes a few trips to the 
  hospital, but refuses to talk about it. He doesn't want pity. The condi­
  tion worsens, conventional treatments fail, and the old man is admitted 
  to a hospital or hospice. The condition is now painful, and clearly termi­
  nal (It may be lung cancer, Aids, or some new and unidentified disease 
  that has struck since Dark Day). The old man doesn't want people to 
  fuss over him, but he does appreciate occasional visitors - like his 
  friendly neighbor, the player character. 
  About this time, during an adventure, the player characters come 
  across a magical potion or ritual (The G.M. could work this into most 
  adventures: it may be the property of an evil sorcerer whom they defeat, 
  or part of a payment they get from an employer or ally, etc.). The potion 
  will cure any disease or illness, and restore all lost hit points and S.D.C., 
  and cancel the effect of any physically debilitating magic ... but there is 
  only one dose of it. It is a very, very useful item for the player character 
  and his teammates, so do they feel that they want to use it to cure the 
  old man? 
  There is no "correct" way out of this. If the player characters keep 
  the potion for their own use ("we're bound to need it someday" or "we 
  need it for the greater good in fighting evil"), then they lose a friend and 
  perhaps have a Dreamstream encounter with Guilt Eaters (see Between 
  the Shadows, page 102). If they save the old man he is extremely grate­
  ful, but they may find themselves in a situation shortly afterward where 
  the potion would have been vital in saving one of their own people or 
  an important NPC. Sensitive players will get a lot of good role-playing 
  out of this awkward moral decision. 
  EXAMPLE 2: A Gothic Romance. One of the player characters is 
  in love with a beautiful young woman (or man, as appropriate). A per­
  son of grace and refinement, with the kind of archetypal good looks that 
  classical sculptors used to endow their statues with. The woman can 
  easily be worked into the game, appearing as an incidental character in 
  scenes where the characters are all together informally ("the four of you 
  and X's girlfriend are in the cafe by the square when ... "), or simply as 
  someone whom the characters spend time with ("your doorbell rings. 
  It's one in the morning and you aren't expecting anyone. There's no 
  one in your apartment with you except your girlfriend ... "), etc. 
  The woman is sensitive and independent, but clearly deeply in love 
  with one of the player characters, and ready to provide a shoulder to 
  lean on, an alibi, answer phone calls, and so on as is required. She may 
  also have valuable skills which the other characters can make use of, 
  such as a translator of ancient documents and mystic grimoires (she 
  probably speaks ancient Greek and Latin, and the player characters 
  probably don't). 
  But the woman has a dark secret. 
  She lives (in true gothic style) in a large, isolated house, full of 
  winding passages and dark rooms, although she seems to have no in­
  come to maintain the place. When the player character whom she loves 
  starts spending time there, the woman makes him swear one thing: that 
  he will never go or look beyond the red leather-bound door which leads 
  into the far attic room. And because player characters are curious types, 
  who inevitably do what they're told not to, the odds are that the charac­
  ter will one day ignore his promise and look into the room. A devious 
  G.M. can, in any case, keep mentioning the door in passing so that it 
  plays on the player's mind. 
  125 
  Behind the door is a room inscribed with arcane symbols, as if some 
  great ritual had been performed here. At the center of the room is a 
  stone plinth - the sort of pedestal that classical statues were made to 
  stand upon. For the woman is a statue, brought to life by a sorcerer one 
  or two years ago. The sorcerer may still live, returning at irregular peri­
  ods to his mansion and to the lover he made for himself ("oh no, you 
  mustn't come around this weekend ... don't ask me to explain ... just 
  stay away ... "). Or perhaps the sorcerer is dead, or the woman killed 
  him (body buried in the cellar?). Or perhaps the statue was animated for 
  a specific reason, and is still bound to serve the sorcerer or Brotherhood 
  which gave her life. 
  In any case the occasional presence or legacy of her sorcerous crea­
  tor should create a sense of mystery around the woman and the house, 
  and perhaps create dangers, difficulties, or even adventures for the 
  player character and the player group. Moreover, as in many traditional 
  folk tales, if the player character ever realizes what she is, ever sees the 
  plinth and guesses the truth and rejects her because of it, for example, 
  then she turns irrevocably back to stone. 
  EXAMPLE 3: Sins of the Fathers. A close friend of one of the 
  player characters is, secretly, the (seventh?) son of a powerful evil ma­
  gician. As the campaign progresses, the characters come increasingly 
  into conflict with the evil mage, and must eventually defeat (e.g. kill) 
  him. At the same time, the player characters come to suspect that their 
  friend knows something of this man. 
  The mage, moreover, is far more powerful than the characters, and 
  their only hope is to have "inside information" - to know the floor plan 
  of the magician's ancestral castle, for example, or to be told the weak­
  ness in the protective magics which render him invulnerable; and this is 
  the kind of information that only a close confederate or relation would 
  know. 
  And so, the player characters must persuade their friend to help them 
  by giving them the information they need, and in so doing, doom his 
  own father (or uncle, mother, etc.). Now, the friend is a basically decent 
  bloke, and although he recognizes his father's evil, he loves him none­
  theless. Only if the player characters can convince him of the moral 
  need to remove his father will he help them. He needs to be convinced 
  that the player characters are the good guys, and that his father is be­
  yond redemption, or that his/their intervention will bring about redemp­
  tion. 
  So, the characters may take the friend to see some of the corpses, lu­
  natics, or orphans whose conditions are due to the evil arcanist. They 
  will certainly have to impress him with their moral rectitude and sensi­
  tivity to his dilemma. Holding a gun to his head and threatening him 
  doesn't work: he can easily give the wrong information, and may be 
  able to tip his father off about the group's intentions (if they are brutal 
  or murderous then this simply convinces the friend that his father 
  should be protected from such thugs) and call in the police if they actu­
  ally commit any assault or other crime to get their information. This is, 
  for a change, a situation in which characters will get information and 
  aid by being nice rather than by being brutal; i.e. in which they benefit 
  from role-playing good alignments. 
  Assuming that the player group defeats the magician, his son soon 
  suffers a nervous breakdown (it must be the guilt and sorrow of having 
  betrayed and lost his own father, poor guy) and is admitted to hospital. 
  In truth, the spirit of his defeated father is returning, to live again 
  through his son. His apparent mental illness is simply a painful transi­
  tion, as his father's spirit comes to take over his body. 
  How long the process takes depends upon the son's attitude to his 
  father and to the player characters. If the son has not been convinced 
  that his father deserved his fate, or now hates the player characters (e.g. 
  if they threatened him for the information, or promised his father would 
  be safe, but he is accidentally killed), then the process takes only a week 
  or so. Otherwise it could take months. 
  If the player characters are being good friends and visiting the unfor­
  tunate in the hospital, then they will notice the transformation taking 
  Quentin Milton (Order #26014138)
  
  place. Their friend does not change physically, but there are signs - a 
  give-away phrase, a glint in the eye, and/or references to things (e.g. 
  magic) that the friend knew nothing about. These things all suggest that 
  the father's personality is emerging in his son. This should give them 
  time to find a way to protect their friend (and themselves) from the 
  vengeful spirit of the old magician, e.g. to seek advice of other sorcer­
  ers, or to undertake an adventure to gain a potion or spell to protect 
  against the possession, etc. 
  If, on the other hand, the characters abandon their friend, then the 
  change will take place without their noticing. The first time they will 
  know is when their ex-friend turns up on one of their doorsteps some 
  evening with an uncharacteristically evil grin. "I've got a bone to pick 
  with you ... Your SPINE! "  In this case, their old enemy is back, now 
  with all the knowledge that the son once had (like where the player 
  characters live). 
  If, at any time, the players take the easy (evil) way out, and murder 
  their friend, then the G.M. should feel free to have the police launch a 
  very thorough murder investigation and adjust alignments appropri­
  ately. 
  Using Subplots 
  When integrating subplots into campaigns, there are a few points 
  which G.M.s should keep in mind. 
  1. Don't be predictable. If every time the G .M. introduces a new 
  friend or lover for a player character, the players think "Oh no, what's 
  wrong with this one?" or, "Here's more cannon fodder," then there is a 
  problem. If the characters' girl friends consistently tum out to be canni­
  bal-vampires who want to eat their hearts, then the player characters 
  will stop talking to prospective lovers. If all of their NPC friends tum 
  out to be NSB informers or disguised Nightlands minions, then they 
  won't want friends any more. Make the weird and/or dangerous the ex­
  ception, not the rule. Keep the element of surprise. 
  2. Let the player character benefit from the subplots. By and 
  large, characters should gain more from these side-stories than they 
  lose. The reason for this is simple. Many player characters are power­
  hungry killing machines who don't want friends, relationships or lives 
  anyway. That's OK, but it makes for boring role-playing. Players who 
  have interesting characters, with personalities and lives outside of ad­
  ventures, make the game more interesting and should be encouraged 
  and rewarded in little and fun ways. Therefore, the G.M. should let 
  characters benefit from such subplots more than they suffer from them, 
  as a way of encouraging the PCs to get involved in these little incidents. 
  3. Keep it brief, and be fair. Often, subplots only involve one or 
  two of the player characters, which means that the rest of the players are 
  left sitting around with nothing to do while the others play through 
  them. So, keep these episodes brief, or try to run encounters at a time 
  when those who aren't involved won't be inconvenienced (e.g. at the 
  start of a playing session while you are still waiting for the other players 
  to arrive, or while those who aren't involved are out buying pizza or are 
  in the kitchen making coffee). Also, keep in mind that you, as a G.M., 
  can use these little incidents to reward players who have been excluded 
  from previous encounters. It's no secret that many gaming groups have 
  players who are less assertive or quieter than their fellows, or who have 
  characters who are less heavily involved in long combat scenes, so try 
  to use these subplots to involve characters who are often pushed out of 
  the limelight, or whose players have the least chance to make decisions. 
  4. Don't impose subplots. If a character isn't interested in pursuing 
  a subplot, or if the player isn't up to role-playing complex friendships 
  or conversations, then let it drop. The subplots are meant to be fun for 
  players, not an embarrassment or burden. 
  126 
  Theme & Content 
  The first "duty" of the G.M. is to create interesting situations for his 
  or her players to explore. This is, in many ways, reciprocal, as the play­
  ers are equally responsible for creating interesting characters and coop­
  erating with the G.M. to make the games interesting. 
  Obviously the most important aspects of this involve creating inter­
  esting characters, intriguing mysteries, tense dramatic moments, excit­
  ing fights, etc. But further, the G.M. can build up a sense of campaign 
  continuity, with ongoing plots and recurring NPCs, and can introduce 
  interesting little side events and dilemmas. Another way to create inter­
  esting situations is to use adventures to examine themes or ideas. The 
  movie Seven, for example, may be a tense and disturbing mystery, but 
  it also raises interesting questions about guilt and responsibility, and 
  about the nature of evil. The play Hamlet, similarly, is basically the 
  story of a crazed Prince who kills loads of people, but it spends a lot of 
  time examining issues of revenge. 
  Introducing a theme to an adventure means that you are looking at a 
  specific issue in a way that is likely to be thought-provoking. That 
  doesn't mean that the players will think about the theme (Some players 
  are frighteningly thought-resistant). And it doesn't mean that you have 
  to ram it down peoples' throats. 
  It is also worth giving some thought to exactly what themes you 
  want to explore. Specifically, the players need to be able to deal with 
  the subject matter sensibly, and they need to be able to relate to it. So, if 
  you are cursed with players who find racism amusing - i.e. they can't 
  deal with it sensibly - then don't bother trying to look at racism as a 
  story element. Likewise, leave out obscure explorations of philosophi­
  cal theories, unless you happen to be playing with a bunch of philoso­
  phy students, and other arcane issues that people won't be able to relate 
  to. 
  Finally, the golden rule is: Don't Preach. You may sincerely believe 
  that the capitalist class are the evil oppressors of the proletariat, or that 
  representative democracy is the only just way to rule a society, but 
  preaching your opinions to your players won't make for an interesting 
  or enjoyable game. Challenging and examining peoples' assumptions 
  and beliefs is healthy and constructive; battering them with your own is 
  not. 
  The best idea is to stick to general principles which players can eas­
  ily understand: revenge (always a good one), community, hatred, re­
  sponsibility, continuity and change, technological progress, education, 
  love, etc. 
  Quentin Milton (Order #26014138)
  
  CHAPTER 10: The Adventures 
  The three following adventures are all based around the theme of 
  family and, in particular, motherhood. All are suitable for a group of in­
  experienced characters and contain relatively little combat. 
  Mother and Child is a two-part adventure for globe-trotting charac­
  ters. One part is set in India, the other in Thailand. Both parts are fairly 
  linear in nature and should take one evening each to play. Although 
  each contains a climactic combat encounter, neither is particularly vio­
  lent. 
  Wire Mothers is set in urban USA (or Europe). It looks at issues of 
  dependence, relating family dependence, abuse and social dependence, 
  and at peoples' abilities to cling to the things that are destroying them. 
  (The title, incidentally, comes from a particularly sick experiment 
  which "scientists" have often repeated: baby monkeys are placed on the 
  backs of wire-and-flannel model "mothers" and then pain is inflicted 
  upon them; even when the source of the torture is the wire mother itself 
  the babies still cling harder and harder as the pain increases. Isn't sci­
  ence wonderful?). The adventure need not involve any combat, al­
  though players may choose a confrontational solution if they wish. 
  All Men Are Bastards focuses on a young woman who is trying to 
  rebel against a manipulative father-figure. This adventure, too, has an 
  urban setting and could be completed in one evening without any com­
  bat. G.M.s could easily add the potential for extra combat by giving the 
  main villain (the mad professor, the father-figure) a squad of supernatu­
  ral servants, such as Hunters nesting in the attic of his penthouse apart­
  ment, who can be sent out after the player characters. 
  Wire Mothers ----
  The following scenario is about a maltreated wife and mother who 
  returns from the grave to avenge herself on the men to whom she gave 
  her life. And maybe it's about dependence and abuse, possession and 
  pain. But basically, like any good investigative adventure, it's about the 
  players racking their brains to hunt down the villain for a climactic final 
  confrontation. 
  G 
  .M . 's Background 
  Elisa Jeffries was a pretty, dumpy girl, who married at the age of 
  seventeen to Doug Brown, a factory worker with a steady job and an 
  embryonic beer gut. 
  By the time she was twenty-five, Elisa had given birth to four chil­
  dren. A beautiful girl who died in infancy, and three tough boys. Her 
  husband's job could not support the family, so she took to working full 
  time, but her men folk still expected her to keep the house. Light ro­
  mantic fiction and a strong faith in Christ, Our Lord and the mercy of 
  the Holy Mother, kept her going through it all. 
  She lost her looks and her good humor. Doug became disenchanted 
  with his marriage and, bored by the monotony of the factory, took to 
  drink. At the age of forty, Elisa looked fifty or more, haggard, plain and 
  fat. Her husband's drinking grew worse and he became violent, but the 
  neighbors had their own problems and no one commented on her 
  bruises. 
  On November 3rd, 2003, at the age of forty-five, Elisa was found 
  dead in the family's home, her neck broken from a fall down the stairs 
  and shards of glass from a beer bottle were embedded in her head. 
  Doug Brown was sentenced to ten years imprisonment for the mur­
  der. 
  Overview 
  After three years in the valley of death, Elisa Brown has risen to new 
  life, to bring a harsh judgement upon her sons and husband. 
  The player characters are contacted by a lawyer named Samuel 
  Hodge, whose client is accused of murdering one William Brown, 
  Elisa's eldest son. Hodge asks the player characters to do some nosing 
  around for him. 
  What the player characters discover is that William Brown is not the 
  first of the family to be killed. His father, Doug, died just three days be­
  fore. 
  What is happening is that Elisa is killing her hated men folk at three 
  day intervals. The remaining two sons will soon die unless the player 
  characters intervene. Events progress according to the following time­
  line: 
  November 3rd, three years ago: Elisa Brown killed. Her husband 
  Doug was immediately arrested, and later convicted. 
  November 3rd current year, 1:30 pm: Doug Brown found beaten 
  to death in the prison toilets. No witnesses. 
  November 6th, 9:30 pm: William Brown, age 29, found dead at his 
  home. Lee Darent immediately arrested. 
  November 7th: Lee Darent charged with the murder of William 
  Brown. 
  Now: November 8th, morning: Player characters contacted; adven­
  ture begins. 
  November 9th, 11:00 pm: Mike Brown, aged 27, dies of a Heroin 
  overdose in his squat/apartment (unless the characters intervene). 
  November 12th, 11:20 pm: Gregg Brown, aged 24, murdered in his 
  workshop (unless the player characters intervene). 
  The initiative rests purely with the players. Their characters have the 
  time for plenty of research. What they must do is deduce the (blatantly 
  obvious) pattern behind the killings (the men are being killed at three 
  day intervals, in order of their age, oldest first) and stop the Revenant. 
  The setting of this adventure is left deliberately vague, so that you 
  can slot it into any city or large town in your existing campaign. Inci­
  dental encounters (talking with clerks to gather information, etc.) are 
  left up to the G.M. to improvise, but guidelines are given for what clues 
  may be found where. 
  The following introduction assumes that the player characters are 
  "for hire" as private investigators, mercenaries, etc. If this is not the 
  case, Lee Darent may be important to them for some other reason (he is 
  the ally of the group, or a friend of a friend) or there is some other rea­
  son to keep him out of jail. Alternatively, characters who are journalists 
  might be asked by their bosses to look into the family for a fresh angle 
  on the story. Characters in the Spook Squad or police might be assigned 
  to the case. Wealthy characters might be friends of the accused and get 
  involved to clear his name. 
  The adventure requires at least one character with a good Research 
  score, and skills in Interrogation Techniques and Intelligence would be 
  useful. It also requires that the player characters are not heartless bas­
  tards, and that they won't just sit back and let relatively innocent folk 
  get murdered. 
  Introducing the Characters 
  Most likely the player characters are contacted by the lawyer, Sa­
  muel Hodge. He invites them to his office on the morning of November 
  8th. 
  A well groomed, polite man in his late thirties, he explains that his 
  client, Lee Darent, is accused of murder. Hodge believes the man to be 
  innocent, but neither he nor the police have found any other suspect. He 
  would like the characters to investigate the one as-yet unexplored area 
  of the case (as neither he nor the police have the time): the dead man's 
  estranged family. 
  He tells them of the dead man, his name (William Brown) and ad­
  dress, and answers basic questions about him as best he can; date of 
  127 
  Quentin Milton (Order #26014138)
  
