TEXT: tremulus
  by sean preston
  a storytelling game of lovecraftian horror
  
  tremulus
  a storytelling game of lovecraftian horror
  writing, layout, and graphics
  by
  Sean Preston
  the launch team
  Sean Preston, Lyn Harm, and Justin Suzuki
  editing
  Lyn Harm and Brad Bell
  playtesting and feedback
  Eric Avedissian, Brad Bell, Jimmie Bise,  Clint & Jodi Black, Ron & Veronica 
  Blessing, Mike Bogan, Stuart Boon, Jason Brown,  Jim Crocker, cthuluchick, 
  Phillippe Dapelo,  Joseph Davalt, Jennifer Dulock, Aleksandr Ermakov, Chris 
  Fuchs, Mark Francis, Chris Fuchs, Phil Garrard, Edgar Gillock, Ayla Grady, 
  Barry Green, Sean Gomez, Jean Ha, Lyn Harm, Leah Huete, Carl Hickman, 
  Doug Keester, Becky Kirsch, Christopher Kubasik, Lee Langston, Zed Lopez, 
  Whit Mattson, Shawn McDonald, Andrew Medeiros, Lord Mhor, Jason 
  Morningtar, Andrew Muttersbach, Leif Olsen, Randall Orndorff, S. J. Orndorff, 
  Randall “WiseWolf” Padilla, John Post, Kevin Petker, John Rogers, Andrew 
  Smith, Jason D. “Ludanto” Smith, Bill Stilson, Derek Smyk, Justin Suzuki,  
  Chad Voth, Ed Wetterman, Linda Weygant Kurt Wiegel, Michael Wight, 
  Michael Wolf, and Stacy Young
  special thanks
  To All Our Kickstarter Backers!!! 
  
  -II-
  We are here to laugh at the odds and live our lives so well that 
  Death will tremble to take us. 
    
   
   
  - Charles Bukowski
  We do not see things as they are, we see things as we are. 
    
   
   
  - Anais Nin
  
  -III-
  table of contents
  Prefatory  
   
   
   
   
   
  2 
  Dark Corners of the Earth 
   
   
   
  4
   
  What is a Storytelling Game? 
   
   
  4
   
  What is Haiku? 
   
   
   
   
  4
  Player’s Section  
   
   
  What Am I Really Getting Into Here? 
   
  5 
  Doomed 
   
   
   
   
   
   
  5
  Decisions, Decisions 
   
   
   
   
  6
  Defiant to the End 
   
   
   
   
  7
  The Touchstone: Your Nexus of Knowledge 
  8
  Attributes 
   
   
   
   
   
   
  8
  The Lexicon  
   
   
   
   
   
  9
  Types of Moves 
   
   
   
   
   
  10
  Fiction First  
   
   
   
   
   
  10
  Using Basic Moves 
   
   
   
   
  11
  Using Lore Moves 
   
   
   
   
  13
  Character Creation 
   
   
   
   
  14
  The Rules  
   
   
   
   
   
  18
  Mortality & Madness  
   
   
   
  25
  Variations of Play 
   
   
   
   
  33
  Physical Debilities 
   
   
   
   
  34
  Mental Disorders  
   
   
   
   
  35
  Rituals, Rites, and Whatnot  
   
   
  40
  Tags  
   
   
   
   
   
   
  42
  Equipment and Such 
   
   
   
   
  44
  Advancement 
   
   
   
   
   
  48
  Playbooks  
   
   
   
   
   
  49
  Actual Play Examples  
   
   
   
  84
  
  -IV-
  The Keeper’s Section
  Proper Preparations 
   
   
   
   
  94 
   
  Embracing Darkness  
   
   
   
  95
  Apart and a Part  
   
   
   
   
  100
  Hazards 
   
   
   
   
   
   
  119
  Making Hazard Moves 
   
   
   
  125
  Architecting Nightmare  
   
   
   
  147
  Creatures, Strange and Horrible 
   
   
  155
  A Motley Assortment of Things  
   
   
  161
  Odds and Ends  
   
   
   
   
  165
  Tips and Tricks  
   
   
   
   
  168
  Using Playsets: Ebon Eaves and Beyond  
  180
  Ebon Eaves  
   
   
   
   
  Questions  
   
   
   
   
   
  190
  How to Use 
   
   
   
   
   
  191
  Town Worksheet  
   
   
   
   
  192
  Local Color (Investigator Notes) 
   
   
  193
  Local Color (Keeper Notes)  
   
   
  205
  Town Lore (Investigator Notes) 
   
   
  223
  Town Lore (Keeper Notes) 
   
   
   
  236
  Parting Words 
   
   
   
   
  Creating Custom Playsets 
   
   
   
  255  
  Creating Custom Playbooks  
   
   
  256
  Kickstarter Backers 
   
   
   
   
  258
  Index 
   
   
   
   
   