  birth, occupation, etc. Beyond that, he knows only that William Brown 
  had a wife, and two brothers, Mike and Gregg. Their father, Doug 
  Brown, he believes is in prison (he has not learned of that death). He 
  can arrange for the investigators to speak with Lee Darent, but is other­
  wise unable (or too busy) to help them. 
  Lee Darent 
  FROM PUBLIC RECORDS (Research roll required to get this in­
  formation): Scanning public records, and old business directories, phon­
  ing colleges, etc. the investigators discover that Lee Darent was born 
  locally, graduated from high school and college without distinction, and 
  has spent the last twenty years building up an unremarkable furniture 
  wholesale firm called Darent Direct. He is very dull. 
  FROM THE NEWSPAPERS: The papers from the preceding days 
  toe the official line. They tell how Lee Darent was seen parking his car 
  outside William Brown's home at about 8:20 p.m. on the 6th. He 
  knocked on the door and was let in. Immediately (male) voices were 
  heard arguing, and Chrisie Brown fled from the house. At 8:25 the ar­
  gument ceased and Darent left the house. At 10:30 Chrisie Brown re­
  turned and found her husband's body, and immediately phoned the 
  police. 
  FROM THE POLICE: The police have issued a press release for 
  reporters and others with a legitimate interest in the case. This contains 
  the same information as was in the papers, adding that the coroner esti­
  mated the time of death at "between around 8:30 and 9: 1 5," and speci­
  fying that the body was found at the foot of the stairs with wounds 
  indicating repeated strikes with a blunt object and a fall down the stairs. 
  OTHER SOURCES: Lee Darent's plush home is presently unoccu­
  pied, locked up securely, as his wife and daughter have fled from the in­
  trusive reporters to an anonymous address out of town. If player 
  characters insist upon breaking in here, or at his company's offices, they 
  find nothing of interest. Both the house and office have alarms, how­
  ever, and are in respectable areas where the neighbors report suspicious 
  strangers. A conflict with the police is likely if they are careless. 
  Talking With Lee 
  An interview with Lee Darent may be arranged by his lawyer. Attor­
  ney Samuel Hodge is a busy man, however, and characters must wait 
  2D6 working hours (assume a nine to five working day) before he has 
  time to arrange anything. 
  Any conversation takes place over a dirty wooden table at the local 
  police holding cells. Hodge is always present, and a bored police officer 
  stands nearby throughout the interview. 
  Lee Darent admits that he had "fooled around" with Chrisie Brown, 
  who worked as a VDU operator for his wholesale firm. He has no re­
  spect for the woman and actually hates himself for his infidelity (Intelli­
  gence or Interrogation Techniques roll to notice) but won't admit it. 
  He vehemently denies killing William Brown, exclaiming that "he 
  could keep his cheap slut of a wife! I didn't care." He went around to 
  the Browns' to see Chrisie, thinking that William would be out bowling, 
  but found that he was in. He tried to pretend that he had come round to 
  discuss work matters with Chris ie, but William didn't believe him and 
  an argument developed. Chrisie fled, and there was a brief scuffle in 
  which William struck Lee several times (he still has an array of bruises 
  on his ribs). Lee immediately beat a hasty retreat, leaving the angry hus­
  band entirely unharmed. In this Lee Darent is telling the truth. 
  William Brown 
  FROM PUBLIC RECORDS (Research roll): Public records attest 
  to William's birth and marriage, but nothing else. 
  FROM CHRISIE BROWN: Chrisie Brown can be found at her 
  home, staring at the foot of the stairs where she found William's body, a 
  bottle of cheap spirits in her hand and tears streaking down her face. 
  From November 7th to the 1 1  th she has been completely inebriated, 
  128 
  and reacts to the police and player characters alike with incoherent 
  grief, irrational anger or complete disinterest (whichever you, as G.M., 
  find it easier to role-play). Getting information from her should be diffi­
  cult, requiring some sensitive role-playing from the players (psychic 
  powers like telepathy or empathy couldn't hurt either). She loved Wil­
  liam and cheated on him out of spite because he beat her. Lee Darent 
  was different. She had sex with him because she couldn't afford to lose 
  her job, and she hated his guts. She can vouch that Darent and her hus­
  band argued on the 6th, and that she retreated to a neighbor's for the 
  evening. She doesn't believe that Darent had the nerve to kill William, 
  and hopes that her husband gave him a sound beating. On the morning 
  of November 1 2th she just takes off out of town and isn't seen again. 
  FROM THE HOUSE: In the house's entrance hall, a framed pho­
  tograph hangs, knocked crooked, showing Chrisie and William with 
  William's parents: his pig-faced father, and his short, dumpy mother, all 
  standing in a smiling group. The photograph is about four years old, but 
  should be mentioned because it shows Elisa, enabling the investigators 
  to recognize her or her description later on. If the characters get the 
  chance to snoop around the house (e.g. through force or talking their 
  way around Chrisie) they find no clues to the murder. However, in a 
  disorderly box of envelopes is a letter from brother Mike, begging for 
  money. The note talks briefly about how Mike can't afford to buy food 
  and is being threatened by loan-sharks (mostly lies). It gives his mailing 
  address. 
  FROM THE NEIGHBORS: The neighbors don't much want to 
  talk to outsiders, although some of the younger locals are eager to sell 
  information to reporters for a price. They've talked to the cops, the mur­
  derer's in custody, so what's the problem? One couple (the Schnitzlers) 
  vouch for having given Chrisie sanctuary on the evening of the 6th. An 
  Interrogation Techniques skill roll or fine role-playing prompts neigh­
  bors to mention that Chrisie had "more than a few men-friends," and a 
  second Fast Talk roll prompts the admission that "maybe Willie was a 
  bit rough with her, on account of her cheating on him." Everyone 
  knows that Chrisie was unfaithful and that William bashed her about. 
  ASKING ABOUT THE FATEFUL EVENING: Asking neigh­
  bors, street kids, and local retailers, the player characters get the same 
  information about the evening of William's death that they have prob­
  ably already gotten from the newspapers, police, or Hodge, as described 
  above. They may also ask about other suspicious strangers in the area or 
  odd occurrences. An Intelligence or Interrogation Techniques roll does 
  pick up one piece of information: a homeless woman was seen wander­
  ing away from the area around 9:00 that evening; a short, dumpy, 
  brown-haired woman in a filthy coat. 
  Doug Brown 
  FROM PUBLIC RECORDS (Research): Court records, registers 
  of births and marriages, etc., simply mark the three main events in his 
  life: his birth, his marriage to Elisa Jeffries, and his conviction for her 
  murder. 
  FROM LIBRARY ARCHIVES (Research): Six terse lines in one 
  city newspaper record his conviction, mentioning that he beat his wife 
  and pushed her down the stairs on November 3rd 1 990. 
  FROM COURT TRANSCRIPTS: Through Hodge (or on their 
  own if members of the police or making an Intelligence or Research 
  skill roll) the Investigators can get transcripts of Doug Brown's trial. 
  These record that Elisa was attacked with a beer bottle and died from 
  falling down the stairs. The two younger sons, who still lived at home, 
  appeared in court to defend their father, but their testimonies were 
  vague and contradictory. Doug Brown broke down in court and 
  changed his plea to Guilty. 
  FROM THE STATE PENITENTIARY: Characters phoning or 
  visiting the prison to ask about Doug Brown are told that he died on 
  November 3rd. A press statement was released, but the death didn't 
  make any papers. If the Investigators claim to be reporters or attached to 
  a government department (like the police) they are told that Doug was 
  Quentin Milton (Order #26014138)
  
  murdered, beaten to death with a bottle, with no witnesses. The prison 
  won't admit that the murder weapon was a "beer" bottle (they don't 
  need a scandal about drink in their prison), but if characters guess and 
  ask, then startled officials reply "who told you?" 
  Elisa Brown (Elisa Jeffries) 
  FROM PUBLIC RECORDS (with a Research roll): Records exist 
  of Elisa's marriage (including her original name, Jeffries), her birth and 
  her death. 
  FROM LIBRARY ARCHIVES (Research roll): There are only the 
  newspaper clippings recording her death and Doug Brown's conviction. 
  FROM NEIGHBORS: In the neighborhood where the Browns 
  lived, people remember Elisa as a good-natured woman, always tired 
  but always pleasant enough. She had little time for friends, but regularly 
  attended the local Catholic church of Saint Stephen's. They know that 
  she was beaten by her husband and that her sons took advantage of her 
  selfless hard work, but gloss over these areas in conversation (a suc­
  cessful Interrogation Techniques or Intelligence skill roll or good role­
  playing reveals this to a player character). 
  FROM THE CEMETERY: Church and civil records of the death 
  record the site of her burial in a local cemetery. Here the tacky gold let­
  tering has flaked from the kitsch inscription on the grave: "Not dead but 
  only sleeping." The earth is undisturbed, but the headstone stands on a 
  slant, having tilted over as the soil compacted beneath it. The chain­
  smoking caretaker blames shoddy workmanship, and can assure player 
  characters that there have been no unusual events around the cemetery. 
  He does remember seeing a pudgy woman in tattered clothing paying 
  her respects, about a week ago (the description matches Elisa's). 
  FROM THE DOWN-AND-OUTS: The only other sightings of 
  Elisa's Revenant has been amongst the city's homeless. After 2D6 
  hours asking around these unfortunates, player characters do hear of an 
  Elisa Jeffries who has slept at various hostels for the homeless on ir­
  regular nights since the 4th. The description of this Elisa Jeffries 
  matches the description of the "dead" Elisa Brown. 
  FROM THE CHURCH: The senior priest, Father O'Malley, re­
  members Elisa as pious and quiet, "a saint of a woman, and I don't say 
  that lightly," with an abiding devotion to the Blessed Virgin Mary. Over 
  by the statue of the Virgin, a rack of offertory candles bum, one shining 
  brighter than the others. If the player characters return to the church 
  again, even days later, the same candle bums brightly, never burning 
  down - until Elisa's Revenant is destroyed. 
  Father Matthew O'Malley is quiet but confident, a good listener and 
  sincere shepherd of his parishioners (principled alignment). He is not so 
  much self-assured as totally sure of the love and mercy of God, and this 
  gives him the strength to persevere through these harrowing times. He 
  "knows" that the end of the world is coming, and is more concerned 
  with the spiritual than the mundane. 
  Defeating the Revenant 
  There are at least three ways to combat the Revenant. Other intelli­
  gent methods may be devised by cunning players, and their effective­
  ness should be adjudicated by the G.M. 
  1. Mindless Violence: Most players' stock method is not particu­
  larly effective. The Revenant takes only one point of damage from bul­
  lets and piercing weapons, and the minimum possible damage from 
  slashing or blunt weapons. As it does not need to breathe, it cannot be 
  strangled or drowned. 2D6 Hit Points are regenerated each round. Note 
  that fire, electricity, explosions, etc. all do full damage - but obviously 
  huge explosions, etc., will attract attention in a city - from the police, 
  amongst others ... 
  2. Anti-Christian Symbolism: The Revenant thinks it is on a divine 
  mission. So, it refuses to go within 10 feet of an inverted crucifix, and 
  backs away from any gibberish that sounds Satanic. This may be used, 
  for example, to drive her into a pre-prepared trap or snare in order to 
  take her alive. 
  129 
  3. The Command of a Catholic Priest: Elisa's reverence for the 
  Church means that her Revenant will not attack a Catholic priest, and 
  may be commanded by such a priest to desist from her attacks on her 
  family (so that she flees out into the world, perhaps never to be seen 
  again). In order to persuade Elisa, a priest must have her full attention 
  (meaning that no one else should be talking or attacking her, and there 
  must be no anti-Christian symbols present). She only accepts the 
  authority of those ordained into the "true" Church - like Father O'Mal­
  ley, above - and not "schismatics" like Protestants. 
  4. Magic: Magics intended to harm spirits, ghosts or supernatural 
  creatures have no effect on the Revenant. Spells intended to affect peo­
  ples' bodies are equally ineffectual. However, spells or psychic effects 
  which affect minds or spells are completely effective. So, spells like 
  Words of Truth and Domination work against her, as do purely psychic 
  effects such as Induce Pain; the spell Negation will "kill" her, and other 
  magics designed to counter or control spells are fully effective against 
  her. 
  Note that if Elisa's victim is whisked away without her being de­
  stroyed, she returns to attack every third day, interminably. (G.M.s 
  should improvise these attacks as necessary). 
  Elisa's Revenant 
  Alignment: Unprincipled 
  Attributes: I.Q. 6, M.E. 20, M.A. 5, P.S. 28, P.P. 7, P.E. 20, P.B. 6, 
  Spd. 7 
  Hit Points: 50 
  S.D.C.: 20 
  Weight: 1 80 lbs 
  Height: 5 feet, 6 inches tall ( 1 .56 m). 
  P.P.E.: 100 
  Disposition: Totally focused on its murderous mission, nothing dis­
  tracts or concerns the Revenant. 
  Skills of Note: Hand to hand: basic (+ l 3  to damage), lore: religion 40% 
  Special Powers: The Revenant takes only one point of damage from 
  piercing weapons and bullets, and minimum damage from bludgeon­
  ing and slashing attacks; regenerates 2D6 points of damage per me­
  lee! 
  Note: Elisa's Revenant has returned from the dead to deal out judge­
  ment and punishment upon her cruel and sinful family. It sees itself as 
  an avenging angel, doing God's work. God, if He exists, is not a party 
  to this, and the Revenant is merely a physical manifestation of Elisa's 
  suppressed hatred and a bit of mystic energy. Think of it as an involun­
  tarily created magic spell - an arrangement of P.P.E. given form by the 
  strength of the woman's suppressed feelings. What matters, for the pur­
  poses of the adventure, is not what the Revenant is, but what it thinks it 
  is. 
  In fact, her view of just retribution works in the player group's ad­
  vantage, because the Revenant won't intentionally hurt or kill "inno­
  cent" people - including them. However, she will strike out with 
  deadly force towards anybody in her way who the Revenant believes is 
  cruel and abusive, physically or mentally. 
  Mike Brown 
  FROM PUBLIC RECORDS (Research): As with the rest of the 
  family, there are few records about this man, only of his birth, but noth­
  ing else. 
  FROM THE POLICE: Investigators who can convince the police 
  that they have a genuine reason for being interested in Mike Brown dis­
  cover that he has a string of minor convictions, all either drug related 
  (mainly heroin) or involving petty theft. The police have his official ad­
  dress (taken from William Brown's papers). Having already checked it 
  out, they can tell characters that it is a dummy address. Of course, if the 
  player characters are asking on or after the 10th, then the police can tell 
  them that Mike died of an overdose on the 9th. 
  FROM THE STREETS: For every four hours spent around drug 
  rehabilitation centers or talking to street-level heroin dealers, each of 
  Quentin Milton (Order #26014138)
  
  the Investigators may make a Streetwise, Streetwise-Drugs, or Interro­
  gation Techniques skill roll (add 1 % to the character's effective skill per 
  $ 1 0  of bribes offered for information). If successful, someone directs 
  them to Mike's squat. 
  OTHER SOURCES: Local drug rehabilitation centers and welfare 
  offices also have Mike's dummy address revealed to investigating char­
  acters who fabricate a decent excuse. 
  The Squat 
  Mike Brown's mail-drop, his "official" address, is an uninhabited, 
  boarded up apartment block which looks set to collapse before this dec­
  ade ends. The postal services just dump any letters through the slot in 
  the front door. Player characters can quickly deduce that this building is 
  unoccupied, but the building across the street is certainly inhabited ... 
  and somebody collects the mail because there's nothing at the fake ad­
  dress. 
  Opposite this block is another derelict building, in slightly better re­
  pair. A sign above the door still proclaims that it is the "Sacred Heart 
  Orphanage," but for the last year it has been a squat, home to a score of 
  vagrants, addicts and petty criminals. As most are involved with drugs 
  or crime, they are wary of strangers. Inside, the "Orphanage" is a maze 
  of damp passages and dark rooms. Missing floorboards make rapid 
  movement hazardous, and rusty nails and twisted pipes protrude from 
  the walls. 
  Player Characters should find the area alien and unsettling. Shouts 
  and conversations echo down corridors and rats move audibly behind 
  rotten skirting boards. Three sample encounters for player characters 
  wandering through the squat are suggested below (use all three, if possi­
  ble). Use Preserver Activist statistics from the Nightbane@ RPG (page 
  198) for thugs in the building. Anyone in the building knows where 
  Mike's room is, but not all are willing (or coherent enough) to talk with 
  strangers. 
  1. In the entrance lobby, a pale young woman with bloodshot eyes 
  breast-feeds an emaciated baby. She is oblivious to the Investigators' 
  presence, but grumbles incoherently, her breath thick with cheap liquor. 
  2. Three macho guys approach the player characters menacingly, 
  each armed with switch-blade knives. They demand money from 
  wealthy looking characters (which is just about anybody in this neigh­
  borhood), attempt to stare down anyone who looks even mildly tough, 
  and just barge past those who seem too poor or puny to be worth both­
  ering with. If faced with serious opposition they flee. 
  3. "Hey, you wanna buy something?" The face in the doorway offers 
  smack, speed or hash (except to obvious uniform policemen) and for 
  $ 1 0  tells anyone who asks where to find Mike Brown -"end of the 
  corridor, door on the right, next to the room that smells of urine." This 
  is actually Mike's pusher, a scrawny youth named Rico who deals to 
  feed his own habit. If the characters ask, he can vouch for Mike on the 
  night of the 6th and "ain't seen nothing weird." 
  Talking With Mike 
  In an unused dormitory on an upper floor, Mike Brown lies wasted 
  on a filthy mattress. Talking with him is hard going, as he has little in­
  terest in anything outside of his own addled mind. Characters have to 
  ask him questions several times before he offers an answer that is prob­
  ably correct. 
  He has not heard about his brother or father's death, and when told, 
  is not concerned; his only contacts with his family in the last three years 
  have been letters begging for money from William and Gregg (he 
  claims to have lost their addresses, but both can be found in a tattered 
  notebook in his jacket pocket). 
  Mike Brown 
  Alignment: Anarchist 
  Attributes: I.Q. 9, M.E. 5, M.A. 6, P.S. 9, P.P. 9, P.E. 8, P.B. 1 1 ,  Spd. 
  8 
  130 
  Hit Points: 1 8  
  S.D.C.: 8 
  Age: 23 
  Weight: 1 25 Ibs 
  Height: 5 feet, 9 inches 
  P.P.E.: 6 
  Disposition: Irritable, confused, semi-comatose and (at best) semi-co­
  herent. 
  Skills of Note: Pilot automobile 60%, streetwise 30%, and streetwise: 
  drugs 55%. 
  Mike's Death 
  On the night of the 9th, a ragged woman, a tramp, wanders into the 
  squat. No one pays her any mind. Some of the other squatters (including 
  his pusher, Rico) overhear snatches of conversation between Mike and 
  the woman, and later recall that Mike addresses the visitor deferentially 
  as "Mathers." If asked, they concede that this might have been 
  "Mother," but the idea hadn't occurred to them as he'd talked about her 
  murder. 
  The two talk for about an hour and then the woman leaves. In the 
  morning, Mike is found dead of a truly massive drug overdose, the 
  Revenant having provoked enough guilt in him that he has killed him­
  self. Rico and three others bundle the body up and dump it in the road 
  two blocks away, where it is eventually spotted by a police patrol car. 
  The body is identified from ill in his pocket, and the police issue the 
  usual unheeded statement to the press about another poor wretch dying 
  of a drug overdose. 
  G.M. Note: If the player characters are present when she arrives and 
  interfere with Elisa's plan, she adopts a more direct approach. She tries 
  to shove her way to Mike and hurl him down from the nearest window 
  or stairwell. Any player Characters present will attempt to prevent this, 
  and a fight should ensue. She will also still say and do things that might 
  cause Mike to kill himself or run and fall out a window or such. 
  Gregg Brown 
  Gregg is easier to find. Various bureaucrats have his real address on 
  file (tax agencies, etc.), and he is in the local telephone directory. The 
  Police and Prison services have informed him of his brother's and fa­
  ther's deaths. He has no criminal record, and lives in a relatively safe (if 
  poor) area of the city. 
  During the day, Gregg can be found working in his shop, where he 
  repairs and makes wooden furniture, cabinets, etc. He hates the work, 
  but has no other qualifications and at least makes a living this way. 
  Every evening, he drinks listlessly in the smoky bar at the end of his 
  street, standing with a rowdy group whom he calls "friends." He buys 
  them drinks and cigarettes, and they ridicule his lisp and his ugliness. 
  At about ten o'clock he shuffles home, and then often (including the 
  night of the 1 2th) phones a prostitute. He has several regular girls, all 
  short, brown haired and slightly dumpy, resembling his mother. They 
  only stay for a quarter of an hour, exchanging few words with him, and 
  when they leave, Gregg feels even more miserable than before. 
  Talking with Gregg 
  Gregg lives in a two-room flat above his shop, accessible through 
  the shop or from an alleyway to one side. The wallpaper is peeling at 
  the comers, and the lights are bare bulbs. Everything is functional but 
  old, and most of the appliances work temperamentally. In November, it 
  is cold. 
  The shop is dusty and cluttered, with furniture, strips of wood and 
  tools littering the area. Again, basic but functional. 
  Gregg is not imaginative or articulate. He talks with a lisp, is self­
  conscious around women and avoids eye contact with those whom he 
  does not know. 
  He is not inclined to believe that his mother has returned from the 
  dead to kill him, at least not consciously. He gets angry, upset and irra­
  tional if the player characters try to tell him otherwise, and pretends he 
  Quentin Milton (Order #26014138)
  
  doesn't believe them. He tells them to get out of his life and threatens to 
  call the cops if they insist on loitering in his shop or flat. He then shuts 
  the idea out of his mind by immersing himself in his work, friends, and 
  guilty sexual liaisons. If the player group is to protect him, they must do 
  so without his cooperation. 
  Gregg Brown 
  Alignment: Scrupulous 
  Attributes: I.Q. 10, M.E. 7, M.A. 7, P.S. 9, P.P. 10, P.E. 1 2, P.B. 7, 
  Spd. 1O 
  Hit Points: 22 
  S.D.C.: 10 
  P.P.E.: I I  
  Age: 22 
  Weight: 1 50 lbs 
  Height: 6 feet tall ( 1 .8 m) 
  Disposition: Miserable 
  Skills of Note: Cook 40%, pilot automobile 60%, and streetwise 20%. 
  Gregg's Death 
  Elisa's Revenant approaches Gregg's shop from the main road at 
  around 1 1 :30 p.m. on the night of the 1 2th. She is the same build and 
  height as the prostitute who has (probably) just left, and characters must 
  make a Tailing/Surveillance Systems skill roll to see that it is a different 
  person (recognizing it as Elisa if they have met at Mike's). It walks up 
  the steps to his flat and knocks. He opens the door. He screams very 
  lOUdly. If the player characters are anywhere nearby then they hear him. 
  Unless stopped, the Revenant barges into the flat, chasing Gregg 
  down into the shop (which takes one melee round) and it takes another 
  four melee rounds for her to chase him around and beat him until he is 
  unconscious. The creature of vengeance then takes some of his tools 
  and in the next four rounds, crucifies him on the wall of the shop, fi­
  nally plunging a screwdriver into his throat. Walking out of the shop 
  door and into the night, it is never seen again. Hopefully the player 
  group intervenes to save the Gregg before he ends up staked to the wall. 
  Epilogue: The Lawyer's Proof 
  If the Investigators capture the Revenant, she remains mute, refusing 
  to talk with anyone, nor to react to anything said or done to her. She 
  will be detained in a psychiatric hospital indefinitely; if she escapes 
  (and she will try), the restless spirit will try to finish her plot for re­
  venge. Once all her men tormentors are eliminated, Elisa disappears, as 
  if she never existed. Note: Those knowledgeable in magic are likely to 
  be able to figure out what Elisa is and how to best contain her/it, and 
  can eventually disperse the energy and destroy the creature in a lengthy 
  exorcism or negate magic ritual (takes hours to prepare and the cere­
  mony itself takes another hour). There should be enough evidence (and 
  perhaps witnesses) to clear Lee Darent. 
  If the Revenant is slain, the police cannot identify the woman (they 
  refuse to accept that she is some sort of ghost), and if the player charac­
  ters kill her (perhaps "justifiable homicide" in the US - but they can ex­
  pect to be imprisoned if the adventure is run in Europe) the police 
  cannot identify the body. 
  What police forensics or player characters with forensics skills can 
  find on the corpse are hair and blood traces from William Brown and 
  traces of heroin (these items are found on a captured Revenant only if a 
  careful and thorough inspection and collection of evidence is con­
  ducted). They also find glass dust from a beer bottle, and earth corre­
  sponding to the soil in the cemetery, but may not draw any conclusions 
  from these. They are satisfied that she killed William and release Lee 
  Darent (whose wife divorces him). 
  Footnote: Prodding the Players 
  Some players are unused to taking the initiative. They need linear 
  plots with no brain-work. For this reason, this adventure has the lawyer, 
  Hodge. 
  131 
  In the players can't think of what to do, Hodge might make a 
  number of suggestions or offer information and speculation. "Have you 
  tried public records/the welfare offices/asking the police?" "I've had 
  someone make some calls to trace Mike Brown, and you know he died 
  two days ago?" and so on. 
  Once the players have got some information, I.Q. rolls for their char­
  acters might be necessary. "It occurs to you that the building across the 
  road looks like a squat." "You realize that these three deaths all hap­
  pened three days apart, and are in order of age." Of course, the GM 
  should try to minimize such obvious interference, prodding the players 
  only if they are really stuck. 
  All Men 
  are Bastards 
  By Kevin Hassall with additional text by Siembieda 
  Adventure Overview 
  This adventure involves the player characters' search for a missing 
  friend or colleague, one Doug Masters. It doesn't particularly matter 
  why the characters are looking for him. He may be a friend or family to 
  one of the player characters, or he may have been a servant of the char­
  acters' own patrons (if the characters serve an organization like the 
  Seekers or the Brotherhood, for example), or he might be rumored to 
  have information that they need with regard to an ongoing plot in your 
  campaign. 
  The adventure can be set in any city in the US without any changes 
  being required, and works fine in a 1 990s or Nightbane setting. Alter 
  the names to fit the adventure into another country. G.M.s running Pal­
  ladium Fantasy RPG® campaigns, or Rifts® games, should still be 
  able to make use of this by changing some of the character backgrounds 
  and the details of the locations. The adventure works for any number of 
  player characters, and can even be used one-on-one with a single player, 
  so long as none of the characters are terribly tough. 
  In the beginning, all that the characters know is Doug Masters' last 
  known address, which may be in their own native city, or further afield, 
  as the G.M. wishes. They will eventually find the man, but by then it is 
  too late for him. His mind has already been stolen. The player charac­
  ters should, however, still pursue the matter, hoping to "cure" him or 
  find out who has so violated their friend. 
  Theme & Feel: The adventure is, more than anything else, a gritty 
  urban gothic romance. Think of a moody French remake of NYPD 
  Blue, and (in true French movie style) add one vulnerable yet deadly 
  woman who falls in love with one of the player characters. If your play­
  ers aren't up to role-playing personal interactions, or their characters 
  simply don't have enough personality to hold conversations or form re­
  lationships with NPCs, then you will probably find other adventures in 
  this book which are better suited to your group. 
  The basic relationship in the adventure between the two main NPCs 
  is a perverse father-daughter relationship. But beyond this, the adven­
  ture also looks at the way in which people shamelessly use and exploit 
  one and other. The NPCs, without doubt, are bastards: It's up to the 
  player characters to demonstrate whether or not "All Men Are Bas­
  tards." 
  The G.M. should feel free to insert any other little encounters or epi­
  sodes which underline these themes. 
  Background on Floretta 
  "Floretta" was born Florence Nye in 1 986. She was left severely 
  brain damaged by a road accident in 2002, her memories and personal-
  Quentin Milton (Order #26014138)
  
  ity destroyed. She was the perfect "blank slate" for psychologist-turned­
  sorcerer, Christian Schaller, to write upon. Schaller recreated her mind, 
  using sorcery and psychology to make her an "ideal" companion and a 
  tool for his schemes. She has no memory of her past, and officially 
  serves Schaller as his housekeeper. However she also seduces men for 
  him - bringing them back to his apartment and incapacitating them. 
  Floretta is deeply unhappy and longs to escape from him and have a 
  life of her own. But Schaller has created her so that she doesn't have the 
  independence to run off and get that life. She is entirely dependent upon 
  him and he has made her completely loyal to him. To Floretta, the evil 
  Schaller is father, mother, husband and only friend. 
  Floretta's personality has been formed by an autocratic man, and she 
  is therefore, very much a male fantasy-figure. She is extremely thin, 
  with an incredible figure, appearing quite fragile, with big doe eyes and 
  a sweet, alluring smile. Her interests are extremely "masculine" (sports, 
  cars, etc.) but she is completely submissive and subservient. 
  She is the central character in this adventure, which revolves around 
  her dependence upon Schaller and her search for an escape. Unable to 
  run away on her own, she hopes that she will find a man who will take 
  her away from him. A brave and loving "prince" to whisk her away into 
  the sunset, but so far, the men she has approached have all been preda­
  tory bastards, far more interested in her body than her feelings, and she 
  has turned them all over to Schaller. In this adventure, she approaches 
  one of the player characters. If he, too, turns out to be a laddish and 
  predatory male, then he will end up as one of Schaller's victims. If, on 
  the other hand, he is a kind-hearted, sensitive sort, he will be able to 
  save Floretta from Schaller and solve the "missing person" mystery 
  which brings the player characters into the adventure. In order to better 
  engage the player characters' interest, the G.M. may wish to change de­
  tails of Floretta's appearance and interests. 
  Floretta; also known as "Florrie." She sometimes uses the last name 
  of Schaller or Smith, but her real name is Florence Nye. 
  Alignment: Anarchist (with strong leanings toward good). 
  Attributes: I.Q. 1 2, M.E. 6, M.A. 15, P.S. 7, P.P. 1 8, P.E. 1 6, P.B. 19, 
  Spd 12  
  Hit Points: 28 
  S.D.C.: 14 
  P.P.E.: 2 
  I.S.P.: 25 
  Disposition: Florrie wants to be a good person and doesn't like what 
  Schaller makes her do (she really doesn't have the will power to 
  openly challenge or defy him, Schaller has made certain of that). She 
  also feels confused, desperate and increasingly lost. If she can be re­
  moved from Schaller, Florrie can become a more independent and 
  loving person, although she'll always lack total confidence and will 
  tend to be insecure and possessive. 
  Skills of Note: Cook 45%, sing 45%, first aid 55%, holistic medicine 
  30%, pilot automobile 62%, hand to hand: basic, running, and com­
  puter operation 50%. 
  Special Abilities: Any character in intimate physical contact with Flor­
  rie may (at her discretion) be rendered entirely helpless (drowsy and 
  unable to move or even speak, but fully conscious). This is a psychic 
  power against which there is no save (although Mind Block, and 
  similar, prevent it from functioning) and it takes effect in a number 
  of minutes equal to the target's M.E. 
  Psychic Powers: Empathy (constant, no cost; male targets have no 
  chance of saving against this) and induce sleep. 
  Christian Schaller 
  Christian Schaller was born in 1928. He's enjoyed a distinguished 
  career as a professor of psychology and has cultivated an impressive 
  ability to pick up information. His friends used to say that he absorbed 
  knowledge like a sponge. Few ever discovered how right they were. 
  After his retirement in 1 988, Schaller's broad range of academic in­
  terests allowed him to develop an understanding of magic. His aca-
  132 
  demic self-discipline and attention to detail well equipped him to 
  become a sorcerer. Of course his primary interest was in using magic to 
  gain yet more and more information. As a psychologist he had strived 
  to learn about the human mind: in retirement he learned how to magi­
  cally extract knowledge directly FROM the human mind - to absorb 
  the human mind itself! 
  Now, he lives in the penthouse apartment of the building that he 
  owns, reading books, newspapers, listening to the radio, surfing the In­
  ternet, dabbling with magic, or just looking out of the window. All he 
  wants is information and a stack of books. Access to a computer will 
  keep him content for days. His pension and some astutely made invest­
  ments ensure that he wants for nothing. He sees no point in going out, 
  so Florrie fetches food, newspapers and books for him. 
  Schaller is an elderly, white male, with thin, receding grey hair and 
  twinkling green eyes. He usually dresses formally, typically in a tie and 
  jacket. He speaks quietly, but with great confidence, making passing 
  references to all manner of things. Schaller actually knows so much that 
  he finds it difficult to avoid talking in rambling lectures, and under­
  standing his meanings may be difficult. 
  His attitude to other people is one of detached interest. He is incapa­
  ble of seeing people as anything but fascinating subjects of inquiry, and 
  hasn't felt anything towards anyone in decades; including Florrie. He is 
  not cruel, per se, he is simply very cold. 
  Christian Schaller 
  Alignment: Anarchist (bordering on miscreant). 
  Attributes: I.Q. 22, M.E. 19, M.A. 12, P.S. 9, P.P. 6, P.E. 7, P.B. 9, 
  Spd 8 
  Hit Points: 39 
  S.D.C.: 10 
  P.P.E.: 55 
  I.S.P.: 40 
  Experience: 1 0th level psychologist, 3rd level sorcerer. 
  Skills of Note: "Cerebral" skills including all the skills listed under the 
  Categories of Communications, Domestic, Electrical, Espionage, 
  Mechanical, Medical, Science, and Technical (all at 85%), plus hand 
  to hand: basic (3rd level), pilot automobile 90%, and understanding 
  the principles of magic 76%. 
  Special Abilities: Schaller literally absorbs information from the things 
  and people around him. Nonfiction books left in his presence lose 
  their writings as he absorbs their contents; people living in his apart­
  ment block tend towards forgetfulness and premature senility. He is 
  also an unnaturally competent psychic, but is very receptive to out­
  side mental stimuli (automatically fails all saving throws vs psychic 
  effects). Finally, by laying his hands on a person's head for several 
  minutes (melees equal to their M.E.), he can absorb their entire set 
  of memories (and also, personality). The process is extremely pain­
  ful for the victim, who must be incapacitated and/or restrained 
  (which is where Florrie's psionic ability to induce sleep comes in 
  handy). 
  When it's over, the character's mind is a clean slate with only the 
  instinct to eat and stay near the place of his misfortune; actually 
  drawn to it and can find it without difficulty even if taken far away. 
  The victim is free to wander the streets, unable to speak (it's forgot­
  ten) and without a sense of self-identity, purpose or knowledge. All 
  skill abilities, bonuses, spell knowledge, special powers, etc., are 
  completely gone - forgotten. All mental attributes are reduced to 
  one point. Note: If Schaller drains the mind of any player character 
  during this adventure, then he subsequently has any and all of his 
  knowledge, including all of his special abilities and magics. See the 
  section at the end of this adventure, entitled Kill and Cure. 
  Psychic Powers: Object read, presence sense (constantly in operation, 
  no I.S.P. cost), see aura, sense magic, speed reading (no I.S.P. cost), 
  total recall, and telepathy. 
  Spells: Limited to see aura, see the invisible, invisibility (simple), 
  befuddle, calling (usually to Florrie), domination, escape and tongues. 
  Quentin Milton (Order #26014138)
  
  Part One: 
  Contacts & Inquiries 
  Checking Masters' Apartment: Masters' home is a nondescript, 
  second story apartment in a once respectable but slowly decaying 
  neighborhood. Several of the shops across the street have been boarded 
  up. A wall facing the front entrance has been sprayed with obscene 
  graffiti ("The commies brought Dark Day. To hell with the lot of them." 
  Other hands have added, "And the Moslems" and "And the gays"). The 
  building's steps are well swept, but cracking. The paint in the entrance 
  lobby and hallways is clean but peeling. 
  If the player characters were friends, relations, or close associates of 
  Doug Masters, then they should be assumed to have visited here several 
  times and even have a spare key to his apartment. Otherwise, the easiest 
  methods of entry are to pick the lock on the door or to scramble up the 
  fire escape and force a window. 
  Inside, everything is in perfect order. There is no sign of a struggle. 
  Clothes, toothbrush, belongings, and extra cash are all present - sug­
  gesting that Masters hasn't just packed up and left. The TV is still play­
  ing and there is a load of musty clothing in the washer, all suggesting 
  that he left voluntarily and didn't expect to be gone for a long period. 
  However, the mail has been piling up under the mail slot for several 
  days. His mobile phone, wallet, watch and other portable bric-a-brac, 
  have disappeared along with him. 
  Checking mail, e-mail, etc., yields no clues. It seems that the man 
  just walked out of his home one day and didn't come back. 
  Subsequent Investigations. Attempts to contact Masters on his mo­
  bile phone inevitably fail (The phone has been smashed up, so it isn't 
  receiving). Checking his e-mail shows that he hasn't checked his mail­
  box since he vanished, so it is also futile trying to contact him electroni­
  cally. 
  Work colleagues, if he had any (it may be easier to assume that he is 
  self-employed or unemployed), have noted his absence but have no idea 
  where he has gone. They can tell no more than the neighbors: one day 
  Doug Masters just stopped coming to work. At first they thought he was 
  sick, but he hasn't phoned in or been seen since. 
  Likewise, family members haven't heard from Doug in a while 
  (roughly corresponding with the time he seems to have vanished). 
  Any Shadow league associates, local criminal contacts, and other 
  sources available to the group fail to dig up any hints as to the man's 
  fate. 
  Talking to the Neighbors: If the investigators knock on the door 
  across the hall it is answered by a young woman. She is stuffing a wad 
  of bank-notes into her jeans' pocket, and has fresh bruises and tear 
  stains around her eyes and lips. She seems nervous, defensive and thor­
  oughly miserable. 
  Behind her, the player characters can see a man sprawled on the liv­
  ing room floor, a half-empty whiskey bottle and his wallet beside him. 
  Observant players will notice slight bruises on the man's knuckles, and 
  he and the woman wear matching wedding rings. 
  The woman (whose name is Denise) is prepared to answer the play­
  ers' questions if they are pleasant and can put her at ease. She vaguely 
  knew/knows Doug Masters; she borrowed some sugar from him once, 
  and he watched their cat when she and her husband visited relatives last 
  year, that's about it. She has noticed that he hasn't been around for a 
  few days, and if those she's talking to seem worried for him, she also 
  becomes vaguely concerned. She remembers, however, that over the 
  few days before his disappearance he actually seemed happier, more 
  content than usual. But she can't give any further information or assis­
  tance. 
  Denise's husband, Lou, is too drunk to tell the characters anything, 
  and if pressed, becomes annoyed and ready to brawl. 
  133 
  Quentin Milton (Order #26014138)
  
  Other neighbors know even less. They've seen him around, but he 
  kept to himself. One remembers seeing him with an attractive woman 
  about a week ago, but can't even begin to describe her. 
  The local gang of surly youths (every decaying neighborhood has 
  one) are equally unhelpful. "Disappeared? Life sucks. Who cares? 
  Screw you!" G.M. Note: If a fight develops with the gang members, 
  use the stats for Preserver Activists, on page 1 98 of the Nightbane® 
  RPG). 
  Asking the Police: Masters has not yet been officially reported 
  missing. If the player characters choose to report his disappearance, an 
  apathetic detective takes down any details they can give. He has other 
  things on his mind - specifically sex (if there is a female character pre­
  sent, he tries to chat her up with more persistence than charm) and base­
  ball ("say, d'you hear if the Jays won? I had ten bucks on them.") 
  In any case, the player characters are likely to approach the police or 
  local hospitals to find out if Masters has been in any trouble. They 
  know many details about him (description, date of birth, some details of 
  past history) and can get a photo of him from his flat if they do not al­
  ready have one. 
  No policeman recognizes the name, and there is no record of any 
  Doug Masters having been arrested, involved in any sort of trouble, wit­
  nessing a crime, or being admitted to a hospital. A police desk-sergeant 
  or patrolman, however, recognizes the photo. 
  The policeman says that this man, a "John Doe," was arrested for 
  stealing a loaf of bread from a convenience store over on Washington 
  Avenue, and that from his dress and stench he seemed to have been liv­
  ing on the streets. The policeman also says that the man refused to talk 
  or give his name, had no rD, and seemed oblivious to everything that 
  happened around him; either drugged out or mentally retarded. The 
  store owner didn't want the bother of pressing charges, so after a few 
  hours, the police just let him go. That was a couple of days ago. 
  Did Masters seem disturbed, or insane, when the police picked him 
  up? "Beats me, pal. Just another stoned junkie or street retard. No one 
  pays me enough to care for those bums, y'know." 
  The store owner (assuming they can get the location) basically con­
  firms what the police officer reported, only he's a bit more compassion­
  ate. "Yeah, the poor guy seemed out of his head. Not mean or crazy, 
  you know. More like a little kid lost, scared and hungry. I didn't want to 
  cause him any more grief, and I didn't need the hassle, so I didn't press 
  charges. Cops couldn't get a word outta him though." 
  Asking on the Street: One ploy would be for the player characters 
  to ask passers by, shopkeepers, barmen, and others in the city if they 
  have seen Doug Masters. A couple of days of footwork, wandering 
  around the city, will be required. The name means nothing to anyone. 
  Showing the photo around, however, gets more response. 
  In a bar near Washington Avenue, a barman shakes his head when 
  shown the photograph, but also at the bar is a fat guy in a suit, who 
  reaches out and takes hold of the photo, peering at it while he shouts 
  into his mobile phone. "Don't bulls**t me Val. Pages pay wages. You 
  sell 50K this issue or you're on welfare." He then hangs up and looks 
  up at the player characters. "Yeah, I seen this guy begging a couple 
  o'blocks down from here this morning. I told him to get a goddam job." 
  Several other folk in the same region also recognize Masters from 
  this photo, saying that it looks "a lot like some homeless guy I seen 
  around here." 
  A disturbing Encounter: One shop owner tells the group that he 
  just saw "the guy" and points them in the general direction. A quick 
  dash around the block and they find a man who vaguely resembles 
  Doug, but is clearly not their friend. He is one of the beggars from be­
  hind 1 227 Washington (described under Meeting Doug Masters). This 
  is not Masters, but an older man with a long beard. He does not talk, but 
  follows the group and/or any other passersby, holding his hand out. He 
  accepts money, though he seems uncertain what to do with it, and puts 
  it absent-mindedly in a pocket, but really wants food. His behavior 
  should be strange enough to prompt the characters to use see aura, te-
  134 
  lepathy or empathy (or similar), which allows them to discover that he 
  is effectively mindless (only a swirl of jumbled impressions and no 
  sense of self-identity or a past; only hunger and confusion). 
  This encounter should take place somewhere in the region of Wash­
  ington Avenue, prompting the characters to concentrate their search in 
  this area and, eventually, to find Doug Masters. 
  Meeting Florrie 
  When the characters have got a good lead on Doug Masters (they 
  know where he has been spotted and are making efforts or are about to 
  make efforts to find him), the G.M. should run this encounter, introduc­
  ing them to Floretta. 
  This encounter takes place in a bar or restaurant. It could ideally be 
  run if the player characters have split up to ask questions around town: 
  perhaps one of them is here asking about Doug Masters and she's one 
  of the people shown his photograph. If the player characters have said 
  that they are going to meet up at a certain time, but haven't specified 
  where, then it may as well be at this bar. Run this encounter when only 
  one of the male characters is away from his comrades in the bar: if oth­
  ers are to arrive later, have Florrie leave before they arrive (she just 
  slips out). Any male player character may be selected for this encounter. 
  Florrie's meeting with him is coincidental, not deliberate. But the G.M. 
  should select a character who is not too paranoid or cold -it should be 
  the sort of character who might take pity on a woman in distress and/or 
  would readily give his phone number to an attractive lady. 
  The character is standing at the bar when the young woman next to 
  him (Florrie) glances up and says, "You know, I've been stood up. All 
  men are bastards, aren't they?" Then she looks embarrassed. "Sorry. I 
  hope ... I ... I didn't mean that ... " If the character doesn't pick up on 
  this and carry on the conversation, then Florrie will continue. "You 
  waiting for someone? No. Waiting's a lousy way to spend time ... " etc. 
  If the player is into playing through chunks of the subsequent con­
  versation, then by all means, do so. Otherwise, just skim through the 
  conversation: tell the player that they talk for about ten minutes and that 
  they get on really well, and that when the time comes that one has to go, 
  Florrie asks for his phone number (In this case, you may be able to get 
  away without even asking the player if his character gives a number; 
  just make it plain that he gives it to her. 
  Florrie sticks to fairly general topics of conversation, selecting those 
  which the player character finds most interesting. She is slightly Tom­
  boyish, and has a good deal of background knowledge and an empathy 
  ability that the player character can't save against, so she should be able 
  to find subjects that he is interested in, and can tell what is and isn't in­
  teresting him. Sport, cars, movies, celebrity gossip and general anec­
  dotes are all possible, and she is sure to ask the character a couple of 
  innocent questions about himself, such as his job ("So, what sort of a 
  man does X for a living?"), travel and origins ("Really? I've always 
  wanted to go to X. Is it really like the photos make it look?"), family, 
  leisure interests and similar. She seems very nice and the character will 
  feel comfortable talking with her (if not outright attracted to her). 
  If asked, Florrie will say that she lives over at 1 227 Washington 
  Avenue (an apartment building), but she doesn't give the apartment 
  number ("just ask the doorman, he'll know"). If asked what she does for 
  a living she just says, "Oh it's so terribly dreary ... " and changes the 
  subject. She will not give her phone number (coyly, "Oh no, I hate it 
  when men call me. I just hate having to say no to them."). 
  If shown a picture of Doug Masters, the character must make a per­
  ception roll to notice that she suddenly seems a bit nervous. Of course 
  she denies having ever seen him before and expresses genuine concern 
  over his being missing, saying something like, "Oh, I'm so sorry your 
  friend is missing. This can be such a terrible world, can't itT' She seems 
  to be a caring person. 
  Schaller is also in the bar during this encounter. He is here to make 
  sure that Florrie does as she has been told, i.e. makes contact with an­
  other promising looking victim (e.g. a man who looks like an intelligent 
  Quentin Milton (Order #26014138)
  