   
  269
  
  -1-
  Origin Story
  Strange as it may sound, these sorts of introductory bits are most often the 
  last things placed into a book. And are, just as often, one of the last things 
  written, so it may ring most clearly and relevantly to the audience.
  Curiously, published words feel far more dated now than they even 
  did a year or so ago with the ubiquitous proliferation of instant media 
  outlets. While such things have been around for a long time, most 
  everyone has a news feed they tap into (other than the television we’ve 
  all grown up with).
  This is not to be curmudgeonly, though I suppose it could be viewed 
  that way. Even as I write these words, I feel the dust beginning to gather 
  on them. One way to avoid this is to step into another era, a simpler 
  time when technology was not yet rampant, and the fear of the unknown 
  lurked within the shadows scattered across the lands. And where players 
  rolled dice and told each other stories...
  tremulus, as many things are wont to do, began as a niggling idea
  back in the corner of my mind. Something to which I gave little 
  attention, as I was deep in the throes of other game design projects. I 
  wanted to create a game with more emphasis on narrative and story that 
  was a departure from past works. This wasn’t intended as a commercial 
  venture; it was something I secretly worked on, a surprise for my crew. 
  If I only knew then...
  This particular work is based largely off of Vincent Baker’s Apocalypse 
  World , and has been tweaked and smashed and spindled and mutilated 
  to create all the words you’re now reading, to create this little slice of 
  dark chocolate in which you’re about to indulge. It is designed to delight 
  you. It is designed to scare you. It is designed to offer up a different type 
  of experience than the attendant one most of us are accustomed to when 
  playing or running a Mythos-centric game. 
  I don’t want to spoil any of the surprises in store for you. Just turn the 
  lights down low, kick off your shoes, and let your mind wander for a bit. 
  Don’t mind the noise at the windows, nor the strangely shaped tentacles 
  descending from the corners of the room. Surely, they must be no more 
  than the wind in the trees causing a bit of noise and those ominous 
  shadows no more than a trick of the light...
  
  -2-
  A Prefatory: Not Essential but Helpful
  What Is Lovecraftian Horror?
  It’s a subgenre of horror fiction which emphasizes the cosmic horror of the 
  unknown (in some cases unknowable) over gore or other elements of shock, 
  though these still may be present. 
  –Dan Harms, Encyclopedia Cthulhiana: A Guide to Lovecraftian Horror
  This creative space allows a lot of room to explore the dark corners of the 
  human condition. To reach inside one another and discover gut-wrenching, 
  intimate, and personal stories of horror… but with more quiet elements in 
  the foreground, as things lurk not only beyond space and time, but just 
  across the threshold from one room to the next, or even from one glance 
  to another. tremulus is collaborative storytelling, using Lovecraftian horror  
  to work together to create this creepy experience. For further expansion on 
  approaches, check out the Tips and Tricks section. 
  Where Are the Tentacles and Mad Gods?
  tremulus is not about the Mythos. But, it can be. If you’re an avid fan of  
  H. P. Lovecraft, you know he developed a full mythology of dark, alien 
  gods, and there’s a lot of material out there. Do a quick search on Google, 
  typing in “lovecraft mythos,” and you’ll get around 198,000 hits as of this 
  writing. Or, better yet, ask that creepy guy sitting over there in the corner, 
  wearing the olive green T-shirt covered with weird runes and stains—I bet 
  he knows all about it. Or read further and see what wondrous horrors lurk 
  within the seemingly normal and mundane world around you.
  The Mythos in a Minute
  Lovecraft never referred to his creation as the Cthulhu Mythos. That came 
  later from August Derleth, who used the term to describe the shared 
  universe stories Lovecraft created that their common circle of friends then 
  began exploring. Their stories detailed weird and fantastic things, dealing 
  with indifferent alien gods (and lots of tentacles and madness) and exploring 
  the hopelessness of the human condition. Many of the protagonists simply 
  go insane… and those are the lucky ones. 
  
  -3-
  Focus on the Fringes
  The point of this work is to enable you and your friends to get together and 
  play through a story. This story may well be a quieter one, focused on small 
  details and continual revelations of weirdness, until you find the characters 
  caught up in inexorable events and circumstances spiraling out of control. 
  A thump in the basement or a rat in the wall can be every bit as terrifying 
  as a cultist in a clearing (unless said cultist also runs the boarding house 
  you stay in). Remember: you’re creating and telling human stories with 
  inhuman elements.
  Drinking From the Well
  Some of Lovecraft’s stories were rather subdued while retaining his distinct 
  shade of strange, inspired by the likes of Edgar Allen Poe, Lord Dunsany, 
  Algernon Blackwood, Gertrude Barrows Bennett, Oswald Spengler, Robert 
  Chambers, and Clark Ashton Smith. These influences led Lovecraft to 
  create some amazingly bizarre stuff, powerful stuff that gets under your 
  skin, resonates within your psyche and latches onto it like an alien parasite. 
  Certainly, these other writers were no slouches either, spinning some 
  fantastical and ofttimes disturbing tales as well. Don’t blame me, oh jaded 
  one, if you wind up sleeping with the lights on or double-checking your 
  locks before bedtime. 
  Starting Out
  You need at least one person other than yourself to play tremulus (it flows 
  best with smaller groups, but can be played with up to six comfortably). 
  One of you takes on the role of the Keeper and is the person responsible 
  for facilitating play, creating the framework (story outline), and directing the 
  collaborative storymaking experience. Everyone else selects a playbook and 
  takes on the role of that particular individual over the course of the story, 
  whether it is one session or more. How the Keeper gets the game set up is 
  explained in more detail in the Keeper’s Section (see Embracing Darkness, 
  pp. 95-99).
  