  professional, like the player character). He says and does nothing (un­
  less to defend Florrie from a physical attack) and plays no part in the 
  scene, but the player character will recognize him later on. 
  Meeting Doug Masters 
  In a vacant lot behind 1 227 Washington Avenue, a dozen homeless 
  guys scavenge through refuse and debris left out for the trashmen or 
  dumped here. These were all healthy, attractive men, but they are now 
  undernourished and none have washed or shaved for some time. None 
  ever talk (grunt and moan, but no words), nor even seem to understand 
  any language. They seem oblivious to threats or bribes, although as 
  none have any desires or goals they are easily led or shepherded around. 
  All of these men have had their memories, minds and personalities 
  stolen from them. All mental attributes are roughly equal to one, and all 
  have one P.P.E. point. None of them have any obvious skills whatso­
  ever. They beg out in the nearby streets, accepting money (which they 
  later discard, stuff in their pockets, or swallow, as they don't know what 
  to do with it), but hope for food (sometimes gesturing to their open 
  mouths), or they rummage through the garbage looking for scraps and 
  mementoes. In a derelict trailer nearby, they have created quite a stash 
  of old trinkets - birthday cards (pretty pictures), personal letters, bank 
  statements, broken ornaments, unwanted trophies ... the scraps of other 
  peoples' lives which they have fished out of the garbage. 
  These men have nothing to do but scavenge for food, and hunt for a 
  personality. All seem somehow aware that they have lost something at 
  1 227 Washington Avenue - hence their remaining in the area and 
  searching through the trash - but are not able to understand or explain 
  what they have lost. 
  Doug Masters is one of these men. He cannot remember the player 
  characters, nor anything else about his past or himself. He has not 
  shaved since his disappearance, and he now has the beginnings of a 
  beard, though it is shorter than any other man here, suggesting that he is 
  the newest recruit to their company. A successful perception roll will al­
  low a character to notice that the beard length of each of these speech­
  less (mindless) men (no females) all vary in length, suggesting a 
  progression of victims. Psionic probes will show that all of these men 
  suffer from the same mind wiping malady as Doug! 
  No amount of compassion, magic, or psionics can extract any infor­
  mation from Doug or the others. Whenever he can, Doug pulls away 
  and renews his rummaging through the garbage, forgetting the charac­
  ters are even present. He will have to be physically restrained and 
  forced to be taken away from here, or tricked with lures of food. He's 
  starving and will follow anybody, anywhere to get morsels of food, but 
  this ploy will have the same affect on the other speechless misan­
  thropes, so the player group may have all these homeless (and mindless) 
  men following them like rats following the Pied Piper. However, when 
  food runs out, they all return to 1 227 Washington Avenue. Even more 
  mysterious, these poor, mindless souls can always find their way back 
  to this location, no matter where they may be taken and released. 
  If the player characters are not careful, however, one of them may 
  soon be joining this mindless community. 
  1227 Washington Avenue 
  1 227 Washington is a brick apartment building, owned (according to 
  public records and the testimony of the residents) by Professor Chris­
  tian Schaller. It contains some twenty apartments. It was once plush, 
  but the well-off professional residents are now gone and larger families 
  of struggling workers are moving in. A concierge is permanently on 
  duty at a desk just inside the carpeted lobby entrance, and two elevators 
  and a well-lit staircase provide access to the other floors. The emer­
  gency exit is an enclosed staircase, not a fire-escape, located at the rear 
  of the building. Opening any door to the emergency exit (all carrying 
  big "push bar in case of fire" signs) automatically sets off the fire alarm. 
  Each apartment contains about half a dozen spacious rooms, and the 
  flat roof has been converted into a paved garden area adjoining the 
  135 
  penthouse flat where Schaller lives. All public areas, including the ele­
  vators and emergency stairs, are watched by closed-circuit cameras, 
  monitored by the concierge at the front desk and one guard; a hidden 
  "panic button" allows the concierge to set off a silent alarm, which 
  brings a pair of police cars to investigate in 2D6 minutes. 
  To one side of the building and across the street are other apartment 
  blocks, and to the other side is a convenience store and residents' car 
  park. To the rear is a vacant lot inhabited by Doug Masters and Schal­
  ler's other "empty" victims. 
  A Phone Call & Meeting 
  Soon after the player characters have met Doug Masters and started 
  further inquiries (or resolved to give up on the adventure, as some may), 
  the character whom Florrie met earlier receives a telephone call from 
  her. This is likely to be later that day, or the next. In the alternative, they 
  might bump into each other in the lobby of the apartment building; re­
  member, she lives at 1 227 Washington. 
  During the call, she sounds soft, sweet, and (of course) just a little 
  vulnerable, perhaps scared. 
  "Hello. Remember me? ... Well, I have been thinking of you. A lit­
  tle. Do you like the theater? Well, I'll meet you at the Empire in an 
  hour. Come to the stage door. Everyone knows me there." Any other 
  conversation will be small-talk before she says she has to go. 
  Meeting at the theater. The player character may go to meet Florrie 
  alone or, as paranoid characters are wont to do, may bring other charac­
  ters along as back-up. 
  The theater is closed up. Billboards outside announce a forthcoming 
  production of Arthur Miller's "Death of a Salesman." The side door is 
  unlocked, and a stagehand inside approaches visitors and asks what 
  Quentin Milton (Order #26014138)
  
  they want. If they say that "Florrie" asked them to come, the stagehand 
  directs them up some stairs and out into the auditorium. If they make a 
  scene, the police are called. 
  Florrie is in the upper circle of the theater (that's the balcony high up 
  above the stage, usually where the cheaper seats are), leaning on the rail 
  at the front of the circle and looking down. A rehearsal of the play, 
  "Death of a Salesman," is in progress, and she watches with rapt atten­
  tion and a slight smile. On the stage the extremely camp director is be­
  rating one of the cast: 
  "No, no, Philip lovie! Think about the LINE. 'You cannot eat the 
  flesh and throw away the peel. A man is not a piece of fruit! ' The sub­
  ject is MAN. The proles in the audience should learn something about 
  MEN, Philip, not leave the the-a-tre thinking about citrus fruit! Now ... 
  the scene again!" 
  The G.M. should feel free to throw in any number of other lines or 
  references to the play, as background to the conversation with Florrie. 
  She is enjoying the rehearsal, but knows the play well and is de­
  lighted to meet with the player character(s), enthusiastically holding a 
  whispered conversation while keeping one eye on the stage. 
  Her orders are to make the character(s) increasingly attracted to her, 
  and also to make him/them feel a little jealous. So, she throws in teasing 
  comments like: 
  "Well I just love the play, and I have a friend in the cast ... Now 
  don't look at me like that, he's just a friend ... I promise." and/or, 
  "It's such a sad play. The characters lead such desperate little lives. 
  Life should be about passion, don't you think?" 
  At the same time, she also tries to drop hints to the characters. Re­
  member that deep down, she wants help and companionship, and she 
  hates the life of deception that she is leading: 
  "I just love actors. There's something special about what they do, 
  isn't there? You know, becoming someone else, speaking other peo­
  ples' lines as if they were your own." or, 
  "You know the awful thing about the theater? All those clever little 
  actors there get next to nothing, personally. It's their bosses, the theater 
  owners and promoters, who profit from it." or, 
  "Me? Want to be an actor? I'd hate to be an actor. Hate it. Hate be­
  ing watched, hate following a script. I prefer to sit up here in the shad­
  ows. I don't want to mislead people, like actors do." 
  Florrie's actual attitude will depend upon the player character(s) re­
  actions to her. Remember that she has empathy, and that male charac­
  ters have no chance to save against it, so she can tell what the charac­
  ter( s) attitude toward her is. 
  Very likely, the character is not genuinely interested in Florrie's 
  feelings. Many player characters are cold, calculating psychopaths who 
  never make emotional contact with anyone, and many will view Florrie 
  as little more than a useful "source" of information, or as a novelty; and 
  many macho characters will be more interested in Florrie's body than in 
  her emotions. If the player character whom she has targeted has not 
  started to care about her, then she invites him around to her apartment 
  that evening, with a coyly seductive tone. "Come to my flat tomorrow. 
  Come late, in the evening, around ten 0' clock. And bring some wine or 
  something nice." She then stands and leaves, with a wry seductive 
  glance over her shoulder. 
  If the character seems genuinely sympathetic (really cares about her 
  and her feelings), then when he gets ready to leave her she suddenly be­
  comes desperate and terribly serious. She looks panicky, terrified, and 
  whispers desperately to him, asking him to take her away somewhere ... 
  anywhere. Paris? Rome? Somewhere abroad, somewhere she has never 
  been. Where she can't be found, and she wants to leave now! Immedi­
  ately! Why wait? Actually, she doesn't care how far he takes her. She 
  just wants to get away from Schaller, although she won't discuss him or 
  her motives. 
  If the character promises to take her away and protect her, she goes 
  wherever he wants. If he refuses to help her, or insists he needs to know 
  136 
  more, then she begins to weep silently and will not talk to him anymore. 
  Later, she will phone him and ask him around to her flat, as above. 
  Part Two: 
  Seeing the Problem, 
  Selecting the Solution 
  More Information about Schaller 
  Perceptive player characters may begin to suspect that Professor 
  Schaller is somehow behind the mental destruction of Doug Masters. 
  Perhaps they look into who owns 1 227 Washington, and find that it be­
  longs to this retired psychologist. Or perhaps they find the news story 
  about Schaller and Florence Nye while they're trying to work out who 
  Florrie is (below). In any case, some players will want to investigate the 
  man and his past. 
  According to the neighbors and tenants, Schaller is a respected and 
  polite man, with no enemies but no friends either. He is always inter­
  ested in what others have to say, but seems genuinely close to none of 
  his neighbors. 
  According to psychological journals and academic records, he was a 
  respected psychologist who published a lot of papers on the subject of 
  human memory and personality. He also ran a number of experiments 
  on destroying the memories of various dogs, rats, and other lab animals. 
  According to previous colleagues (younger psychologists, still 
  teaching at universities around the country) he was a superb theoretician 
  and researcher (i.e. a very competent vivisectionist), who had few ethi­
  cal qualms, although he was never popular with his students. Ex-stu­
  dents of his (who can be contacted via alumni organizations) put the 
  point more bluntly: he was a sick butcher who never cared how much 
  needless pain he put animals through, and who for all his theoretical 
  wisdom, had no idea how to relate to his fellow human beings. 
  Shadow league files show he authored and posted a little known the­
  sis entitled, "Magic and the Mind." In it, he talks about mental focus, an 
  openness to ideas, mind expansion, and the possibility of using magic to 
  link with and share memories. That was five years ago, and his last 
  post. 
  More Information on Florrie 
  Player characters may try to get some information on who Florrie 
  actually is. Good luck to them. Even with fingerprints and photos of her 
  they won't be able to identify her through police or government con­
  tacts. Only magical means might give them any hints. 
  They can, however, say with certainty that she is no relation of 
  Schaller's. Searching through public records shows that he has no 
  nieces, female cousins or daughters (at least, none whose births have 
  been registered). There is also no record of his ever having married or 
  adopted. 
  Indeed, the lack of information on her is significant. There is no re­
  cord of any woman living at Schaller's apartment since he bought the 
  building decades ago - not from the phone company, social security, 
  schools, tax, or any other institutions that they might quiz or whose 
  computers they might hack into. Officially, Florrie does not exist. 
  Contradictory to the above, Florrie will claim to be a maid employed 
  by Schaller. The concierge and guard confirm this. Neighbors have seen 
  the woman coming and going, but don't know whether she's a relative, 
  maid, personal assistant or something more. She keeps to herself, eyes 
  averted, and rarely even waves hello to them. 
  The breakthrough comes if they think to search back issues of local 
  newspapers or academic journals (Duplicates of the last five years' 10-
  Quentin Milton (Order #26014138)
  
  cal papers can be found on CD ROM at the local library. Academic in­
  stitutions will hold the relevant journals). Here (with a successful 
  research skill roll) the characters can find a reference to retired psy­
  chologist, Christian Schaller "treating" one Florence Nye, a severely 
  brain damaged car-crash victim. The treatment is described in one aca­
  demic journal as "experimental" and "revolutionary," but no details are 
  given. The report in the local newspaper also includes a photograph of 
  the woman they know as Florrie. 
  Research into Florence Nye reveals that she has no living kin (they 
  died in that car crash), and if they can concoct a plausible plan to access 
  Florence Nye's medical records, the player group can find out that she 
  lost all memory and personality in the road accident. Medical records 
  refer vaguely to Professor Schaller's involvement in her case, and men­
  tion that she was making a good recovery in his care; but then she van­
  ished while on day release from the mental hospital and her current 
  whereabouts are unknown. 
  She will phone two days later to meet somewhere else (the theater 
  again?). If the character still doesn't care about her, but fears for him­
  self - sensing a trap - then she may never talk to him again, unless 
  she thinks he can take her away from all of this. 
  If the player character enters her bedroom, then an hour later he is 
  lying naked and helpless on her bed (see Florrie's Special Abilities). At 
  this point Schaller emerges from his study. He tells her to leave and en­
  ters Florrie's bedroom. She grabs a bathrobe, glares down at the charac­
  ter, pouting in disgust, and leaves the room. Schaller sits on the bed and 
  puts his hands on the character's head and unless the others fortuitously 
  intervene in the next few melee rounds (equal to the character's M.E.), 
  the unfortunate fellow will be joining Doug Masters and the mindless 
  tribe in the lot out back. 
  Sheltering Florrie 
  Harsh accusations, threats, bullying tactics, and other rough meas­
  ures used on Florrie by the player characters will only tum her against 
  them (and send her to Schaller for help). However, if the player charac­
  ters are gentle with her, showing compassion and a desire to help, she 
  will begin to confide in them. There should be some interesting role­
  playing to be had here. 
  # ...... 
  r 
  f�;7") 
  _1 ... ' ... " 
  :...� 
  A Dangerous Visit 
  At some point, the character whom Florrie met at the bar will most 
  likely accept an invitation to "her apartment" (Schaller's penthouse), 
  unless he agrees to take her away with him first. He may agree during 
  the meeting at the theater or go back with her after some other meeting, 
  or Florrie may invite him over the phone (e.g. if he didn't go to the 
  theater). In the alternative, the character may decide that going to the 
  apartment may be a good way for him to uncover more information 
  about Florrie and Professor Schaller and agree to such a rendezvous 
  (perhaps with the other player characters waiting close by). 
  If the character arrives at 1 227 Washington to meet with Florrie, the 
  concierge directs him to the penthouse apartment. (Passing the mail­
  boxes by the elevators, curious characters may stop to check whose 
  name appears under the Penthouse slot: it is "Dr. C. Schaller). 
  Florrie answers the door to the Penthouse, wearing a skimpy, black 
  dress (think French movies). She beckons him into the living-room, 
  smiling. She pours two glasses of red wine, and carries the glasses 
  through to an adjacent room - her bedroom (double bed, white lace 
  covers turned down, etc.). Does the character follow her? If he follows, 
  he is doomed (the G.M. may want to save the embarrassment of role­
  playing through the next hour). If he refuses to follow she pouts, sulks, 
  and eventually throws wine in his face and demands he leave. The time 
  for conversation is past: the guy either enters her bed (bad move) or re­
  treats. 
  If the player character is genuinely concerned for her, Florrie will 
  find some reason to throw him out of the apartment for his own good. 
  ,\\�'\}� If the group takes Florrie away from Schaller (e.g. from the theater 
  .-
  and/or apartment), then he tries to recover her, sending two sets of thugs 
  (see below) and eventually, if necessary, pleading with the group in per­
  son. Schaller is not without his own resources and remember that he has 
  seen the target player character (and probably his friends) on at least 
  one or two occasions, if not more. He should be able to track one or all 
  of them down. Thus, it is important for the players to inform the G.M. 
  where their characters are taking her, whether she is guarded, left alone 
  (she'll panic if left alone and flee, probably to Schaller; she doesn't 
  know any other life or protector), and other details. 
  137 
  Florrie has no memory of her past as Florence Nye and tells how 
  Doctor Schaller saved her from being institutionalized and helped her 
  find her place in the world (Florrie is terrified of being locked away in a 
  mental hospital or prison). Florrie has no idea exactly how the Doctor 
  helped her (therapy she would guess, she doesn't really remember). She 
  wants a normal life, but feels obligated (almost enslaved) to Doctor 
  Schaller - after all, she owes him "everything." Besides, she doesn't 
  own anything, has no money or family, or friends (till now?), so where 
  could she go? She's tried leaving two or three times, but was always 
  terrified, didn't know what to do next, and Schaller always found her 
  within 24 hours. 
  If one or more player characters has earned Florrie's trust, she will 
  tell them how Doctor Schaller makes her lure men up to the penthouse 
  apartment. She doesn't like doing this. She doesn't like how they look 
  at her and sometimes touch her, but ... she feels she must. He usually 
  has her use her "special gift" (the psionic power to induce sleep) to ren­
  der them unconscious and is then told by Schaller to leave. Florrie hon­
  estly doesn't know what Doctor Schaller and the men do, or what 
  happens to the men when they leave. 
  Schaller has told her that he's conducting a psychological study of 
  some kind on particular types of men. She assumed attracting men to 
  her is part of the "study" because Schaller usually watches from a safe 
  distance and it is he who indicates which men she should encourage and 
  lure to the apartment. To be honest, while it all felt uncomfortable to her 
  (perhaps even wrong), Florrie never really questioned it. Until the 
  player character(s) inquired about their friend, Doug Masters, she never 
  new anything "bad" ever happened to them. And actually, she doesn't 
  know that Doctor Schaller is responsible, although in her heart (and via 
  psionics), she knows that he is. Florrie also confirms that Schaller is a 
  Quentin Milton (Order #26014138)
  
  cold, secretive man whom she has no feelings for, other than an unrea­
  soning sense of debt and dependency. 
  Florrie is used to working as housekeeper for Schaller. Her other in­
  terests include watching romantic movies on TV, going to the theater 
  and art galleries. This may not fit in with the player characters' life­
  styles. Do they really want her doing their housekeeping (she expects 
  to), and are they into theater and art? And who will pay for her upkeep? 
  She has no useful skills that fit their lifestyle in the underground world 
  of Nightbane, so she is of little use to a bunch of adventurers who in­
  vestigate (and battle with) the supernatural. Furthermore, she may be an 
  easy target for their enemies (human and inhuman). On the other hand, 
  she is a sympathetic character caught in a cruel and desperate situation. 
  She isn't likely to get a job above minimum wage, and she is all alone. 
  Others, even worse than Schaller, are likely to use her one way or an­
  other. It's also very possible that one or two of the male characters are 
  actually falling in love with her, and, in fact, the more she turns to 
  him/them, the more they are likely to feel some sort of emotion and re­
  sponsibility for her, concern and compassion if nothing else. 
  What do the player characters let her/make her do? How do they re­
  act to her subservience? How do they help? Does she have a future with 
  any of them (maybe they can use a housekeeper, especially while they 
  are away. She'll work cheap). 
  Schaller's Goons 
  LIEUTENANT MENTZ: Mentz is a local police lieutenant, and 
  another of Schaller's tenants. He has great respect for "the professor," 
  who is not only his landlord but also a distinguished academic and pillar 
  of the community. If Schaller tells him that a bunch of no-good scum 
  have tricked the "mental patient" whom he cares for into going away 
  with them, Lt. Mentz will be all too happy to have words with these ruf­
  fians (our heroes). If necessary, he takes a couple of work colleagues 
  with him to confront the player characters, and, in any case, he tells his 
  colleagues where he is going, so if he doesn't come back, the player 
  group will be prime suspects. 
  Lt. Mentz's strategy is simply to walk up to the player characters 
  and demand that they tum Florrie over to him so he can take her back to 
  her guardian. Florrie, of course, is easily led by male authority figures, 
  so if she has Lt. Mentz telling her to come with him, and the player 
  characters telling her to stay, she can't make a decision and is likely to 
  cry. If the player characters don't "encourage" Florrie to stay with them, 
  then she will bow to Mentz's more forceful instructions, and return with 
  him to Schaller. Note: Thinking she is mentally handicapped, Lt. Mentz 
  may guilt her into accompanying him by saying things like, "Doctor 
  Schaller's never hurt you, has he? (the answer is no). "He's your friend, 
  isn't he?" (the answer is yes) "You don't want him to worry, do you?" 
  (the answer is no). "So come with me then and I'll take you home 
  where it is safe." Likewise, if Lt. Mentz threatens to hurt or uses physi­
  cal force on any of her new "friends" (especially the character who she 
  Schaller does not have an army of henchmen, but he is extremely 
  sees as her love or savior), Florrie will immediately agree to go with 
  good at working out how to manipulate people (remember, empathy 
  him, provided he doesn't hurt her friend(s). 
  and telepathy, not to mention some magic and money and cold dispas-
  If the player characters refuse to hand Florrie over, then Mentz 
  sion to know where to find thugs for "special jobs"). He has a number 
  threatens to arrest them for kidnapping her, and at the very least de-
  of tenants who are behind on their rent and who can be "influenced" to 
  mands that they and Florrie come down to the station house for ques-
  help him out. If the player characters take Florrie away from him, he is 
  tioning. If they physically hold her back and refuse to cooperate, Lt. 
  desperate to get her back and calls in a number of debts from unsavory 
  Mentz and his two police buddies will attempt to rescue the girl and ar-
  characters. 
  rest her captors. 
  Wherever Florrie is, Schaller will know. He made her, after all, and 
  If the player characters and Florrie go to the police station with 
  they are linked in a way neither understands (Florrie isn't aware of this, 
  Mentz, Schaller will be there to meet her, and, without the group pre-
  but may mention that "Doctor Schaller has found me whenever I run 
  sent, Florrie will revert to being fanatically pro-Schaller. Under his in-
  away"). 
  fluence, she may even give a statement to the effect that they kidnapped 
  MIKE O'DOWELL: This is a respectable family man, with loads 
  her. Such a statement won't stand up in court, but will be enough to 
  of pride and very little intelligence, or cash. He is a diligent assembly-
  have Florrie released into Schaller's custody and have the group held 
  line worker who hates the way that the country is falling apart and that 
  overnight and then warned to stay away from Schaller and the girl. 
  his wages won't cover the rent whenever he spends money on other 
  The best way to deal with Lt. Mentz is to stand up to him. Florrie is 
  "necessities of life." If Professor Schaller's got a problem with someone 
  an adult, and Schaller has no legal custody or claim to her. Does the 
  "messing with his niece," then O'Dowell is all too happy to get some of 
  Lieutenant have any documents to prove Florrie is one of Schaller's pa-
  his friends together to go rescue the girl ... especially if it means that 
  tients? Or his ward? Until he gets them, he should leave them alone (re-
  Schaller will forget the outstanding rent. 
  member, Schaller is not, officially, even treating her). Lt. Menzt may 
  O'Dowell and his friends aren't subtle. Schaller tells them where 
  bluster and demand, but ultimately no crime has been committed and he 
  Floretta is, and they go there with some baseball bats and try to take her 
  can't arrest anyone unless they give him cause. If the player characters 
  back. If the player characters are letting her wander around the area un-
  are sufficiently stubborn and careful (professional, nonconfrontational 
  protected, then these thugs will snatch her on the street, bundle her into 
  but firm), he will probably have to capitulate and leave without Florrie. 
  a car and drive away. Otherwise, they will go around to where the 
  Indeed, if any of the player characters are respectable folk - perhaps 
  group is keeping her, and break some skulls. O'Dowell may take two to 
  with a professor, medical doctor, fellow officer, or Catholic priest - he 
  a dozen friends with him. The G.M. should choose their numbers so 
  actually becomes polite, reasonable and restrained, leaving quietly after 
  that the player characters cannot easily defeat them, requiring the char-
  a brief discussion. If, on the other hand, they all look like street-scum, 
  acters to do something particularly intelligent, or particularly stupid 
  and/or have criminal records, then he might arrest them on suspicion 
  (like use firearms), or to do some serious running away if they want to 
  anyway. Of course, he may investigate this matter further and go back 
  keep Florrie from Schaller's clutches. Note: Use the Preserver Activist 
  to Schaller to resolve this matter one way or another. At that point, 
  stats in the rule book for these goons. 
  Schaller is likely to call Mentz off, and try other "less official" means 
  II 
  (see Mike 0' Dowell, above, and As a Last Resort, below). Note: G.M.s 
  Scha er has told them that the girl is his deluded niece and easily 
  led, so they won't listen to anything she has to say. If the player charac-
  can use the Corrupt Police stats from the Nightbane RPG for Lt. Mentz 
  ters use firearms to deter them, they run away and dial 9 1 1 (our heroes 
  and any colleagues he involves, however, Mentz is a (relatively) honest 
  h
  and well-meaning cop; unprincipled alignment. 
  could t en be facing loads of criminal charges), but if the group bludg-
  eons them in a fair brawl then their pride will keep them from the po-
  AS A LAST RESORT, Schaller will approach the player characters 
  lice. If they use magic or tum into Nightbane monsters, the men will 
  directly. This should involve him phoning a character (Florrie has a mo-
  flee unless they think they have a real chance at "rescuing the girl" 
  bile phone in her purse, which Schaller uses to keep in touch with her) 
  (things are worse than poor Doc Schaller knows), but will flee if their 
  and invite them to his apartment to discuss matters. This is not a trap. 
  opponents seem too powerful or monstrous ("no money's worth this"); 
  His sole intention is to berate, command and ultimately plead with the 
  police aren't called because they doubt they'd believe them. They will 
  player characters to return "his girl." If the characters refuse to go to his 
  tell Schaller. 
  138 apartment, then he will meet them almost anywhere they wish. 
  Quentin Milton (Order #26014138)
  
  The Penthouse 
  The penthouse apartment is centered around a spacious living-room 
  (sitting room, dining room, and entrance hall in one), with huge patio 
  windows along one wall leading out to the roof garden, and half a dozen 
  doors leading to other rooms (bathroom, three bedrooms, Schaller's 
  study, kitchen). 
  The furnishings are basically old-fashioned, almost Victorian (dark 
  oak furniture, oil paintings), but with a few modem or 1 960s retro 
  pieces thrown in (lava lamps, a big glass table) - an incongruous mix 
  of Schaller's dull good taste, and Florrie's unfocused artistic tastes. 
  Huge bookcases line the walls, filled to the ceiling with ponderous aca­
  demic works (mainly psychology, a few magic) which on examination, 
  tum out to be all blank (remember, his power wipes the pages clean 
  too). 
  The Final Scene 
  Eventually, one or all of the player characters will face Schaller and 
  Florrie, probably in Schaller's penthouse apartment. They should 
  .
  be 
  able to walk unhindered into the elevator, and then up to the landmg 
  outside of the penthouse entrance, though if they have threatened Schal­
  ler or brutalized Mentz or O'Dowell (above), the concierge will have 
  their descriptions and be looking for them. The concierge will try to for­
  bid them from entering and will phone up to warn Schaller if they get 
  past him (then he calls the police, Lt. Mentz specifically). If they actu­
  ally killed anyone, and are now wanted for murder, he also hits the 
  panic button (general police alarm). Dramatic characters may, of 
  course, want to scale the outside of the building, fly onto the roof, etc. 
  In any case, the player group should eventually get up to see Schal­
  ler. The meeting between them and the professor is no great climactic 
  battle. 
  Florrie is tom between her overwhelming loyalty to Schaller and to 
  her equal desire for freedom. She will neither help nor hinder her crea­
  tor (Schaller) or her potential saviours (the player characters unless 
  they are on the verge of getting killed), but cowers behind the sofa or in 
  the bathroom if a fight develops. 
  Schaller, for his part, knows that there is no point in putting up a 
  struggle. He tries to talk the characters out of harming him, appearing 
  genteel, civilized, and reasonable. He can offer the characters a great 
  deal of information, now or in the future. His lore skills, for example, 
  are likely to be much higher than theirs. As he sees it, he could be a 
  great "ally" for the characters and they have nothing to gain by harming 
  him. 
  The player characters may, out of a sense of justice, vengeance, or 
  belligerence, murder Schaller in any case. He doesn't expect to be able 
  to defend himself, but if he anticipates an attack, he will seize the phone 
  and dial 9 1 1 :  the player characters cannot pin any crime on him, after 
  all. 
  If the characters threaten to take Florrie away from him, however, he 
  pleads with them to leave her with him. Without her he will have no 
  more "subjects" to "study." Despite that comment (not enough to get 
  any kind of criminal conviction), Schaller will not reveal what sort of 
  magic he uses to steal people's memories. 
  For her part, Florrie lets the player characters decide whether she 
  should go with them or stay here. She can't make decisions for herself 
  (at least not while Schaller lives) - Schaller hasn't made her that way 
  - and she needs someone else to tell her what to do. If they do take her 
  away, it will be some years before she can make her own way in t�e 
  world, and until then the character who first took her from Schaller Will 
  have to put up with this completely dependent and, in many ways, inno­
  cent woman relying utterly on him or the group. Note: Taking Florrie 
  away will effectively stop Schaller's mind stealing, but doesn't help any 
  of his current victims (the best that can be done with them is to get them 
  in a medical institution). 
  139 
  The conclusion of this adventure depends upon the choices that the 
  player characters face. There are no right answers, no easy genocides to 
  cleanse the evil from the world. Big guns and big statistics won't help 
  them. 
  Note: If the player characters are dead-set against confronting 
  Schaller - if they have Florrie and are just going to leave the adventure 
  here - then have Schaller track them down to demand Florrie back. 
  He brings a whole load of thugs with him (Mike O'Dowell and 
  friends or other, even less savory types), but none of these expect to 
  fight Nightbane or mages and can be easily scared off. Most likely, 
  therefore, this scene, too, is resolved by conversation. 
  Schaller, eventually, breaks down and begs the characters to give 
  Florrie back to him. He needs her, he admits, to bring him "subjects for 
  my studies." He can pay for her return, he says, with information. What 
  do the player characters want to know? Secrets of the Nightlords? Sor­
  cery? Schaller is a pathetic figure: the group should at least have the sat­
  isfaction of forcing him to admit his crimes and denying him Floretta. 
  Kill and Cure 
  Schaller knows no way to reverse the process that he has used to de­
  stroy Doug Masters or his other victims (which might include a player 
  character by now). However, if you are playing a campaign, and one of 
  the player characters was captured and drained by Schaller, the G.M. 
  should allow the others to retrieve his mind and restore his faculties to 
  him. Exactly how the players do this is ultimately up to them and the 
  G.M., but try to make it poetic and/or dramatic, perhaps, horrific. 
  Schaller's death will "release" the thoughts and memories to all of 
  his victims, but do our "heroes" kill him? It could be years before he 
  dies of natural causes. 
  One G.M. option would be for the group to take Florrie away, vow­
  ing to Schaller that they (or he, perhaps with their assistance) will find a 
  way to cure these people (perhaps material for continuing adventures. 
  Along these lines, Schaller, being faced with honestly losing Florrie, 
  may have a heart attack (or commits suicide a few hours or days later), 
  dies, and thus restores his victims. Or Schaller might pull a weapon and 
  coldly try to kill the group, perhaps offering them no other option but 
  lethal force to protect themselves (although not likely). 
  Another G.M. option could see the characters try to reverse or ne­
  gate the mind stealing magic with an impromptu magic ritual of their 
  own. The result could be just about anything that is dramatic, horrific or 
  continues the adventure. Perhaps the ritual kills Schaller, his brains ooz­
  ing from the ears, but saves his victims. Perhaps Schaller dies and ?is 
  victims recover, but each has a bit of Schaller in each of them, changmg 
  them at least a little. Making them a bit colder, dispassionate and per­
  haps interested in magic or accumulating information at all costs. Per­
  haps Schaller turns into a vegetable like his victims, but they are not 
  cured?! Is his and/or their memories completely lost or inadvertently 
  sent into the Astral Plane or ... well, you get the idea. 
  Note: If this is a one-time adventure where the player characters are 
  never going to be reused, then the G.M. may not worry whether or not 
  one of the characters comes to a horrific end. This is a horror game, af­
  ter all. If this is the case, Masters and the other down-and-outs are 
  doomed to a life of mindless squalor, and to end the game with a suit­
  able degree of pathos, the G.M. should end the adventure just as the 
  pes leave 1 227 Washington. 
  As the characters leave the building they see a pair of glazed-eyed 
  beggars scuffling over an old college certificate which they have fished 
  out of a trash sack. 
  Whatever the player characters have done to or for Schaller or Flor­
  rie, they cannot help these victims. 
  Also Note that nothing bad happens to Florrie when Schaller dies, 
  other than being alone and directionless. With time and influence by the 
  right people, she will become a more full and fulfilled person, and make 
  it (more or less) on her own. 
  Quentin Milton (Order #26014138)
  
  Quentin Milton (Order #26014138)
  
  Mother & Child 
  This is a two part adventure, the first playable in one or two eve­
  nings, the second in a single sitting. The second part is set several 
  months after the first (9- 10 months would be ideal), so G.M.s might like 
  to run other adventures in between these two stories. 
  The adventure takes place in India and Thailand, with suggestions 
  given on how to get player characters based elsewhere out to these loca­
  tions. Incidental details are often added within the descriptions of places 
  and people (a piece of furniture, a snatch of conversation, etc.) and 
  where possible, the G.M. should try to weave these into his/her descrip­
  tions. These adventures revolve around and explore themes of mother­
  hood, childhood, control, replication and reproduction, and most of the 
  incidental details are tied in with these themes. 
  Overview & Background 
  This first half of the adventure sees the characters searching for a 
  vanished Indian sorceress named Devika Kenkali. If any of the player 
  characters are members of any magical brotherhood or societies, then 
  assume that she was a member of one of the same group, and that the 
  adventurers are consequently sent to find her (This works for characters 
  who are with the Seekers, Brotherhood of True Illumination Nocturnes 
  or even Spook Squad.) With a bit of imagination, a G.M. sh�uld be abl� 
  to concoct an alternative excuse to send the player group looking for 
  Devika - she alone is rumored to know some information which they 
  need or want, or a more powerful sorcerer hires the group to track her 
  down and steal her secrets, or Devika is a friend of one of the player 
  characters, etc. For a one game night adventure, the player characters 
  might simply be travelling in India as tourists. 
  In any case, the adventurer group will soon discover that Devika's 
  arcane experimentation has gotten entirely out of hand. The magician, 
  now quite power-crazed, has been seeking immortality, and believing 
  that she has learned how to live forever, has become quite unstable, set­
  ting herself up as a "Princess" and subjugating any "mere mortals" 
  whom she comes across. The player characters will find that she is be­
  yond rational conversation, and will inevitably end up killing or fleeing 
  from her. 
  The local language of the area is Hindi. The only languages required 
  for the adventure are Hindi and English. Unless some player's character 
  actually speaks Hindi, assume that the character with the highest I.Q. 
  has picked up the basics of the tongue by the time the adventure begins 
  (by studying phrase books and listening to language tapes during the 
  long journey). This is a very basic understanding (25% skill) with a lot 
  of mime and body-language needed to get anything across to the locals, 
  but it should do. Of course, if any of the characters are actually due to 
  gain any new skills, or if any are new player characters rolled up for this 
  adventure, then someone can learn the language properly, which will 
  make picking up clues a little easier. 
  Note that the entire area in which this story takes places is bathed in 
  magical energy. Devika has unleashed a great magic, which "echoes" 
  out to affect everything within about ten miles (16 km). 
  Players' Information 
  From whatever source, the players' characters begin with a little 
  background on Devika, and only some knowledge of where she might 
  be. The G.M. will probably want to create a scene where the characters 
  learn this from their employer, mentor or boss, and have a chance to ask 
  a few questions before launching into the adventure. 
  Devika Kenkali is an Indian sorceress from a middle-caste Hindu 
  family near Bombay. She is a tall. well-built woman, around forty years 
  old, with a typical Indian complexion and black hair, but easily recog­
  nized by unusually light green eyes. She is an accomplished sorceress, 
  who has recently been seeking the secret of immortality. The last any­
  one heard, she was sifting through some old ruins near the River 
  Krishna, in western India, a place called Adharja Palace. 
  141 
  Air travel can be arranged to nearby Goa, from where the player 
  group must take a train to a small stop where the railroad crosses the 
  River Krishna. 
  The Rail Stop 
  The adventure begins with the player characters "enjoying" the In­
  dian railways. They have had to take a small, local service, which does 
  not have the comfortable seats and air-conditioning which westerners 
  are likely to be used to, so they get off the train at a small local station 
  to stretch their legs. 
  After a four hour delay stranded them at a dusty local station, the 
  player characters find themselves again sitting on bare wooden benches, 
  crammed into a two-carriage train with a couple hundred locals and 
  four nauseatingly naive back-packers. The temperature is over one hun­
  dred degrees Fahrenheit, and many of the windows are jammed shut, so 
  that what little fresh air does get in, just blows around the scents of two 
  hundred sweaty bodies. The poorest locals are travelling by sitting on 
  the roof of the train - cheaper, rather more dangerous, but hardly less 
  comfortable. 
  At last the player characters find themselves crossing the River 
  Krishna on a rickety, old wooden bridge, and the train begins to slow. A 
  couple of migrant workers prepare to disembark, and looking out of the 
  window, the characters can see a twenty foot (6 m) long wooden plat­
  form looming just across the bridge. This is their stop. 
  The train stops for all of one second, just long enough for the guard 
  to dump a small sack of mail out of the window onto the track, and for 
  the two migrant workers to drop out of the (wrong side of) the train. If 
  the player group doesn't get off quickly, they will find the train acceler­
  ating away again. The unsympathetic guard will get the driver to stop at 
  any point along the track for them to jump off, but will only have the 
  train back up to the platform in return for a hefty bribe. 
  This leaves the characters stranded at or near the little wooden plat­
  form, with a couple of migrant laborers. They can ask the pair (named 
  Mani and Awas) about the locale if they wish: what villages are near 
  here? who lives here? The pair vouchsafe that no one but a few scat­
  tered farmers who live in the area. If the characters ask about the Pal­
  ace, the laborers just point up the river. They travel to the area every 
  few months looking for work, and as they haven't been here for a while 
  they know none of the local rumors. They aren't willing to work as 
  guides (they don't know the hills and woods near the palace, and don't 
  want to get lost or in trouble) and soon wander off downstream. 
  If the player characters miss their chance to talk to the laborers, then 
  they might spot and chat with a local man (fishing from the riverbank, 
  perhaps) or might see smoke rising just upstream ... 
  The Riverside. The players can start along the riverbank. When 
  rounding the first bend they see on a broad spit of land, the remains of a 
  dozen funeral pyres. Few of them are recent, but one still smolders. 
  A holy man, named Narasimha, sits praying by the smoldering ashes 
  of the most recent pyre. He talks quite openly to any who approach him, 
  though he prefers prayer to speech and reverts to his meditations if there 
  is a lull in conversation. He answers any reasonable questions about the 
  pyre and his life, unless he believes that the foreigners are deceiving 
  him in some way or intend to harm the local people. 
  The hermit explains that he found the body of a Hindu priest (he as­
  sumes that it was a priest, judging by his robes) the day before. He had 
  been washed up on the bend of the river by the current. The corpse had 
  been appallingly battered, and the head had been completely crushed, as 
  if by some giant hand. Narasimha is shocked that anyone could so bru­
  tally murder a holy man. He built a pyre and cremated the corpse, sit­
  ting by it and praying through the night. 
  He also tells of vague rumors from the west (upstream, where the 
  body must have floated down from) of travellers disappearing; people 
  of all castes simply vanishing as they travelled the little-used road 
  around the ruined British fort. He also confides that a "Princess Devika" 
  is rumored to have settled in the area. 
  Quentin Milton (Order #26014138)
  
  If pressed, he knows little of the "Princess" or the palace. The old 
  British fort he knows to be derelict, with just two "mad English people" 
  living there. Narasimha has no interest in accompanying the group to 
  investigate the priest's death, but instead intends to sit at the cremation 
  ground to pray and meditate. 
  The British Fort. Twelve miles ( 1 9  km) up river from the crema­
  tion ground, towards the ruined palace, stands the ruined garrison of 
  Fort Victoria. This is a large, open enclosure, three hundred yards/me­
  ters across, on top of a small hill overlooking the river. The area is sur­
  rounded by ancient stone walls, reinforced by the British with red brick 
  in the nineteenth century. Within its crumbling walls are a dozen stone 
  buildings and a large parade ground. 
  The gate has long since rotted away, but inside the compound is 
  neat, with a petrol-driven pump chugging in one comer and vegetable 
  gardens along one wall. Two of the smaller buildings are more or less 
  intact, with recently patched roofs and cleanly whitewashed walls. 
  On the veranda of one building an old woman dozes in a rocking 
  chair in the shade, overlooking the parade ground. Anybody with psy­
  chic abilities or supernatural blood (e.g. Nightbane) can also see that the 
  three young girls sitting patiently by the old woman are clearly not mor­
  tals. 
  The Warwicks. The old English woman on the veranda is Mary 
  Warwick. She is now nearly one hundred years old, and has lived here 
  since she married a young Captain at the Fort when she was just seven­
  teen. She is a slightly muddled, rickety old woman, unused to talking to 
  anyone but her husband. The player characters can ignore her for the 
  time being, talking quietly to the little girls (see below) while she snores 
  to herself. If they wake her, she is quite flustered, and calls for her hus­
  band, the Captain. 
  Captain Warwick emerges from one of the whitewashed buildings in 
  les than five minutes. He is fast approaching his hundredth birthday, 
  and is a bald, skinny old man, with a face like a vulture's, dressed in a 
  threadbare white suit and carrying a walking stick. He speaks with the 
  kind of cliched English accent that is only ever heard coming from roy­
  alty or bad American movie actors. When the British granted India its 
  independence, the young Warwick was horrified, believing that without 
  the guiding hand of the "Mother Empire," the "damned stupid natives" 
  would either kill each other or starve to death (It isn't worth telling him 
  that the British killed and starved more than a few Indians during the 
  reign of the Empire.) He resigned from the army and stayed on at the 
  fort, expecting that any day the British would have to come back to save 
  the country from itself. No one bothered to evict him from this barren 
  bit of land. 
  Warwick despises the Indians ("Damned barbarians. Bally wogs 
  shoot their own leaders and their women jump on funeral pyres. What 
  hope for 'em, eh?"), believing that they are like children, in need of the 
  white man's guidance. He is an insensitive, racist, sexist fascist, rarely 
  acknowledging any women or nonwhites in the player group, but of 
  course, he is quite charming, polite, witty and well educated. 
  Warwick takes the white player characters into his office, where a 
  heavy oak desk sits beneath a dusty picture of a maternal-looking 
  Queen Victoria. There he pours lemonade, tea or brandy (as the PCs 
  wish) and spouts on about how wonderful the British Empire was (he 
  tries to ignore nonwhites). The player characters should get the conver­
  sation around to local affairs, of which he knows virtually nothing, al­
  though he has heard of both Adharj Palace and Devika. He also 
  mentions a Hindu priest who tends an old shrine in the woods towards 
  the palace; though, strangely, he hasn't seen the man around for a few 
  days. He also admits to being "bally confused" about Princess Devika. 
  He's heard that she lives up at Adharja Palace, but when he rode up 
  there to "pay my regards to the little lady," he found that the palace was 
  still a ruin, with no sign of having been lived in for decades. 
  The Warwicks don't have much except the decaying fort, an old 
  horse, and some investments in England which pay for them to survive. 
  They should, however, give the player characters a few hints, and can 
  direct them to the Palace. 
  142 
  The Little Girls. In a tight cluster around the old woman are three 
  pudgy little girls, looking like archetypal Victorian cherubs, with golden 
  locks of hair and sky-blue eyes. Their skin is china-smooth (actually, 
  their skin appears to be made of china) and peach-pink, with painted 
  rosebud lips, and their dresses are pristine white with garish pink 
  sashes. The Warwicks cannot see or hear them. 
  These three are the creations of the Warwicks from the psychic en­
  ergy of the couple's desperate desire for children. The three think with 
  one mind, calling themselves Faith, Hope and Mercy. They are the ideal 
  Victorian children writ large - the sickly dream of "innocent child­
  hood" taken to a grotesque extreme. The girls are always polite and 
  eternally cheerful, frivolous, grossly naive, never angry or hurtful, 
  never bored, content to speak only when spoken to, etc. They are, in 
  short, quite unlike any real child, and exactly as 1 9th-century Europeans 
  wanted their children to be. They are self-satisfied and "polite," pretty, 
  quiet and mindlessly submissive. 
  Faith, Hope and Mercy won't willingly be led off by the player char­
  acters ("We'll stay here with Mother and Father as good little girls 
  should"). The player characters can talk to them, but they are galling to 
  speak with. They love "pretty flowers," sing kitsch nursery rhymes and 
  long for "little puppy-dogs"; everything they say is infected with sugary 
  naivety. But the player characters could learn a little from them. Obvi­
  ously, if the group just stands and talks to them in front of the War­
  wicks, the mortals will think that the player characters are mad (just 
  standing there, talking to thin air), which will make them less forthcom­
  ing. 
  The three girls refer to the Warwicks as Mother and Father, and in­
  stinctively know that they have an "Auntie Devika" somewhere nearby. 
  "She's everyone's Auntie. Everyone loves her. Don't you love her?" 
  In rules terms, the three are magical creations but are much like nor­
  mal human children (8 hit points, 5 S.D.C., no supernatural powers), 
  and although they can tum invisible, they can be damaged. If "killed", 
  the child merely disappears, reforming some hours later. 
  Finding the Ruins of Adharja 
  Six miles (9.6 km) up river from the British Fort, a tributary crashes 
  down through a series of rocky ravines into the Krishna River from 
  wooded hills to the north. A body washed down that tributary, whatever 
  its condition when it entered the current, would be battered and 
  smashed against countless rocks, and would appear to be badly brutal­
  ized. Player characters following the River Krishna will notice this 
  tributary, and should guess that the dead holy man had been carried to 
  the Krishna by this stream. If the players don't get the hint immediately, 
  one of them (highest I.Q. rating or perception roll) should notice a piece 
  of a priest's orange-brown robe snagged on a branch in midstream in 
  the tributary. Following this little river leads the group to the palace. 
  Alternatively, the travelers might get directions from the Warwicks, 
  leading them along an old cart-track, through unhealthy woodland to 
  the palace. 
  Surrounding Villages. The player characters may seek to contact 
  surrounding villages to gather information about Devika Kenkali or the 
  palace. There are small farming hamlets in the area, and about two 
  dozen villages within a half a day's walk of the palace, though none are 
  within three miles (4.8 km) of it; one hour's walk in this difficult ter­
  rain. Each village has around 1 20 inhabitants. 
  The locals can direct the group to the palace and give accurate direc­
  tions to the small shrine which, they say, is in the same general area. 
  None have ever been to the palace, suggesting that its destruction came 
  as a result of a plague unleashed by a magician one hundred years ago, 
  and that the magician's magic and the ghosts of the dead still haunt the 
  place. Anyone who would ever go there, it is said, would have to be "as 
  mad as the Englishman" (meaning Warwick). 
  Asked about the alleged disappearances in the area, the villagers 
  have little to say. They have heard talk about some travelers vanishing, 
  but don't want to talk to strangers about it. No locals are missing. 
  Quentin Milton (Order #26014138)
  