  -4-
  Dark Corners of the Earth
  tremulus is a storytelling game of Lovecraftian horror where you take on 
  the role of a person who has been destined to live an interesting life, one 
  touched by blood and bile, dark revelations, and horrible sacrifice. The 
  weight of the world is upon your shoulders as you strive to drive back the 
  darkness threatening to drown it out.
  What Is a Storytelling Game?
  A storytelling game is a game where two or more folks get together and 
  tell a spontaneous story within a framework of some sort. Most require no 
  dice or game master. tremulus is a storytelling game incorporating Haiku.
  What Is Haiku?
  Haiku is the name for our in-house system and philosophical approach to the 
  storytelling game. Haiku is based upon Apocalypse World, and influenced 
  by other systems and games such as FATE and Fiasco. Ultimately, it’s 
  best described as a mechanized narrative where uncertain outcomes are 
  decided by dice rolls. As with traditional roleplaying games, each player 
  plays a character, with another person acting as the Keeper, whose roles and 
  responsibilities include creating the playspace, interpreting the rules, and 
  facilitating progress through the story. The characters in Haiku contribute to 
  the narrative space through their actions, each guiding the story in directions 
  which most interest them.
  There are complementary subsystems of rules: the characters are 
  governed by sets of moves they can perform, as is the Keeper. The 
  construction of hazards, frameworks (the structural parameters of a 
  scenario), and even creatures have boundaries as well. All rolls of the 
  dice are “player-facing,” meaning that all the rolls in the game are done 
  exclusively by the players. At a minimum, the group will need only two 
  six-sided dice, although it’s better if each player has his or her own pair. 
  Much as the poetry for which it is named, Haiku is simple, elegant and 
  powerful, as you will soon see.  
  
  -5-
  What Am I Really Getting Into Here?
  tremulus is a game of darkness, misery, doom and death, punctuated by the 
  greed of man and monster. You will take on the role of one of the unfortunate 
  souls forced to confront the hidden secrets and horrible monstrosities that 
  lie ever beneath the placid surface of the world, sometimes rippling over into 
  our own…wait…no, don’t go! It gets much, much worse...
  Doomed
  You have been marked by fate to be wrapped up in mystery and misery for 
  the remaining days of your life. You can either try to flee from your cruel 
  misfortune…or summon your inner strength,  defiantly sticking your thumb 
  into the eye of the mad, laughing gods and dark forces that seek but to use 
  the world—your world—as their private playground. 
  
  -6-
  Decisions, Decisions
  Look over the following list and choose a playbook that interests you. You 
  are this person, and no one else in your group can be. Talk about who 
  wants to play whom. Then pick what you want anyway, so long as no one 
  else chooses it first. If this is your first time playing, go with your instincts, 
  and select the one that speaks to you most strongly. Leap in with reckless 
  abandon. What does it really matter? Odds are you’re all going to go mad 
  or die anyway, right? Right? 
  Alienist
  You are well educated and study to treat the mind.
  Antiquarian
  You study history through the objects and relics from past days. 
  Author
  You dream and write and explore the corners of your mind. 
  Detective
  You are a private eye, a mind for hire, well versed in the fine art of unraveling 
  mysteries.
  Devout
  You are committed to spreading hope and restoring people’s faith in 
  humanity.
  Dilettante
  You are rich, usually idle, and often indulge in pastimes the poor only 
  dream of. 
  Doctor
  You are a trained, rationally minded physician, capable of treating the 
  illnesses and injuries of the human body.
  Heir
  You are an everyman who has recently come into a windfall.
  Journalist
  You are an investigative reporter with a keen eye and nose out for the next 
  big story.
  Professor
  You are a teacher, a speaker, a walking body of knowledge.
  Salesman
  You are a peddler, huckster, a smooth-talking trader.
  
  -7-
  Defiant to the End
  Don’t worry. You’re not expected to go down without a fight. You have a 
  few tricks of your own. You’ve become aware of the weirdness in the world 
  around you, and have learned to channel the darkness and glean insights 
  from it. You can take what you’ve learned, this Lore, and use it to perform 
  special maneuvers known as Lore moves. Everyone starts with one. You 
  might learn more—if you survive. If you play your cards right, are very, 
  very careful, and get exquisitely lucky, you might make it out alive. Just 
  don’t count on it.
  