  Throughout the villages, the senior woman in each household enjoys 
  unusual respect from her children, despite the fact that in Indian socie­
  ties it is the man who supposedly commands the respect and obedience 
  of the family. If the player characters engage in petty conversation with 
  the villagers, this should become apparent. For example, husbands get 
  defensive if the foreigners ask about their wives or inquire into their do­
  mestic lives. If a child is asked to get "whoever is in charge," the child 
  fetches its mother, who then sheepishly fetches the village headsman. 
  The Wrecked Shrine. As the group travels through the woods to 
  the ruins of the palace, they come across a large shrine. This is a two­
  room building, with a front porch leading to a small inner area. At the 
  rear of the inner room is a beautifully painted and decorated alcove con­
  taining two plinths. Each plinth is large enough to hold a human-sized 
  statue, and on one sits the painted likeness of the god Siva, the second is 
  empty. 
  The shrine has been well maintained, until recently, as the painted 
  walls and plasterwork have been chipped and battered. Scattered across 
  the floor of the inner area are scraps of a holy man's robes, splatters of 
  blood and battered religious objects. The blood is thoroughly dried and 
  cracked, suggesting that the damage was done days ago. Any character 
  using sense magic, see aura, sense P.PE., object read, or any similar 
  spell or talent, gets a sense that a strong magic was active in this room a 
  day or two ago. Beside the shrine is a small, simple hut - a holy man's 
  hermitage. The holy man is not in, and his few simple possessions 
  (cooking pots, religious books, etc.) are all stacked in good order on 
  shelves along one wall of the hut. An object read shows he is dead, 
  murdered, but the assailant is not revealed. 
  What has happened here is that about thirty six hours ago, Devika 
  sent her servants to remove the statue from the second plinth, and also 
  sent a brutal enchantment to deal with the holy man who lived here. The 
  holy man's body was hurled into the tributary river, and has since been 
  cremated by Narasimha; the missing statue will reappear in the second 
  half of this adventure. 
  Kali. Any character making a successful roll on a lore: religion skill 
  should realize from the text and trappings of the shrine that the empty 
  plinth should be occupied by a statue of Kali, the goddess who is the 
  wife of the great Hindu god Siva. She is a goddess of nature and is usu­
  ally a benevolent mother figure; but she is also a sponsor of assassins 
  and death-dealers, with a sinister cult called the "Thugees" who used to 
  commit murder to honor her. 
  The Lingering Magic. Devika has spent the last six months con­
  stantly casting and experimenting with powerful magics in the area 
  around Adharja, and in the Astral Domain to which she has constructed 
  a link to Adharja. All of these magics have had a common theme. They 
  are all concerned with the idea of motherhood, and with the power of 
  motherhood (or matriarchy). 
  These magics and the loose P.P.E. left over from her experiments 
  have "leaked" out into the surrounding area, warping the minds of most 
  residents within the area, making the villagers more reverent of mother­
  figures, and making the Warwicks even more passionate about the vir­
  tues of "Mother Empire," and so on). Anyone using sense P.PE. or 
  sense magic (or similar) within the area of the adventure can tell that an 
  unusually high level of background P.P.E. pervades the region. Not 
  quite a "spell," but certainly an unusual phenomenon. In practical terms, 
  players might also notice that if any of their characters are particularly 
  motherly, the locals always treat that character as the group's leader. 
  The Ruins of Adharja 
  The Palace of Adharja squats on top of a small craggy hill, two 
  miles (3.2 km) to the north of the River Krishna. As the player charac­
  ters approach, they can see Adharja's broken-down stone walls around 
  the top of the crags. A narrow path, once paved, winds up the south side 
  of the hill to the rubble of the outer gateway. Inside the palace is a jum­
  ble of half-fallen walls and piles of rubble. 
  143 
  The hilltop is completely barren. No grass grows here, and there are 
  no large animals (no birds, mice, etc.), but the ground is crawling with 
  tiny insects. Caterpillars, flies, ants, etc., crawl so thickly over the earth 
  it is impossible to step without crushing a dozen of them. Looking at the 
  insects, characters can see them divide and multiply, reproducing as sin­
  gle cell organisms do, but as insects naturally do not! Before their eyes, 
  they watch the insects split into two, dying within a few minutes from a 
  lack of food and crumbling swiftly to dust. 
  On the tops of the tallest standing walls, the player characters can 
  see piles of wood and refuse - think of oversized birds' nests, but 
  made not from twigs but from branches of trees, sheets of rusty corru­
  gated iron, the rotting limbs of cattle, tom human clothing and animal 
  bones. 
  The nests are the homes of Devika's "tame" (magically controlled) 
  Hunters! Depending upon the toughness and size of the player charac­
  ters' group, there might be just one or two of them (if the characters are 
  fairly weak) or many more (especially if the characters are numerous 
  and/or absurdly powerful). The G.M. should set the numbers so that the 
  characters get a satisfying fight, but do not take a lot of damage (if any). 
  The Hunters are watchdogs. Their objective is to stop intruders from 
  getting into the Inner Gatehouse and are usually content with chasing 
  them away. If the player characters are not up to a fight with even one 
  Hunter, then they should be allowed to avoid this by running for cover 
  in the Gatehouse. 
  Characters taking the trouble to count or investigate the nests will re­
  alize that there are more nests than Hunters. One or two of the creatures 
  are out scavenging for food and stray travelers, but will not return dur­
  ing this (part of the) adventure. 
  Typical Hunters: Hunters are described on page 1 65 of the rules book. 
  A typical specimen has the following statistics. 
  Alignment: Diabolic 
  Attributes: I.Q. 7, M.E. 10, M.A. 1 0, P.S. 25, P.P. 1 8, P.E. 16, P.B. 2, 
  Spd. 10 on ground, 60 flying. 
  Size: 7 feet (2. 1 m) tall. Weight: 400 Ibs ( 1 8 1  kg) 
  A.R.: 13 (zero vs magical and supernatural attacks) 
  S.D.C.: 1 80, Hit Points: 48 
  Abilities: Immune to all illusions and supernatural powers of conceal­
  ment, takes half damage from non-magical attacks, magically under­
  stands all languages, takes double damage from Artifact weapons 
  and powers. 
  Damage: 2D6+ 10 with sword, 3D6 beak attack, 2D4 S.D.C. with re­
  strained punch, 3D6 with full punch, 6D6 power punch. 3 attacks 
  per melee. 
  Bonuses: + 1 initiative (+3 if in the air), +3 to strike, + 1 to parry and 
  dodge (+2 to dodge while flying), +3 to pull/roll with punch/fall, +3 
  to save vs magic and psionics, +5 to save vs horror factor, +4 on all 
  perception rolls. 
  Level of Experience: Three 
  Skills of Note: Tracking 70%, Swimming 98%, Climbing 98%. 
  The Inner Gatehouse 
  Fifteen yards/meters long by ten yards wide, the inner gatehouse is 
  the only structure still standing inside the palace walls. It is easy to 
  clamber over the fallen walls and pick through the rubble of the build­
  ings in the palace, but those who try to enter through the gatehouse may 
  get a nasty shock. 
  The actual gateway itself always stands in deep shadow, regardless 
  of the time of day or angle of the sun. Any player character who makes 
  a successful perception roll (or rolls under I.Q. on I D20) will notice the 
  strange way that the gateway is darkened. Sense magic and similar 
  spells can discern that the gateway is indeed magical; it is a portal to the 
  Astral Plane. Stepping under the arch of the gateway, a character is en­
  veloped by darkness and vanishes from the mortal world, being 
  whisked to the Palace stronghold in Devika's Astral Domain. 
  Quentin Milton (Order #26014138)
  
  The Astral Palace 
  The Astral Palace is a separate location, positioned in the Astral 
  Plane at a point corresponding to the real palace on Earth. Broadly, the 
  laws of reality are consistent with those on Earth (firearms, magic, etc., 
  all work as usual), except for four features. One, Devika's maternal in­
  fluence is much stronger here. Two, after Devika's death, the whole 
  place will begin to fade away and evaporate back into the Astral Plane 
  within a couple of weeks. Three, because it is based upon desires 
  (Devika's specifically), its geography is subjective, so that characters go 
  where they desire to go as they move around the Palace, as explained 
  below. Four, normal biological processes are suspended here, so that 
  characters do not feel hungry or thirsty (they don't need food or drink) 
  as long they stay here, and dead flesh does not naturally rot/spoil. 
  The first room. Visitors first enter a palatial reception hall, sur­
  rounded by large columns and ornate doorways. It is here that they see 
  two doorways and encounter the Guard. One doorway has a shimmer­
  ing black haze across it, and leads back to the ruins of the real-world 
  palace. The others continue further into the Astral Palace. 
  This first room is guarded by one of Devika' s minions. This gigantic 
  blubbery humanoid has been magically created by Devika in an earlier 
  experiment, and obeys her unswervingly. It stands twelve feet (3.6 m) 
  tall, with stubby clawed arms, a bloated head and a slavering mouth, 
  like a huge rabid baby. It leers at intruders and grunts, "Auntie not love 
  visitors ... Auntie need protecting from bad men ... " It attacks any 
  stranger who enters the room. 
  The Guard 
  Alignment: Aberrant 
  Attributes: I.Q. 5, M.E. 8, M.A. 8, P.S. 24, P.P. 7, P.E. 20, P.B. 2, 
  Spd. 5 
  Size: 1 2  feet (3.6 m) tall. Weight: 800 lbs (362 kg) 
  A.R.: 1 8  (blubber) 
  Hit Points: 44 
  S.D.C.: 100 
  Abilities: As an attack, the guard may grab a human-sized opponent 
  and cuddle the unfortunate to its bloated body, smothering and 
  crushing the victim. The victim must roll the equivalent of a dodge 
  to pull free or takes 3D6 damage direct to hit points from being 
  crushed and suffocated. The victim gets a chance to squirm free 
  every melee round (same as a dodge) or suffers an additional 4D6 
  damage per melee round direct to hit points. The strange, hideous 
  guard is impervious to normal heat and cold (magic heat, fire and 
  cold does half damage), impervious to disease, poison and drugs, 
  and bio-regenerates at a rate of 2D6 per melee round. 
  Attacks per melee: Three, but as it has two hands it may continue 
  smothering one victim with one hand while attacking with the other. 
  Damage: 2D4 S.D.C. with restrained punch, 3D6 with full punch, and 
  6D6 power punch. 
  Bonuses: +1 on initiative, -4 to strike (very clumsy!), +8 to save vs 
  magic and psionics, +8 to save vs horror factor, impervious to pos­
  session. 
  Level of Experience: Equal to level one. 
  Skills of Note: None per se. 
  Note: If injured, the creature does not so much bleed as ooze slime, 
  excrement, saliva, etc. When finally destroyed, it deflates into a pile of 
  human secretions it automatically dies if Devika is killed. 
  Player characters may run past the creature and duck through a door­
  way, losing it for the time being, or they may stand and fight it. It can­
  not be controlled, enslaved or possessed by any talents, magics or 
  psychic effects. 
  Exploring the Astral Palace 
  GEOGRAPHY: The palace has an uncertain number of rooms, 
  which are actually not connected to each other by any firm arrange­
  ment. When a person leaves a room, he immediately goes to whichever 
  144 
  room (or sort of room) he wants to go to. If a person walks through a 
  doorway with no firm idea of where he wants to go, he simply emerges 
  randomly into another room of the same type (from a lounge to a 
  lounge, a kitchen to a kitchen, etc.). The destination need not be exact: 
  "I want to follow that servant," and "I want to go to where Devika is" 
  are both adequate descriptions of an intended destination. Characters 
  may get very confused until they work this out, seeming to just walk out 
  of one entrance hall into another for ages and ages. Note: The Guard 
  from the first room isn't very bright and has no idea of how to navigate 
  the palace, so he will not follow the intruders beyond the first entrance 
  hall. 
  SIGHTS: Every room in the Astral Palace is decorated in rich style, 
  with long silk-covered couches, rich tapestries and silk paintings on the 
  wall. The artworks represent happy family scenes. A thin layer of pale 
  dust covers everything, and the occasional potted plants are all withered 
  and brown. Each room has at least two doorways and one window, but 
  the windows do not look outside: there is no "outside" here, so they 
  look into other rooms. 
  SOUNDS AND SCENTS: Occasionally, the player characters can 
  hear muffled sounds of children playing happily, or a baby crying. The 
  noises appear to be coming from just the next room, but they never 
  meet any children or see any babies. The whole place smells of must 
  and decay, of damp earth and rot - like the inside of a tomb. 
  INHABITANTS: Occasionally a "servant" passes through a room, 
  or is already present when the visiting characters enter. 
  The servants walk awkwardly, jerky and jumpy, like marionettes, 
  but without any (visible) strings. Each wears a leather mask, a piece of 
  goat-hide painted with a smiling face and nailed to the mortal's skull! 
  Occasionally the player characters meet a servant whose leather mask is 
  coming loose (or is removed by the character), revealing the mortal's 
  face beneath, twisted with a grimace of pain and streaked with tears. 
  Each Servant follows a preset and pointless routine prescribed by 
  Devika (she thinks that this makes her palace seem more like "a real 
  home"). Servants dressed as footmen stand mutely by open doors. Mes­
  sengers carry pieces of blank paper from room to room. Nannies rock 
  empty cribs. Cooks stir empty pans. The servants do not talk to any­
  body, nor do they attempt to defend themselves, unless ordered to do 
  so. 
  Removing the leather masks does not help the servants. They are 
  doomed to obey Devika unswervingly, although they are only human. 
  These are the travelers who have vanished along the roads nearby. 
  The Puppet-Slaves Ritual 
  Range: Touch 
  Duration: Permanent; the zombies exist until they are destroyed or 
  their creator is slain. 
  P.P.E.: 60 
  Note: Considered a 7th or 8th level spell. 
  This extremely ancient and rare necromantic spell requires a brief, 5-
  10 minute ceremony in which the magic is woven, the leather hood (al­
  ready prepared with the painted smiling face) is placed on the victim, 
  and a large nail is driven into the skull, which kills the victim and uses 
  the released P.P.E. to tum the poor soul into one of the living dead. In 
  this case, a simple puppet, or what some call a "poor man's" zombie. 
  Alignment: Aberrant; totally loyal to their creator, in this case Devika, 
  so long as she lives. 
  Attributes: I.Q. 5, M.E. 3, M.A. 3, P.S. 10, P.P. 10, P.E. 10, P.B. 8, 
  Spd. 6 
  Hit Points: 1 5  
  S.D.C.: 10 
  Attacks per melee: None, unless commanded to attack (then two). As 
  puppets, they cannot think, want, fear or take action on their own, 
  and consequently will not pick up and use a weapon unless specifi­
  cally told to do so. Normally, these slow creatures have two melee 
  actions per round. 
  Quentin Milton (Order #26014138)
  
  Quentin Milton (Order #26014138)
  
  Damage: They inflict and suffer nonnal damage the same as a nonnal 
  human. 
  Level: Not applicable. 
  Skills: Hand to hand: basic and simple fetch and carry type skills. 
  Devika's Chamber 
  Eventually, characters inside the palace will decide to go to "a bed­
  room," "the master bedroom," "the throne room" or "where the lord of 
  the palace is" (or even "the most enchanted room in the palace" or 
  "where the mother is"). At this stage they step through into a vast 
  throne room, one hundred yards/meters long by fifty wide, lined by four 
  rows of columns, with one end furnished as a sumptuous bedchamber 
  and the other end as an audience hall. 
  The hall has only one door through which the player characters en­
  ter. There are no windows. The walls are covered in arcane scrawlings, 
  painted with blood and minced flesh, which actually move and creep 
  across the walls. Mages looking at this gore and making a Principles of 
  Magic skill roll can tell that a ritual has been perfonned here to create, 
  awaken or "summon" some sort of dark spirit. 
  When the adventurers enter, Devika is lying on the great bed at the 
  far end of the chamber. She is attended by four puppet-servants; one 
  dressed as a European doctor, miming an examination of her, one 
  dressed as a Hindu holy man, and the other two as serving-women. As 
  soon as any character makes a hostile gesture, she orders her servants to 
  defend her and shouts for her other servants: "Children, children, I'm in 
  danger!" The following melee round, all of the remaining Puppet-Ser­
  vants stagger in en mass through the doorway, including (if it is still 
  alive) the Guard from the first room (this is the only way he can get to 
  another room). These servants advance up the room at a speed of 100 
  feet (30 meters) per melee round, potentially giving the player charac­
  ters time to deal with Devika before they are swamped by these advanc­
  ing minions. The room is 1 00 yards long, remember, and so it takes 
  three full melees (45 seconds) for the horde to advance from the door at 
  one end to the bed at the other. 
  Devika would rather talk than fight, however. She tells the intruders 
  that she has become immortal, saying, "I can recreate myself as often 
  and for as long as I wish." Rubbing her pregnant belly, she says that she 
  has "solved the greatest mystery and unleashed the greatest power of 
  all." Her boasts are designed to impress and frighten the characters, and 
  she even offers to share her power with them, "if you will serve only 
  me." Requiring them to bow before her and surrender their free will to 
  her, and ultimately, to become Puppet-Servants. 
  The great power that Devika mentions is her ability to create life, to 
  reproduce - to become a mother. She refuses, under any circum­
  stances, to explain what this power is, and if the intruding characters 
  guess that she is somehow referring to motherhood, she will not be 
  drawn into confinning their suspicions. It is obvious she does not yet 
  have a child with her, although she appears to be pregnant. 
  Ultimately, the adventurers must fight her (or flee, or join her). 
  When a fight does develop, there should be a great sense of urgency: 
  Devika is at one end of the room; her servants are lumbering slowly 
  down the room from the other end, closing in on the characters who 
  must destroy the sorceress before being overwhelmed by this sea of 
  slaves. 
  When Devika is finally killed, she gives a cry of pain and joy; she 
  physically splits open at the belly, her insides pouring out across the 
  floor, and the bloody markings on the walls and ceiling stop moving 
  and begin to fade. If captured she refuses to speak with her captors. 
  Devika - Quick Stats 
  Alignment: Miscreant 
  Attributes: I.Q. 16, M.E. 20, M.A. 1 6, P.S. 25, P.P. 12, P.E. 15, P.B. 
  1 2, Spd. 7 
  Hit Points: 65 
  S.D.C.: 20 
  P.P.E.: 1 84 
  146 
  Level of Experience: Tenth level Sorceress. 
  Abilities: She has complete command over her slaves, Hunters and the 
  fat Guardian and uses magic to control or destroy. 
  Bonuses: +2 on initiative, +3 to save vs psionics, +4 to save vs magic, 
  +4 vs horror factor. Immune to any sort of magical or psionic mind 
  control or possession. 
  Skills of Note: Principles of Magic 90%, several Languages (including 
  English, French and Hindi). 
  Spells of Note include: Destroy dead flesh, reanimate dead flesh, trai­
  torous hand, friend in the head, fatal growth, domination, compul­
  sion, trance, energy disruption, escape, superhuman strength, heal 
  wounds, levitation, see aura, see the invisible, sense magic, detect 
  concealment, concealment, extinguish fire, and fear. G.M.s might 
  have to tone down Devika's magical powers if the player characters 
  are not up to dealing with someone this powerful. 
  Special Magic or Powers: When a character looks at Devika's face, 
  they see their own mother (even if they never knew their mother), 
  but the mother has Devika's unusual green eyes, and seems to be 
  slightly pregnant. This gives her the equivalent horror/awe factor of 
  1 5  and serves to confuse and worry characters (- I on all combat 
  rolls). 
  Furthennore, exposure to Devika's magics for a long period of 
  time (six months or more) has affected everyone who lives within a 
  radius of about seven miles ( 1 1 km; as far away as the British Fort). 
  Those affected become increasingly loyal to mother-figures, and 
  gain an instinctive loyalty to Devika herself. None of the locals, 
  therefore, will attack the Palace or Devika, even if magic or psychic 
  powers are used to coerce them. Some may even try to help her. 
  Any of the Puppet-Slaves surviving the showdown with Devika 
  are released from their mindless servitude only when led from the 
  Astral Palace back into the mortal world. For so long as they remain 
  in the Astral Palace, they are still mindless servants, and will stand 
  dumbly around the corpse of their dead mistress unless physically 
  led away. In the mortal world, they fall over dead. 
  Psionic Powers: None. 
  Note: Devika calls everyone "child," "little one," "my cherub," etc. 
  (Parody of the stereotypical loving mother). She wears a dark, outdated 
  European dress, exactly like the dress worn by Queen Victoria in the 
  painting of her at the British Fort. 
  Motherhood: Through her rituals, Devika has ensured that she will 
  outlive herself, that she will live on through another. Nine months after 
  her defeat/death, her "daughter" will be "born." And that is the next part 
  of the adventure ... 
  Devika had a Daughter 
  Background Data 
  The second part of the story is set in Thailand. The Thailand of the 
  early 2 1 st century is much like it was towards the end of the 20th cen­
  tury. The military is still the most powerful force in the country, and 
  most of the people are still Buddhists. Rice, rubber and heroin are still 
  major exports. The threat of Aids still hangs over every poor urban 
  household. Families still sell their daughters to brothels for the cash to 
  buy a new TV. 
  Thailand is a monarchy, with a supposedly semi-divine King. His gi­
  ant-sized portrait is displayed on every major building in Bangkok, 
  often wreathed in flowers and positioned next to a Buddhist shrine. 
  When the adventure is set, the old King has recently died, and the por­
  traits are being replaced with pictures of the new child monarch. Behind 
  the scenes the King's mother, the old Queen, is making deals with the 
  country's Generals to ensure that she remains the power behind the 
  child's throne. Everywhere the player characters go, the green painted 
  eyes of this idolized child watches over them. Eyes that seem disturb­
  ingly familiar. 
  Quentin Milton (Order #26014138)
  