  -8-
  The Touchstone: 
  Your Nexus of Knowledge
  Though the rules are concise, some of the terms might throw you off at 
  first, as well as how or when to apply them. No one wants that. When you 
  need clarity, look here first.
  Attributes
  Each character is defined by the following attributes. Primary attributes may 
  increase with experience earned, or be reduced through injury or insanity. 
  In general, they remain largely static over the course of a mystery.
  Primary
  reason: Knowledge, education, rational thinking, calmness. 
  passion: Instinct, empathy, intuition, emotional strength.
  MighT: Aggression, physical strength, force, muscle.
  Luck: Fate, fortune, destiny, kismet.
  affiniTy: Charm, attraction, looks, general affability.
  Secondary
  WeaLTh: An abstraction of money, Wealth typically comes into play to 
  adjudicate atypical expenditures that can impact the storyline, like buying a 
  car or several guns, as opposed to a cup of coffee or a newspaper. 
  Lore: An abstraction of accumulated arcane and occult knowledge each 
  character channels in a special way. Characters begin with 0 Lore unless 
  their playbook indicates otherwise or they choose it as an option (which 
  only some of them have).  
  TrusT: This is the strength of your relationship with the other characters. 
  You will have a separate value for each character in your group, ranging 
  from 0 to +3. They will have the same for you, and your values may be 
  quite different.
  
  -9-
  The Lexicon
  charged siTuaTion: Any scene wherein a character decides to take a move.
  consequences: A negative outcome resulting from a failure.
  daMage: Physical or mental pain inflicted upon another character, creature, or 
  thing.
  dark insighT: A natural roll of 12. You gain a point of Lore (and may gain 
  additional situational benefits).
  faiLure: A failed roll, a modified 6 or less, a miss.
  hard Move: A move made by the Keeper that happens without the possibility 
  of character intervention (usually as the result of spending hold).
  harM: Physical damage.
  hazard: Any threatening or potentially threatening person, place, or thing.
  hoLd: Stored currency gained by performing various moves. It is often expended 
  on a particular move, but may be reserved in some instances (especially by the 
  Keeper). 
  keeper: The tremulus gamemaster. Collaboratively works with the players to see 
  how events play out.
  Miss: A failed roll, 6 or less, typically has consequences.  
  Move: The basic character action in tremulus. 
  … of iMporT: Any NPC or item upon which a move is attempted. 
  npc: A non-player character, i.e., anyone in a story not played by a player, 
  brought to life and played by the Keeper.
  pLaybook: The sheets detailing out your specific character info (attributes, gear, 
  special moves, etc.)
  saniTy check: An acT under pressure roll made when a character 
  discovers/encounters something disturbing.
  shock: Mental damage.
  Tags: Aspects of an item which further define it (valuable, unreliable, safe, and 
  so on).
  +1:  Shorthand for +1forWard.
  +1forWard: Add +1 to your next move (usually a specific one).
  +1ongoing:: Add +1 to all moves (usually related to a particular thing).
  -x: Subtract a given number from a particular move or set of moves. Is often 
  conditional and ongoing.
  2d or 2d6: Two six-sided dice (used to determine the outcome of your actions).
  parTiaL success: A roll of 7-9 (typically results in a “Yes, but…” situation).
  roLL+aTTribuTe:  Rolling 2d6 and adding the attribute in question (as defined 
  by the move).
  success: A roll of 10+ (typically results in a “Yes, and…” situation).
  
  -10-
  Types of Moves
  basic Moves: Actions available to all characters.
  keeper Moves: Moves restricted to the Keeper, detailed further in the 
  Keeper’s Section.
  Lore Moves: Moves powered by the expenditure of Lore, allowing the 
  characters to do some extraordinary things.
  speciaL Moves: Each character has unique moves available only to them 
  (found in each playbook).
  Fiction First
  Take the action to get its effect. 
  Narratively decide what you’re going to do, determine the most appropriate 
  move, and roll the dice.  If you decide to look through some dusty boxes in 
  the attic, you poke around. Simple as that. Roll and see what happens. 
  Don’t think of things mechanically. Always think of things in terms of what 
  your character would do in any given situation or circumstance, not what 
  move you will take next.
  
  -11-
  Using Basic Moves
  Whenever you need to see how any given move works in play, check here. 
  acT under pressure (roLL + reason)
  When To use:  whenever the character is under the gun, trying to maintain 
  composure, or wanting to flee.
  exaMpLes
  Amy needs to find a particular book at the library before it’s too late.
  Sheridan is fleeing through the woods with a ravenous wolf in pursuit.
  A horrible monster leaps at the characters from out of nowhere.
  convince (roLL + affiniTy)
  When To use: whenever the character is in non-violent situation and 
  wants to bring an individual around to her way of thinking, avoid a fight, 
  or get someone to reveal a personal detail.
  exaMpLes
  Amy persuades the sheriff to protect the suspect.
  Turnbull explains to Sheridan that walking through the ancient forest is 
  quite safe in his company.
  Jack flirts with the farmer’s daughter to find out where her father keeps his 
  truck keys.
  heLp/hinder (roLL + TrusT)
  When To use: whenever the character wants to help out another character 
  or prevent them from doing something.
  exaMpLes
  Amy throws a rock to distract a thug, so Turnbull can catch him with his 
  guard down.
  Turnbull sees Sheridan shooting at a cultist Turnbull would rather capture 
  and knocks his rifle away.
  Sheridan and Amy help Turnbull canvass the barn for a lantern or pitchfork.
  
  -12-
  poke around (roLL + Luck)
  When To use: whenever the character wants to explore a new area, check 
  for danger, or look for clues or items that are not obviously evident.
  exaMpLes
  Turnbull enters the old shed in hopes of finding some sharp, pointy thing.
  Sheridan throws a rock into the clearing to see if there are creatures about.
  Amy looks through her aunt’s attic for a clue to her disappearance.
  puzzLe Things ouT (roLL + reason)
  When To use: whenever the character wants to piece together disparate 
  pieces of information, draw conclusions from a clue, read an enemy, or 
  figure out a group dynamic.
  exaMpLes
  Amy attempts to decipher a scrawled note she finds under the attic floorboard.
  Turnbull ponders why there would be the bust of an Egyptian pharaoh in 
  the old shed.
  Sheridan wonders which wolf pursuing him is the pack leader.
  read a person (roLL + passion)
  When To use: whenever the character is engaged in conversation with 
  someone and wants to figure out what’s really going on in their head or if 
  they’re lying.
  exaMpLes
  Amy wonders why Miss Peterson keeps going through her personal effects.
  Sheridan wants to know if Turnbull was really in the war.
  Davidson eyes the bartender, wondering what it will take for him to spill 
  the beans on his boss.
  
  -13-
  resorT To vioLence (roLL + MighT)
  When To use:  whenever the character has decided that the definite use 
  of force is the only way to accomplish his ends.
  exaMpLes
  Amy smashes into the crazed cult leader and takes the glowing relic from 
  his hands, even as he slices her cheek.
  Jack shoots the leaping pack leader and is knocked prone, even as the rest 
  of the wolves scatter into the woods.
  Davidson blocks the brunt of the brute’s punch, and squarely delivers an 
  uppercut, sending him reeling.
  ThreaTen (roLL + MighT)
  When To use: whenever the character makes a promise of violence he is 
  not afraid to keep.
  exaMpLes
  Amy finds herself cornered in the library by a sneering man with a dangerous 
  visage and brandishes her pistol.
  Turnbull yells menacingly and smashes a bottle on the table as a bar fight 
  erupts around him.
  Jack cracks his knuckles, sizes up the guys before him, rolls up his sleeves, 
  and beckons them forward.
  Using Lore Moves
  Characters may expend a point of Lore to use their Lore Move. Each 
  playbook has a unique Lore Move the character begins with. The Lore Move 
  allows you to push yourself farther and perform tasks normally beyond your 
  abilities. Using your Lore may come with a secret cost that unfolds in play. 
  
  -14-
  Character Creation
  Creating your character is quite easy. It looks like a lot, but it’s not. Have 
  no fear—you’ll be dealing with squamous evil in no time.
  choose a pLaybook:  You may select any character from the ones in 
  this book. Check with the Keeper to see if any of them are restricted, or if 
  there are any optional or variant ones available. Remember: pick the one 
  you find most appealing, as long as no one else already has chosen it.
  choose your naMe: Pick one from your playbook. If you’re really 
  creative, come up with your own. (Keep in mind this is what you’ll be called 
  throughout the game by the Keeper and the other players.)
  choose Look: Pick one from each category of the choices provided. 
  choose aTTribuTes: Pick a set that works with how you plan to play 
  your character. (If you’re unsure, then go with the most even distribution 
  available.)
  choose gear: Pick the stuff which best reflects your character. Certain 
  things, like weapons, may be difficult (or impossible) to get in play, so factor 
  that carefully into your decisions. 
  choose speciaL Moves: You get two. Choose wisely.
  revieW Lore Move: See what your uniqueness is all about. Who knows? 
  It might save your life. Briefly.
  esTabLish TrusT:  You begin with a number of Trust points to distribute 
  equal to the number of players (not counting the Keeper) present. Assign a 
  Trust score (from 0 to 3) to each character. You may not start with negative 
  Trust in another character, though it may arise during play. Each Trust 
  score represents your character’s faith and belief in the particular character, 
  and serves to quickly establish relationships. inTersecTing Lives (p. 16) 
  suggests relationship ideas and offers up additional Trust variants. Your 
  Trust in others is used when you heLp/hinder them, so if you have 
  TrusT +2 in Meg, and she has TrusT +1 in you, you’d roLL+2 to 
  heLp/hinder her while she would roLL +1 to do the same for you.
  Playbooks begin on page 49.
  
  -15-
  Death Is Not the End
  Just because your character dies before the story ends doesn’t mean you’re 
  getting out of it that easily. Grab another unused playbook and create a 
  new character. To soften the blow, your new character begins play with all 
  the accumulated Lore and Wealth (but not gear, sorry) of your previous 
  character in addition to the new one. Consider this your inheritance. In 
  return, relate how you knew the recently deceased or hopelessly deranged 
  character, and how or why you’re up to speed on current events (maybe you 
  received their journal, telegrams, or what-have-you). 
  Bodies Piled High
  When your group has exhausted all the existing playbooks, either through 
  death or madness, with no one left… well, darkness, evil, and alien horror 
  win and you have no one but yourselves to blame. 
  