  Introducing the Player Characters: The player characters may be 
  in Thailand for almost any reason. They may be pursuing mundane 
  business, meeting with contacts in a magical brotherhood or conspiracy, 
  attending the Order of the Cobra's triannual gathering, or travelling as 
  tourists, or attending an auction to buy a rare ancient manuscript ... the 
  reason doesn't really matter. All that is important is that they have 
  played through the preceding part of the adventure, and preferably that 
  either they are basically nice guys who are willing to ask a few ques­
  tions to help out a young girl, or are curious enough to chase after ru­
  mors of ritual murder. 
  The language of Thailand is Thai. As with the previous adventure, 
  assume that the character with the highest LQ. or perception has picked 
  up the basics from guidebooks, language tapes and casual conversation, 
  or have one of the characters select Thai Language as a skill. Alterna­
  tively, rule that all NPCs in the adventure have had enough contact with 
  tourists to pick up the basics of American! Australian English. 
  The Dream 
  To kick the adventure off, one of the characters has a confusing and 
  disturbing dream. This may be a mystic, a character with strong psychic 
  sensitive powers, or any one of the characters chosen by the G.M. 
  In the dream: The character is standing in a squalid backstreet, in 
  some sort of shanty town. There are children playing nearby with a ball. 
  The sounds of a TV sports commentary drones on in the background, 
  but the clearest sound is of a young girl sobbing and calling for help. 
  There are other images and sounds, too, but when the character awakes 
  s/he remembers few of them. What is remembered is the sound of 
  chanting (it sounds like some sort of ritual) and a pair of green eyes. 
  Green ... just like Devika's. The character can't shake the feeling that 
  Devika's evil is back! 
  The Street 
  The adventure opens in a shanty town in northern Bangkok. The 
  player characters are passing through the area, travelling on a major 
  road (e.g. returning from a business meeting, auction or tourist site just 
  outside of the city), when the one who had the dream looks down a side 
  street and sees the alley from his/her dream. Whether travelling on foot, 
  by taxi, etc., the characters should be able to stop and check the area 
  out. 
  The street is lined with bungalows made from breeze-blocks and 
  corrugated iron, most with outside privies and as many with satellite 
  dishes on the roofs. Leaky standpipes tum the ground to mud, and 
  mangy stray dogs shelter in the buildings' shade. Down the street a few 
  kids excitedly throw an American football around. 
  Walking to the point from which the dreamer "saw" the scene, the 
  characters can hear sports commentary from a TV and a girl's sobbing 
  coming from one of the shacks! 
  The shack has no glass in the windows and the shutters are open. 
  The front door is unlocked but closed. No one answers the door if the 
  character(s) knock, although by looking in through the windows of the 
  house (all rooms are on the ground floor) the characters can check the 
  building out and spot the crying girl. 
  Inside, the house is Spartan but neat, with a bare earth floor and un­
  painted walls. The only modem conveniences are the TV and videocas­
  sette player/recorder - both apparently brand new, with the packaging 
  and original boxes in the comer of the room (According to the invoice, 
  the family has paid only a 10% deposit and still owe the balance). The 
  TV has been left on, and is currently showing American sports pro­
  grams. 
  In a side room, a pretty teenage girl lies face-down on her bed, sob­
  bing violently, and praying to the spirits to help her. Her name is Tas­
  sanee Virat. She is 15 years old, and last night (just before the 
  character's dream) her father told her that she was to be sold to a 
  brothel. The brothel in question, Madame Li's, has been the site of a 
  number of disappearances and murders in the past month. Tassanee 
  147 
  does not particularly want to sell her body, but she certainly doesn't 
  want to die! She's terrified that if she must work there, she will end up 
  floating face-down in the river! ! 
  Characters may speak with Tassanee by walking round the back of 
  the shack and talking to her through the open window. If they actually 
  force their way into her home, she is initially frightened, but can be eas­
  ily convinced that they wish to help her. Like most Thais, she has great 
  respect for monks, so any character appearing to be a Buddhist holy 
  man will immediately win her trust. She will pour out her soul to any­
  one who seems interested in helping her. 
  The girl explains her fears and claims several local girls from this 
  shanty town were recruited by a brothel owner named Madame Li over 
  the last year. All earned good money "entertaining" foreign business­
  men and supported their parents well. But a month ago, things began to 
  change. The girls stayed away from their families more and more, and 
  brought back less money when they did visit. They seemed unnaturally 
  fond of Madame Li, growing more attached to her and less to their real 
  mothers. Then, around three weeks ago, one by one the girls vanished. 
  One of their bodies was found, horribly mutilated in the river, but the 
  police never identified her killer and there are rumors of occult connec­
  tions and a cover-up. Now Madame Li is recruiting new girls. 
  Hearing about the disappearances, the body in the river and the 
  shifts of loyalty, and remembering the green eyes from the dream, per­
  ceptive players should be getting a sense of deja vu. 
  The girl says that she lives in this house with her parents and her 
  younger brother. The furnishings and trinkets bare this out. Her mother, 
  Sikrit, works irregular hours as a waitress. Her philandering father, 
  Phibul, works as a long-distance truck driver and left on a long journey 
  this morning. He is not due back for several days. Her brother is named 
  Sanong but calls himself "Sam." He works as an errand-boy and beg­
  gar, often absent from home for weeks on end and most easily found at 
  a video arcade half a mile (0.8 km) to the south. 
  Tassanee has no idea where Madame Li's brothel is. Her father ne­
  gotiated with Li, using Tassanee's brother, Sam, as a go-between. Only 
  her brother and father know its location. The neighbors are similarly un­
  certain as to the brothel's location. As Tassanee's father is not due 
  home for some days, the player group should track down "Sam." Tas­
  sanee can direct the characters to the "American Arcade" where he 
  often hangs out, and can lend them a photograph of the boy. Note: If 
  the other player characters are reluctant to get involved, the one who 
  had the dream (vision?) is convinced that Devika is somehow involved 
  and s/he will serve as a catalyst to get his companions to investigate (or 
  s/he'll do so on his own). 
  If the player characters can't find Sam, they should still be able to 
  find Madame Li' s. They might ask dubious looking taxi drivers, other 
  brothel-keepers, prostitutes or policemen for directions, using bribery, 
  intelligence skill rolls, magic and/or psychic powers to glean informa­
  tion. 
  If the characters wait for Tassanee's mother, Sikrit, she comes home 
  in about two hours. She is a scrawny, haggard woman, once beautiful 
  but wasted by hard work. She corroborates her daughter's story, but 
  hardly regrets selling her. She worked as a prostitute two decades back 
  herself, and points out that very many girls do. Tassanee should help to 
  pay the family's upkeep (especially as her brother has run off and re­
  fuses to contribute any money) and prostitution is the easiest way for 
  her to earn money. Besides, the family needed a new TV and video, and 
  the money from Madame Li will pay for these. 
  Getting About 
  Bangkok is the capital of Thailand, a sprawling city with a popula­
  tion of seven million people. The adventure begins in a squalid shanty 
  town in the city's north, and requires that the characters travel south­
  ward into the center of town. For transport, they may walk (averaging 2 
  miles/3.2 km an hour through the traffic-clogged streets), or they may 
  hire transport (ranging from air-conditioned limousines to noisy motor-
  Quentin Milton (Order #26014138)
  
  ized rickshaws called "tuk-tuks," depending upon their wealth and incli­
  nation), or travel by boat (taking a water-bus) along the Chaophraya 
  River which snakes through the city. 
  The Techno-Temple. The "American Arcade" is a ten floor glass 
  and concrete tower, looming out of a sea of single story shanties and 
  squalid shops. A garish neon sign flickers across the front. By the en­
  trance doors, the wreathed portrait of the boy-king is flanked by posters 
  of well-known video-game characters. 
  On the street outside, a news vendor shouts his newspaper's head­
  lines to passing adults: "Generals support Queen's demands. Latest up­
  date! Sir, sir, you want a newspaper?" The vendor ignores the teenagers 
  and children who stream past him into the Arcade. 
  Inside, the "American Arcade" is falling apart. Much of the lighting 
  has failed, ceiling tiles are falling down, and the air-conditioning and 
  water systems are leaking rusty water in dark streaks down the walls. Of 
  course the kids don't care. Throughout all ten floors they sit blinded by 
  Virtual Reality helmets or mesmerized by giant video screens and ar­
  cade games. Beggars, teenage drug dealers and child prostitutes spend 
  the cash they have earned on instant, intense electronic gratification, un­
  der the watchful eyes of the security cameras and advertising posters. 
  Any natural psychic character can "hear" occasional shrieks and laughs 
  of joy from inside the arcade machines. 
  The characters can find Sanong ("Sam") in here, either by traipsing 
  around looking for him or (to save about half an hour) by asking around 
  and showing other customers his photograph. All of the regulars know 
  him by sight, and eventually one directs them to him. 
  "Sam" sits in front of an enormous video screen immersed in a game 
  about white-skinned mercenaries blasting dark-skinned terrorists. He 
  looks tired and underfed, with grubby clothes and matted hair. A bed­
  ding roll sits on the floor at his side. He doesn't want to talk to the char­
  acters, and is irritated by their interruption. He gives terse answers to 
  their questions only if they promise to go away and leave him to his 
  game. If they look like foreigners he tries to get them to pay him for any 
  information. 
  He can corroborate his sister's story about her impending sale to 
  Madame Li, and can direct the characters to the brothel, across town. 
  His attention span is short, however, and he finds conversation difficult. 
  Unless cash is flowing freely, he would much rather get on with his 
  shoot'em-up. 
  Psychic characters may try to talk to the "ghosts" inside the ma­
  chines. These creatures have been created by the focused attention of 
  the arcade's customers, like subconsciously cast spells or entities drawn 
  by the wealth of emotion. They are the embodiment of instant, uncon­
  scious self-gratification. The creatures/ghostly essences can clamber out 
  of the machines, and although invisible, they can be seen with suitable 
  magic or other powers (each resembles a low-res, mish-mash of com­
  puter game characters). 
  These creatures are willing to talk to the characters, and will react to 
  anyone who bothers to talk to them. The Arcade's normal patrons aren't 
  aware of them, so they're easily intrigued. However, they see every­
  thing in terms of computer games play ("You're magicians? Like, Wiz­
  ards? ! Hey that's a game I haven't watched. How do you work? What 
  are your graphics like? Who gets killed? New game! New game!"). 
  Most have an attention span of about five seconds and very little appar­
  ent intelligence. They skip from one subject to another at random in 
  conversation, and soon wander away if what the characters say doesn't 
  sound exciting. If told that the player characters are up to something 
  "important" they groan with disgust, "Oh no - Important! That means 
  Boring!" The best way to hold their attention is to make conversations 
  as lurid and fast-paced as possible, talking constantly about action, win­
  ners and losers, blood, violence, death, and confrontation. They can't 
  help the player characters much, as they know nothing and remember 
  little besides video games, but there is the potential for some fun role­
  playing here and whatever clues the G.M. would like to drop. 
  148 
  Madame Li's 
  From whatever source (Sam, taxi drivers, or other informants), the 
  characters should eventually find Madame Li's brothel. It looks like a 
  large suburban home, located two miles (3.2 km) north of the city's 
  center and three miles (4.8 km) south of Tassanee's home. 
  This is a two story building, situated in lush green gardens where 
  water sprinklers hiss constantly. An expensive Mercedes sits in the 
  driveway. Net curtains shield the residents from peering outsiders, and 
  the whole place seems quiet and inviting. Behind the house, the gardens 
  slope down to the river bank. 
  On the ground floor, an entrance hall leads into a spacious 
  bar/lounge, where Madame Li can usually be found. A hodgepodge of 
  eastern antiques fill these rooms, mostly of an erotic nature. There are 
  nineteenth-century Japanese silk paintings, explicit Indian statuary, 
  ivory fertility symbols, and at the end of the lounge is a life-size stone 
  statue of the Indian goddess Kali (Note: The G.M. should immediately 
  tell the players that this statue, in its size, style and materials, is a per­
  fect mate for the statue of Siva that they found in the previous part of 
  the adventure. This is likely to be the statue missing from the temple). 
  In an adjoining room, four silk-suited thugs with machine-guns sit 
  drinking beer and Thai coffee, always ready to quell any trouble (use 
  Corrupt Police stats from the Nightbane® RPG, but give them Ingram 
  SMGs). 
  Upstairs, six bedrooms are decorated in a variety of eastern styles 
  (Thai, Japanese, Indian, etc.), with the seventh (Madame Li's own 
  chamber) resembling a torture chamber upholstered in red velvet. When 
  the characters arrive, it is late afternoon, and only two girls are in their 
  rooms, both with fat foreign customers. If the player group has procras­
  tinated till past dark, all six rooms are in use, with other girls chatting to 
  customers in the lounge. 
  If the characters knock at the door, a maid opens it within a few sec­
  onds. She is instructed only to let wealthy-looking gentlemen into the 
  house, and to tum away anyone who looks drunk, poor, or dangerous. 
  Those allowed in (it's possible only a few members of the player 
  group are deemed acceptable) are shown into a broad reception hall, 
  where they are met by Madame Li, a tall, painfully thin woman in a 
  tight silk dress. She is, in fact, one of the Beautiful People (see Night­
  lands Familiars in Chapter Three), with some rather perverse cravings. 
  Li assumes that the characters are here for carnal reasons. If they try 
  to confront her (saying that they are investigating the deaths of her girls, 
  etc.), she turns scarlet and tries to have them discreetly thrown out. If 
  the characters are persistent (e.g. say that they will make a scene in 
  front of her customers if she won't talk to them privately), she will 
  agree to talk to them so long as she can be convinced that they are not 
  with the police. If anyone mentions Devika, she blusters and blushes 
  and panics, denying everything, thus incriminating herself: "She won't 
  listen to me! I've nothing to do with her! You must believe me." 
  If the characters threaten or attack Li, she calls her thugs in from the 
  backroom to defend her. If a gunfight develops, the neighbors telephone 
  the police who, having received regular payoffs from the brothel for 
  years, promptly send a large force of armed policemen to the house ( 1 2  
  police should suffice, arriving in l D6 minutes; use the Corrupt Police 
  stats as before). 
  If the players can convince Li that they will get rid of Devika, or can 
  convincingly threaten her, she will tell them what has happened. If the 
  characters demonstrate supernatural abilities, for example, then that 
  alone may convince her to help them. She doesn't need to make ene­
  mies of a bunch of magicians or Nightbane, and will tell them what they 
  want to know if they just promise to go away. Actually, Li regards 
  "Devika" as a liability and an ungrateful wretch who threatens to ruin 
  everything for everybody. Li would be delighted for the group to re­
  move Devika from Bangkok. 
  Quentin Milton (Order #26014138)
  
  Throughout her conversations with the characters, Li should come 
  across as being utterly self-centered, vain, murderously heartless, and 
  self-pitying (all of which she is). 
  Li's story. Just under one month ago, Li bought a large statue of 
  Kali from a dealer as the centerpiece of the brothel's lounge. Gradually, 
  her girls and servants became increasingly loyal, and her patrons more 
  respectful of her, and she began to suspect that some power was acting 
  in her favor through the idol. Hoping to discover more, she engaged a 
  petty psychic, a Chinese man named Sheng, to investigate the object. 
  Sheng made contact with a mind or spirit inside the statue. The mind 
  said that it was called Devika, and that it was a sorceress of vast power. 
  It wanted a body. Sheng's would do, it said. 
  The spirit in the statue tried to take control of Sheng, but its efforts 
  were a spectacularly bloody failure. Li later had Sheng's remains 
  dumped in the river. 
  So, Li came up with a plan. She discovered that the spirit in the 
  statue could minutely affect the environment around it, and could hear 
  normal speech, so she rigged up a kind of Ouija board to communicate 
  with it. Li offered the spirit a body in retum for its service. "Devika" 
  agreed, and told Li how to perform a ritual which would allow it to in­
  habit another's body. 
  Select clients paid generously to watch the bloody ritual, but because 
  Li has no magical powers or training, her first efforts were a failure. 
  The bodies of the girls used for the rituals were dumped into the river. 
  Another attempt was successful, and something manifested in the body 
  of the victim. However, once in possession of a new body, Devika re­
  fused to honor her agreement with Li and walked out on her. She had 
  murdered five of her girls to bring the thing into the world, and now it 
  abandoned her. 
  "After all I did for her! I gave her life. And how does she repay 
  me?" 
  That was six days ago. Li has heard that Devika is living somewhere 
  on Ko-Sahn Road in central Bangkok, but she . could be wrong or 
  Devika may have moved. Li willingly gives characters the address and 
  apartment number. 
  Whether the characters want to do anything with Li herself is up to 
  them. They have no firm evidence, she will deny having confessed any­
  thing to them, and the local police take pay-off money and favors from 
  her anyway, so they will be hesitant to take action. The characters are 
  probably on their own if they want to punish this murderess. 
  The Statue. The statue itself has much the same effect as the ambi­
  ent magic in the previous part of the adventure - increasing peoples' 
  respect for matriarchal figures, etc. - although only on a small area (30 
  feet/9 m, maximum radius). Perverse players might want to steal it, as it 
  is a magical item, but what they would do with a 1000 lb (450 kg) 
  statue of Kali, and how they would sneak it out of Li's lounge is an in­
  teresting question. 
  Madame Li - Quick Stats 
  Alignment: Diabolic 
  Attributes: LQ. 10, M.E. 9, M.A. 1 5 ,  P.S. 9, P.P. 14, P.E. 14, P.B. 20, 
  Spd. 1 5  
  Hit Points: 28 
  S.D.C.: 7 
  Level of Experience: Fifth level 
  Skills of Note: Art 50%, sing 80%, dance 80%, interrogation tech­
  niques 65%, hand to hand: basic, and W.P. knife and revolver. 
  The Daughter's Den 
  The magical creature (woman, spell, whatever) who calls herself 
  Devika is the "daughter" of the original Devika. She is a slim, attractive 
  Thai woman, about twenty-five years old with waist-length black hair, 
  but with her mother's green eyes. In many ways, her personality is iden­
  tical to her "mother's," but she is a "youthful" version (e.g. more inter­
  ested in having a good time than in reproducing) and is less powerful. 
  149 
  She remembers everything that happened in the Astral Palace up until 
  the time that Devika was defeated by the characters (so she won't look 
  kindly on the player characters!), and it was Devika's rituals that 
  spawned this so-called daughter. She understands all of this, and also 
  believes that she has inherited her mother's power (though at present, 
  these powers do not seem to have fully developed). She insists that she 
  is "different" than her mother, striking out and finding her own path, 
  doing what she wants. She isn't ready to admit that what she is doing is 
  basically the same as what the original Devika did. 
  This new manifestation of "Devika" lives in a one room apartment 
  on the third floor of a building in the Banglampoo district of central 
  Bangkok. The area is a backpacker's ghetto, bustling with American 
  and European travelers, and packed with western eateries, travel shops 
  and cheap hotels. It is here that she has begun collecting "minions." 
  She has seduced four athletic white males (a Canadian, a Dutchman, 
  a Scot, and an American), who now serve her as diligently as her 
  mother's Puppet-Slaves in India (by the way, she doesn't know the 
  spell). They are all madly infatuated by her and are fiercely envious of 
  each other. Made miserable by their jealousies, they compete for her at­
  tentions, buying her fine food and flowers, paying her rent, indulging 
  her sexual fancies, and so on. When they have run out of money, 
  Devika will just dump them. 
  For now, she remains in her room, while her lovers fetch her what­
  ever she wants. Player characters who wait outside and watch the place 
  may be able to catch one of these men and interrogate him. The men are 
  often sent out for pizza, Hollywood gossip magazines, French wines, 
  etc., but at least two remain with her in her room at all times. If the 
  characters just blunder into her flat, all four will be in attendance. 
  Cautious characters might scope the area out before entering the 
  building. The area is bustling, but unremarkable ... except that up on the 
  roof of the building opposite, in the wooden legs of a water tower, is an 
  odd bundle of junk, looking a bit like a nest. You know the sort of nest. 
  Branches of trees, limbs of animals ... The Hunter(s) who were absent 
  when the group attacked the original Devika are still controlled by her 
  magic, and are now watching over her so-called daughter. 
  As the player characters climb the stairs and approach her apartment, 
  music thumps out of another door, flooding the corridor with a heavy 
  bass sound, the words almost muffled out: 
  "Mother, Father, I am your son, 
  Right down to this long, thin, pointed face, 
  And this muddled up, twisted tongue, 
  And now I find I'm doing 
  These things you would have done. 
  Sometimes ... these things ... are hard." 
  When they enter the apartment, Devika and her servants are 
  sprawled across the bed and armchairs in various states of undress, 
  watching TV and reading magazines. Their lifestyle is one of self-con­
  tained hedonism, and they do not expect visitors. 
  When Devika instantly recognizes the character, she is frightened 
  and confused. What do they want? What do they intend to do? How did 
  they find her so quickly? She hides behind bluff and empty threats: 
  "How dare you disturb me again! I'm warning you, I have inherited all 
  of my mother's powers, so you had better beware." She constantly con­
  tradicts herself, often implying that she is the original Devika, but vehe­
  mently claiming to be a separate person. 
  If given time to think, Devika works out that the characters have 
  slim grounds to assault her. She has not committed any crime, she can­
  not be held accountable for her "mother's" crimes (she claims ... but 
  that assumes that she is a different person), and all of her current min­
  ions are delighted to be near her. Let the players argue these issues 
  through. Let them try to work out whether this is the same Devika that 
  they killed in India or not. 
  Quentin Milton (Order #26014138)
  