  -16-
  Intersecting Lives
  Just like sea moss gathers amidst the nooks and crannies of weathered 
  rocks along the shoreline, your character is tied to the other characters in 
  the story in ways both mundane and strange. Consider for a moment the 
  other playbooks in play and ask yourself two questions: how and why your 
  character would know each of them?  With these thoughts in mind, dole 
  out your Trust points accordingly. After doing so, the group should reveal 
  them, and begin making connections. Remember: the question is never if 
  one character knows another, but how and/or why?
  Some thoughts to get you going:
  The How (Obvious Reasons)
  acadeMic Ties: Colleagues, rivals, or student/mentor.
  proxiMiTy: Same home town, same alma mater, or same employer.
  reLaTives: Parent/child, siblings, spouses, or distant cousins.
  sociaL circLes: Uppercrust, charity, political, religious, or recreational.
  The Why (Personal Connections)
  duress: Battlefield buddies, rescuer/rescuee, or outsiders. 
  roManTic: Love at first sight or unrequited love.
  shared inTeresTs: Astronomy, the occult, or others more mundane.
  siMiLar fieLds: Academic or professional.
  Shared Visions
  After everyone assigns Trust with a general idea of how and/or why they 
  know each other, one player gets the ball rolling, explaining her connections 
  to each of them. This should be informal, with give and take between 
  the players. It’s important to make certain each player in a relationship 
  is agreeable with the connections.  It’s particularly engaging to see when 
  characters have radically different Trust values with each other, such as The 
  Salesman who thinks The Professor hung the moon, while The Professor 
  remembers him as a student who didn’t live up to his potential.
  
  -17-
  What Trust Means
  -3 Wouldn’t sleep in the same house as them.
  -2 Wouldn’t turn your back on them.
  -1 Find them shifty.
   0 Casual acquaintance. No real opinion positive or negative.
  +1 A good friend, trustworthy.
  +2 Close friend, trust with important personal matters.
  +3 Inner circle, trust with your life.
  Group Dynamics
  You may increase your Trust in someone by 1 at the end of each session. If 
  you do, you must reduce your Trust in someone else by 1 as well. Whenever 
  you survive a story arc (whether you succeed or fail), you increase your 
  Trust in a fellow survivor by 1 (without reducing your Trust elsewhere) or 
  gain 1 Lore. This ebb and flow of Trust should be reflected in the narrative.
  Secrets
  When your Trust in someone will exceed +3/-3, the player must tell you a 
  secret truth about their character, and you gain a point of Lore. Reset Trust 
  to +1, 0, or -1 based upon what you learn (as you view them a bit differently 
  now). You’re under no obligation to keep their secret. If you ever reveal it, 
  and the confider finds out, they reduce their Trust in you by one.  
  The Circle of Life 
  When a character dies (or goes horribly insane), each character may reassign 
  any or all of their Trust points, as they reevaluate their present relationships 
  with those still living. This should happen during a narrative lull, not in the 
  middle of a charged situation. Anytime a new playbook is introduced into 
  the story, they may reassign Trust as well.
  Reservations 
  The default Trust mechanic helps establish immediate relationships, and 
  works well for diving into the game headfirst. Some groups don’t wish to 
  rush into things. If you are planning on a sustained story, you may dole out 
  Trust over the course of the first session, but should have all Trust assigned 
  by its end. Any Trust not assigned is either lost or may be stored as Lore, 
  at the Keeper’s discretion.
  
  -18-
  The Rules 
  
  -19-
  An Overview
  tremulus is governed by the use of moves the characters make throughout 
  the game. These moves are broad and flexible enough to cover all aspects 
  of play: from gunfights and car chases, to flipping through an ancient tome 
  while a leathery-winged beast smashes against the window, trying to get 
  through. The concept of moves may require an adjustment in how you may 
  be used to gaming. Sit back. Don’t worry—this’ll be quick and painless.
  When you make a move, you roll two six-sided dice and add an 
  attribute. A 10+ is great, meaning you’re completely successful at whatever 
  you were trying to do. A 7-9 usually means you were successful, mostly, 
  but something else also happened, usually something you won’t like. A 
  6 or less means you failed, definitely something you’re not going to like. 
  And it’s the Keeper’s job to make sure you won’t. 
  The Paradigm Shift
  As noted above, tremulus is a player-facing game. This means that the 
  Keeper will never roll dice. Potential Keepers may be scratching their heads 
  at this, or may even be disappointed at not being able to roll the bones. 
  Don’t worry; you’ll have plenty to do. (And we’ll more fully explore your 
  role and responsibilities in the keeper’s secTion.)
  The Power of Narrative
  Whenever a move takes place, it doesn’t happen in a vacuum. The player 
  should describe what their character wishes to do, and the Keeper will explain 
  what transpires, based upon the result of the player’s roll. Conversely, if a 
  player says they do it, then they do it. Roll the dice, and deal with what 
  happens. While success is clear-cut, things can get quite interesting on a 
  partial success.  And failure is always interesting. 
  
  -20-
  Basic Moves
  Every character gets all the following basic moves.  
  acT under pressure (roLL+reason)
  When you hurriedly flee, are doing something quickly and precisely, or are 
  trying to resist something frightening, roLL+reason.
  on a 10+, you do it. 
  on a 7–9, you flinch, hesitate, cave, or stall. 
  The Keeper will offer you a worse outcome, a hard bargain, or an ugly 
  choice (as per p. 171).
  convince (roLL+affiniTy)
  When you have something someone wants, you can use your charm, wit, or 
  wiles to get them to do something for you first, roLL+affiniTy. 
  for npcs: 
  on a 10+, they ask you to promise something first, and then do what you 
  ask once you promise.
  on a 7–9, they need some concrete assurance first, otherwise they refuse.
   
  for pcs: 
  on a 10+, the target chooses one of the following: 
  • If they do it, they gain a point of Lore.
  • If they refuse, they must acT under pressure.
   
  on a 7–9, the target chooses one of the following:
  • They can choose to do it for no gain.
  • If they refuse, they must acT under pressure.
  on a 6 or Less, they lose a point of Trust with you.
  What they do then is up to them.
  
  -21-
  heLp/hinder (roLL+TrusT)
  When you help or hinder someone making a move, roLL+TrusT. 
  on a 10+, they take a +2 (help) or -2 (hinder) to their move. 
  on a 7-9, they take a +1 (help) or -1 (hinder) to their move, and you 
  expose yourself to danger, retribution, or other consequences. 
  on a 6 or Less, they lose a point of Trust with you or the Keeper holds 
  one to use as a hard move (your choice). 
  noTe: How many people can help in a given situation is determined by the 
  Keeper, and you must narratively state how you’re helping. Keep in mind, 
  even if the person you help succeeds (gets a total of 10+), you could still 
  suffer a consequence if you only get a partial success (7-9). Your Trust in 
  others is used when you heLp/hinder them, so if you have TrusT +2 
  in Meg, and she has TrusT +1 in you, you’d roLL+2 to heLp/hinder 
  her while she would roLL +1 to do the same for you.
  poke around (roLL+Luck)
  When you poke around a place physically looking for things, roll+luck. 
  Additional attempts to search the same area are made at a cumulative -1 
  unless the Keeper informs you something substantial has changed.
   
  on a 10+, seLecT 1 of The foLLoWing:
  Find 1 good item (Keeper’s choice)
  1 minor item (your choice)
  1 clue (+1ongoing when acted upon)
  or pick one from 7-9 table.
   
  on a 7–9, you May:
  Find hidden area/threshold (in/out) (Keeper’s Choice)
  Find minor item (Keeper’s choice)
  Determine a physical hazard present (if none, you find that out)
  on a 6 or Less, there is either nothing else in the area or the Keeper may 
  hold 1 to use as a hard move at any time and you may attempt to search 
  further.
  
  -22-
  puzzLe Things ouT (roLL+reason)
  When you face an intellectual dilemma, learn a new piece of information, or 
  discover a clue, you may roll+reason to attempt to puzzle things out. On a 
  7+, you get to ask one or more questions. Whenever you act on one of the 
  Keeper’s answers, take +1ongoing.
   
  on a 10+, ask 3 from below OR gain 1 Lore.
  on a 7–9, ask 1:
  • What is this? 
  • What does this mean?
  • How can I get in/out/pass?
  • Who’s in control here?
  • Which enemy before me is the most dangerous? 
  • What is its weakness?
  • What should I keep an eye out for?
  • How does __________ fit into ______________?
  Of the most common questions that will arise, this is just a small sample. 
  The Keeper should allow for some situational flexibility. Whenever the 
  characters get new information, or seem to be stuck, you can call for one 
  of these rolls. A character cannot attempt to puzzLe Things ouT more 
  than once until further information is gained.
  When you gain Lore, you might think you are missing out on those 
  delicious questions—and you’re right. The Keeper is free to tell you 
  what they will, or let you ask questions, or give you some Dark Insight 
  based upon your background (an Alienist might recall a patient talking 
  about some relevant thing, or a Detective might remember a particularly 
  gruesome case with eerie similarities), or tell you nothing at all. You have 
  the choice to take Lore or ask the questions. When you gain Lore, you 
  never know exactly what you’re going to find out—that is all up to the 
  Keeper. 
  
  -23-
  read a person (roLL+passion)
  When you want to figure out what someone is thinking or feeling, 
  roll+passion.
   
  on a 10+, hold 3. 
  on a 7–9, hold 1. 
  While you’re interacting with them, spend your hold to ask questions about 
  the character, 1 hold per question:
  • Are they telling the truth?
  • What are they really feeling?
  • What do they intend to do?
  • What do they wish I would do?
  • How could I get them to _____?
  resorT To vioLence (roLL+MighT)
  When you cast aside all pretense of civility and wish to harm your enemy 
  regardless of personal safety, then you roll+might as you resort to violence. 
  You may wrest control of an item or situation from another in this manner, 
  whether it be with fists or feet, or a more proper weapon, but you do so with 
  malice in your heart.  There will likely be pain, if not bloodshed, on both sides, 
  as you attack. You will likely take damage in this exchange, regardless of the 
  outcome. With at least a 7-9, you can opt to decrease the damage suffered by 1 
  point. 0 damage can still prompt a damage move in this circumstance.
  on a 10+, choose 3 from 7-9 below.
  on a 7–9, choose 2:
  • You take definite hold of the target item. 
  • You suffer little harm (take -1 harm).
  • You inflict terrible harm (cause +1 harm).
  • You impress, dismay, or frighten your enemy.
  An impressed, dismayed, or frightened NPC enemy absolutely must change 
  their behavior, but it’s up to the Keeper how they do so. 
  For PCs, pressing an attack when they’re impressed, dismayed, or frightened 
  requires them to acT under pressure.
  