  Finally, when a fight does erupt, or if the player characters decide to 
  tum and leave, the Hunter(s) barrel in through the window (either one 
  or two, depending on how tough the characters are, and how much the 
  players want a fight). Protecting Devika, they attack the characters, 
  forcing them to fight or flee. In theory, Devika's four males will fight to 
  the death to protect her, but they aren't expecting supernatural horrors 
  to hurtle through the windows, and don't expect the characters to have 
  supernatural powers. In practice, half are likely to end up cowering or 
  fleeing in terror while the characters battle with the Hunters. Devika the 
  Second will fight to the death to defend herself, but will attempt to flee 
  and hide at the first opportunity. 
  When the characters have finished here and prepare to leave, the 
  muffled song from the corridor beats out its final chorus: 
  "So do I thank you? Do I curse you? 
  These tracks stretch out before me, 
  The ones you left behind. 
  What I want, the way I feel, 
  It's yours, yours, not mine." 
  Whether Devika lives or dies, the players should have solved a little 
  mystery and have got plenty of food for thought (What was this 
  "daughter"? Was she the original? Was she a spell? Was she human? 
  Probably all and none of these.) If the characters wish they can go back 
  to Tassanee and tell her that she isn't likely to be ritually murdered (al­
  though there is still other things to fear as a prostitute) and if the player 
  characters killed Li, then Tassanee's parents will just have to sell her to 
  another brothel. 
  Appendix: 
  Cosmology & Other 
  Ramblings 
  The Meaning of the Light 
  "Lightbringers." Guardians. Call me a cynic, but it sounds like bul­
  locks to me. It's like "Hi, I'm Senator Crook. Vote for me, I'm gonna 
  lower your taxes and give you all jobs, and look how white my smile 
  is." Same thing. "Hi, I'm with the Lightbringers. We're going to save 
  humanity and end evil for eternity, and look how white my light is." 
  Think about it, here in the west, white is the color of innocence and 
  purity, but in the east, white is the color of death. Furthermore, histori­
  cally, Lucifer's titles are "Lightbringer" and "Son of the Morning." 
  But hey, don't worry about that. Just keep on thinking that the good 
  guys all wear white, like in old westerns, and the bad guys are all dark 
  and ugly. Jeez. I thought we grew out of thinking like that after the Cold 
  War finished. 
  Sure, maybe the Guardians are the good guys. But maybe life isn't 
  that simple. Maybe things aren' t  so black and white, if you see what I 
  mean. And if you want another pun, well, try "Whitewash." 
  - The musings of a Mirrormage 
  The Mirrowall™ 
  The Mirrorwall is the barrier which separates every plane and uni­
  verse from every other. According to some, the Mirrorwall is what 
  keeps the Megaverse from just crashing into itself in one big mess of 
  contradictions. The Mirrorwall stops magic from getting into worlds 
  150 
  Devika #2 - Quick Stats 
  Alignment: Miscreant 
  Attributes: I.Q. 16, M.E. 20, M.A. 16, P.S. 25, P.P. 12, P.E. 15, P.B. 
  12, Spd. 7 
  Hit Points: 1 9  
  S.D.C.: 10 
  P.P.E.: 60 
  Abilities: Immune to any sort of magical or psionic control. 
  Level of Experience: First level Sorceress. 
  Skills of Note: Principles of Magic 72%, several languages (including 
  English, Hindi, Thai, etc.). 
  Spells include: Destroy dead flesh, domination, escape, heal wounds, 
  and fear. 
  The Servants (Joe, Mattheus, Caelin and Brad) 
  Alignments: Anarchist and miscreant. 
  Attributes: I.Q. 1 1 ,  M.E. 9, M.A. 1 1 , P.S. 13, P.P. 1 2, P.E. 12, P.B. 
  1 3 ,  Spd. 1 1  
  Hit Points: 24 
  S.D.C.: 1 6  
  Level of Experience: Average 4th level. 
  Skills of Note: Hand to hand: basic, W.P. pistol, W.P. knife, pilot auto­
  mobile. 
  Music Note: The lyrics quoted are from "Inheritance," originally re­
  corded by New Model Army and written by Justin Sullivan. 
  that shouldn't have any magic, stops fantastic creatures from wandering 
  down Broadway, and makes sure that you can't catch a bus to Hell. Ex­
  cept that you can catch a bus to Hell (it stops every midnight on the cor­
  ner of 1 3th and Progress, and the fare is thirty silver coins and one good 
  intention ... ), and since Dark Day, there are some very weird creatures 
  in the shadows of Broadway. But that's not the way things should be. 
  That's the way that people (demons, sorcerers, Mirrorrnages, Night­
  lords, and all) have made it, knocking everything out of place. 
  The Mirrorwall is a two dimensional plane, infinitely thin. On one 
  side is Earth. On one side is the Nightlands. On another is a place the 
  Chinese called Heaven. On still another side is a place that Europeans 
  called Hell. On yet another side is an alternate earth ... Is that too many 
  sides for you? It's an infinitely thin plane, and should have two sides, 
  right? Well, you would think that, because you live in physical space, 
  where mathematics and physics mean something (usually). The Mirror­
  wall is at the edges of your space. The Wall is the place where math and 
  physics stop making sense - big time! 
  The Mirrorwall has an almost infinite number of sides, because it 
  defines the edges of every single part of the Megaverse, simultaneously. 
  Looked at another way, the Mirrorwall has only two sides: there's your 
  world (this side) - whoever you are - and then there's everything else 
  (the other side). 
  MirrorwaIITM, PathwaysTM, Astral Plane & Dreamstream™: 
  The Mirrorwall is not the Astral Plane, the Pathways or the Dream­
  stream. Let's get that straight. All three seem to exist everywhere, but 
  that isn't the point. 
  You want a simple explanation? OK. The Mirrorwall exists between 
  every place and every other place. Pathways have the potential to exist 
  every place. The Astral Plane exists outside of every place. And the 
  Dreamstream exists inside every place (or, more exactly, inside every 
  person). 
  Quentin Milton (Order #26014138)
  
  Of course, simple explanations are too simple and misleading. The 
  point is, the four aren't the same. 
  Why is the Wall Mirrored? When you look at the Mirrorwall, if 
  you ever get the chance to look at it, physically, then you'll see that it is, 
  in fact, perfectly mirrored. All you will ever see is a reflection of your­
  self, of your own world. Now, maybe this is because everything in 
  every part of the Megaverse mirrors and reflects every other part of the 
  Megaverse. Maybe it's because nothing is supposed to escape through 
  the Mirrorwall, so light, images, etc., simply bounce back at you, wher­
  ever you are. 
  Inside the Wall. The Wall itself has no substance. It is simply a par­
  tition. A place between places. And yet, with the right magic (or other 
  means) it is possible to get inside the Mirrorwall. 
  Inside, the Wall is a huge three dimensional maze (It probably has 
  more that three dimensions, actually, but humans can't tell). Corridors 
  branch, meet, reach dead-ends, join in huge mirrored chambers, or are 
  separated by mirrored doors. The floor, walls and ceilings are all mir­
  rors - the backs of mirrors, through which you can look out into vari­
  ous waking worlds. Every mirror in existence (and, some say, several 
  that don't exist) backs onto this space. Not that terms like floor, ceiling 
  or wall make much sense in here. You can walk up the walls and onto 
  the ceiling if you want, which, of course, then just becomes the floor as 
  far as you are concerned. Gravity pulls pretty well whatever way you 
  would expect it to. 
  Finding a specific mirror is all but impossible for most folk, but 
  those who understand something about the Wall (Mirrormages, for ex­
  ample) can find any specific mirror in about five minutes. They can't 
  make a map though, because the layout of the corridors inside the Wall 
  is never the same from one moment to another. On the other hand, it is 
  said that if you don't know anything about anything, you will also be 
  able to find your way around, just by instinct. Put your faithful old dog 
  here and shout "Home, boy!" and he'll lead you straight to the back of 
  the mirror in your living room. 
  You want an analogy of what the inside of the Wall is like? OK, 
  think of the computer game Descent, and now imagine an area which is 
  like that, but limitlessly large, made up entirely of the backs of mirrors, 
  and doesn't have any consistent layout. Oh, and the whole area is (prob­
  ably) uninhabited, so there is no one to ask directions from. And keep in 
  mind that this is a place that doesn't exist and, since you do exist, you 
  aren't meant to be here. Unless you've got some pretty impressive 
  magic to keep you here, reality is going to kick in and kick you straight 
  out. 
  Actually, compared with the difficulty of getting in, getting out is a 
  breeze. If the laws of reality don't conspire to eject you, then all you 
  have to do is step out of a mirror. Just make sure you pick the right one. 
  Why Dark Day? 
  While Dark Day was officially a non-event ("nothing really hap­
  pened, nothing to worry about, the government has everything under 
  control... honest") there is a minority belief that Dark Day was some 
  sort of great invasion of the Earth by the minions of the Nightlords. In­
  explicable creatures have turned up, they are infiltrating the government 
  and they are taking control! 
  Now, that might be what it looks like from where human beings are 
  standing. But, given that the Nightlands and the Earth are largely reflec­
  tions of each other, what do you think it looks like from the Nightlords' 
  perspective? 
  From the Nightlands, it looks as if human beings have invaded them. 
  The Nightlords have long interfered with the affairs of the Earth, al­
  though they have found it difficult to breach the Mirrorwall with any 
  regularity. At the same time, enlightened humans, magicians and more 
  recently, scientists, have also been known to travel to and interfere with 
  the Nightlands. But until Dark Day, these incursions were fairly minor. 
  151 
  As human science advanced, it became clear to the Nightlords that 
  humanity might one day breach the Mirrorwall and invade their own 
  realm. As a Night Prince general once remarked, "a good offense is the 
  best defense," so the Nightlords began to plan for a war with the Earth. 
  On the Earth, meanwhile, scientists were beginning to glimpse into 
  alternative realities. This was a new frontier where, as far as they knew, 
  no man had ever gone before. Their glimpses of the Nightlands fright­
  ened both them and the politicians who funded them. The Nightlands 
  creatures seemed inexplicable, frightening, and as numerous probes and 
  one-way volunteer missions proved, it even seemed possible to cross 
  over from one world to the other. Soon, the politicians were hearing 
  from their intelligence services that the Nightlands were sending agents 
  into their world. And as everyone knows, the best defense is ... 
  In this way, the situation escalated. Both sides prepared for war, and 
  having only sketchy reports of the other (and fearing the worst), each 
  preparation only provoked the other side into faster armaments. (Ever 
  wonder what the huge National Security budgets are spent on?) 
  With supernatural powers, the Nightlords' minions infiltrated right­
  wing political movements, placed spies and recruited servants, while the 
  Nightlords themselves gathered their energies. With technologies which 
  seemed as supernatural to the Nightlords (and would be considered sci­
  ence fiction by most humans), the western governments did exactly the 
  same in the Nightlands. 
  On Dark Day the invasions came. NATO attacked the Nightlands. 
  The Nightlords attacked the Earth. Inevitably both invasions occurred 
  simultaneously, and both invasion forces were of similar size. Only the 
  vanguards - the first few troops - got through on either side before 
  the commanders realized that their own worlds were under attack. 
  Nightlord and human armies simultaneously panicked, and invasions 
  were cancelled to provide for the defense of their own worlds. 
  Now, neither side will risk a direct offensive, and both are ready in 
  case another attack comes. The situation is a stalemate, a kind of unoffi­
  cial Cold War, as both sides resort to espionage, infiltration and deceit. 
  For at least the moment, it would seem that the Nightlords have the up­
  per hand. 
  What no one seems to realize is that this is a war which nobody can 
  win. It is simply not possible for either side to gain a clear and total ad­
  vantage over enemies who are merely reflections of themselves. Change 
  places, perhaps. Destroy each other, perhaps. Perversely, it seems likely 
  that the situation will continue on its present course until the Nightlords 
  eventually control all human governments, while all the time the barrier 
  between the two worlds is thinning and cracking. 
  The other thing that no one seems to consider is that this bizarre 
  state of affairs may not have arisen entirely by accident. But that's an­
  other story. 
  'Jesus ... said to his disciples ... "When you make the two one and 
  the inside like the outside and the outside like the inside and the above 
  like the below ... when you make eyes in the place of an eye and a hand 
  in place of a hand ... then you will enter [the kingdomJ ." The Gospel of 
  Thomas. 
  Quentin Milton (Order #26014138)
  
  Acolyte 
  1 0,000- 1 ,860 
  2 1 ,86 1 -3,720 
  3 3,72 1 -7,440 
  4 7,44 1 - 1 4,880 
  5 1 4,88 1 -23,880 
  6 23,88 1 -34,880 
  7 34,8 8 1 -48,880 
  8 48,88 1 -68,880 
  9 68,8 8 1 -92,880 
  10 92,88 1 - 1 24,880 
  1 1  1 24,88 1 - 1 66,880 
  12 1 66,88 1 -2 1 2,880 
  13 2 1 2,88 1 -272,880 
  1 4  272,881 -324,880 
  1 5  324,88 1 -384,880 
  Channeller Q,C,C, 
  1 0,000- 1 ,900 
  2 1 ,90 1 -3,800 
  3 3,801 -7,�00 
  4 7,30 1 - 1 4,300 
  5 1 4,30 1 -2 1 ,000 
  6 2 1 ,00 1 -3 1 ,000 
  7 3 1 ,00 1 -41 ,000 
  8 41 ,00 1 -53,000 
  9 53,00 1 -73 ,000 
  1 0  73,00 1 - 1 03,000 
  1 1  1 03,00 1 - 1 38,000 
  1 2  1 38,00 1 - 1 88,000 
  1 3  1 88,00 1 -238,000 
  1 4  238,00 1 -288,000 
  1 5  288,00 1 -328 ,000 
  Cybermage Q,C,C, 
  1 0,000-2,350 
  2 2,35 1 -4,650 
  3 4,65 1 -9,250 
  4 9,25 1 - 1 8,500 
  5 1 8,50 1 -27,000 
  6 27,00 1 -37,000 
  7 37,00 1 -52,000 
  8 52,00 1 -73,000 
  9 73,00 1 -98,000 
  1 0  98,00 1 - 1 40,000 
  1 1  1 40,00 1 - 1 90,000 
  1 2  1 90,00 1 -232,000 
  1 3  232,00 1 -292,000 
  1 4  292,00 1 -360,000 
  1 5  360,00 1 -430,000 
  Experience Tables 
  Fleshscupltor Q,C,C, 
  1 0,000-2, 1 50 
  2 2, 1 5 1 -4,300 
  3 4,30 1 -8,600 
  4 8,60 1 - 1 7 ,200 
  5 1 7 ,20 1 -25 ,400 
  6 25 ,40 1 -35 ,600 
  7 35,60 1 -50,800 
  8 50,80 1 -7 1 ,200 
  9 7 1 ,20 1 -96,400 
  1 0  96,40 1 - 1 32,600 
  1 1  1 32,60 1 - 1 84,800 
  1 2  1 84,80 1 -235 ,200 
  1 3  235,20 1 -285 ,400 
  1 4  285,40 1 -335 ,600 
  1 5  335,60 1 -400,800 
  Mystic Q,C,C, 
  1 0,000-2,050 
  2 2,05 1 -4, 1 00 
  3 4, 1 0 1 -8,250 
  4 8,25 1 - 1 6,500 
  5 1 6,501 -24,600 
  6 24,60 1 -34,700 
  7 34,70 1 -49,800 
  8 49,80 1 -69,900 
  9 69,90 1 -95 ,000 
  1 0  95,00 1 - 1 30, 1 00 
  1 1  1 30, 1 0 1 - 1 80,200 
  1 2  1 80,20 1 -230,300 
  1 3  230,30 1 -280,400 
  1 4  280,40 1 -340,500 
  1 5  340,501 -400,600 
  Mirrormage Q,C,C, 
  1 0,000-2,240 
  2 2,24 1 -4,480 
  3 4,48 1 -8,960 
  4 8,96 1 - 1 7,920 
  5 1 7,92 1 -25 ,920 
  6 25,92 1 -35,920 
  7 35 ,92 1 -50,920 
  8 50,92 1 -70,920 
  9 70,92 1 -95 ,920 
  10 95,92 1 - 1 35 ,920 
  1 1  1 35 ,92 1 - 1 85 ,920 
  1 2  1 85 ,92 1 -225 ,920 
  1 3  225 ,92 1 -275 ,920 
  14 275 ,92 1 -335 ,920 
  1 5  335,92 1 -395 ,920 
  152 
  Nemesis R,C,C, 
  1 0,000-2,400 
  2 2,40 1 -4,800 
  3 4,80 1 -9,400 
  4 9,40 1 - 1 8,600 
  5 1 8,60 1 -28,800 
  6 28,80 1 -48,400 
  7 48,40 1 -78,800 
  8 78,80 1 - 1 1 0,400 
  9 1 1 0,40 1 - 1 50,800 
  10 1 50,80 1 -200,400 
  1 1  200,40 1 -250,800 
  1 2  250,80 1 - 3 1 0,400 
  1 3  3 1 0,40 1 -380,800 
  1 4  380,80 1 -470,400 
  1 5  470,40 1 -600,800 
  Sorcerer Q,C,C, 
  1 0,000-2,240 
  2 2,24 1 -4,480 
  3 4,48 1 -8,960 
  4 8,96 1 - 1 7,920 
  5 1 7,92 1 -25,920 
  6 25 ,92 1 -35,920 
  7 35 ,92 1 -50,920 
  8 50,92 1 -70,920 
  9 70,92 1 -95 ,920 
  1 0  95,92 1 - 1 35,920 
  1 1  1 35 ,92 1 - 1 85 ,920 
  1 2  1 85 ,92 1 -225 ,920 
  1 3  225 ,92 1 -275 ,920 
  14 275,92 1 -335 ,920 
  1 5  335 ,92 1 -395 ,920 
  Quentin Milton (Order #26014138)
  
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  Quentin Milton (Order #26014138)
  
  www.palladiumbooks.com
  ®
  Unleash your imagination™
  Palladium Books® Presents:
  Through the Glass Darkly™
  For the Nightbane® RPG Series
  Explore a side of magic you have never considered. Exactly how does magic work? Could it be a “living” thing? 
  What happens when magic goes wrong? What other types of sorcerers are there? What lies beyond the Mirrorwall?
  ● Over 50 new magic spells and new types of magic.
  ● 
  ● Rules for creating new and variant magic.
  ● Magic charms, talismans, and artifacts.
  ● New O.C.C.s include the Fleshsculptor, Cybermage, and Mirrormage.
  ● The Nemesis R.C.C., a dangerous reflection in the Nightlands.
  ● Food for thought: Could the Guardians and/or Lightbringers have a hidden agenda? Are they a dark force?
  ● Literally dozens of stories, ideas, hooks, and suggestions.
  ● Three full adventures — and none of them involving the Nightlords.
  ● 
  ● Living Pathways — portals to elsewhere.
  ● Emphasis on horror and the macabre.
  ● Over 150 pages!
  $20.95
  Cat. No. 733
  ISBN-10: 1-57457-004-8
  ISBN-13: 978-1-57457-004-5
  Nightbane® World Book 2:
  Nightlands™
  ● A terrifying look at the Nightlands!
  ● The secrets of The Dark and insight about the Nightlords.
  ● Key cities and places in the Nightlands and on Earth.
  ● New Nightlord Minions and monsters like the Great Hound, 
  Living Chariots, Skinners, Immortals, and others.
  ● Rune-like weapons known as “Artifacts.”
  ● New Nightbane Morphus Tables and Talents.
  ● 144 pages by C.J. Carella.
  Other Titles:
  Nightbane®
  Nightbane® Survival Guide™ – Tons of new Nightbane Morphus 
  Tables, Talents, survival tips, and history, plus Contact rules, Faction 
  creation rules, and much more. 160 pages, Cat. No. 735.
  Nightbane® Dark Designs™ – 18 new Morphus Tables, 98 new 
  Talents, Transformation Transition table, Talent creation rules, Ancient 
  Nightbane R.C.C., insight to the Becoming, and more. 160 pages, Cat. 
  No. 736.
  Also for Nightbane®
  Nightbane® World Book 1:
  Between the Shadows™
  ● The Astral Plane like you’ve never imagined.
  ● The Dreamstream, where our dreams could mean life and death.
  ● Spook Squad, its agents, and organizations.
  ● 
  ● New Nightbane creation tables and Talents.
  ● New magic, psionic abilities, and supernatural powers.
  ● 20 new O.C.C.s & R.C.C.s, including the Arcane Detective, Dream Maker, Astral Mage, Mind 
  Master, etc.
  ● Nightlord Minions, monsters, and adventure.
  ● 144 pages by C.J. Carella.
  Quentin Milton (Order #26014138)
  
SOURCE: textdata/thevault/Nightbane (palladium)/Nightbane® World Book 3_ Through the Glass Darkly™/Through-the-Glass-Darkly-download.pdf