  -24-
  ThreaTen (roLL+MighT)
  When you threaten someone or something, roll+might. You are physically 
  engaging them, with the deadly promise of violence.
   
  on a 10+, they have to choose 1: 
  • Force your hand and take whatever damage you inflict, or 
  • Back down and do what you want.
   
  on a 7–9, they can instead choose 1:
  • Hurriedly get out of your way.
  • Barricade themselves securely in.
  • Give you something they think you want.
  • Back off calmly, hands where you can see.
  • Tell you what you want to know (or what you want to hear).
  Consequences
  Every time you attempt some action, it’s like trying to skip a stone across the 
  water. You may get three or four skips. It might skip only once. It might slip 
  out of your hand and hit your friend in the face. Or it might even bounce 
  off a tree branch and hit the windshield of a passing police car. Or you 
  might slip and fall into the water. Who knows? And the stone might sink 
  to the bottom, causing some eldritch horror to stir in its slumber. Keep this 
  in mind as you decide what you’ll do next.
  
  -25-
  Mortality and Madness 
  (and the treatment thereof)
  Odds are you are going to get hurt sometime. These things happen, usually 
  to people like you doing the things you do. You might even get squirrely 
  and inflict some pain of your own to a creature, cultist, or other obstinate 
  obstacle in your path. 
  Dealing Damage
  The two basic moves allowing you to deal damage are resorT To 
  vioLence and ThreaTen. Both are resolved by a roLL+MighT, but 
  operate a little bit differently from one another.
  When you opt to resorT To vioLence, you will bring the pain (if 
  you so choose), even on a partial success.  However, expect to take some 
  in return. Things tend to get a bit messy.
  Harm inflicted is based on the weapon. Unless you have a special 
  move, your characTer’s fisTs do 0 harM. To inflict damage with 
  your bare hands, you’ll need to resorT To vioLence and choose to 
  inflict terrible harm. This increases the damage to 1 harM.
  When you ThreaTen someone, they can back down, run away, or 
  take the harm, depending on whether you get a success or partial success. 
  They get the option.
  Narrative Combat
  The flow of time in combat is at the Keeper’s discretion. resorT To 
  vioLence largely encompasses the whole of combat, and while most 
  people are readily able to accept taking damage when engaged in melee, 
  they are less prone to accept that they shot someone way over there and are 
  still injured in the exchange. resorT To vioLence is not static; the target 
  is dynamic, and how it responds is based upon the roll. Is it possible for a 
  character to shoot a zombie twenty yards away and still be hurt? If there is a 
  roll, there’s a chance. Sometimes, a roll isn’t necessary. If a character is atop 
  a building and shooting at an unaware target, the target may just fall dead, 
  or the character may need to acT under pressure. The best way to 
  assure not being injured while still wishing to do damage is to ThreaTen, 
  but that leaves the decision with the Keeper, doesn’t it?
  
  -26-
  Basic Harm Scale
  These guidelines give a general idea of the amount of physical damage 
  things cause. Specifics can vary and are left to the Keeper’s discretion. A 
  parenthetical ap (ap) indicates the damage is armor piercing and any armor 
  is ignored when calculating the amount of harm suffered.
  0 harM
  Grappling, dragging, physically restraining someone.
  Children throwing rocks at you.
  1 harM
  Adults throwing stuff at you.
  Inflicting terrible harm with your fists.
  Clocking someone with a poker.
  Getting pushed down stairs. (ap)
  A ricochet.
  Stuck in a swamp on a hot day with no potable water. (ap)
  2 harM
  Using a hammer, a knife, a handgun, a submachine gun. 
  A one-story fall onto your back. (ap)
  3 harM
  Shooting someone with a shotgun or hunting rifle.
  Falling two-stories onto the pavement (ap)
  A glancing hit from a car. (ap)
  4 harM
  Being next to a car when its gas tank explodes.
  Caught in a hail of gunfire.
  A three-story fall onto your head. (ap)
  Getting hit by a bus. (ap)
  5 + harM
  A really big explosion. No, even bigger than that. 
  Getting hit by a train. (ap)
  Tied down by cultists, and ritually sacrificed with wicked knives.
  Drowning. (ap)
  
  -27-
  Driving Harm Home
  Harm can be either general or specific. A light tumble down the stairs is 
  likely general (the whole body is banged up), while a fall from a window 
  could result in a broken leg, back, or worse, neck. The question of how this 
  is handled narratively is left to the Keeper, the players, and common sense. 
  A broken hand makes some things difficult (like loading a revolver), and 
  others downright impossible (like playing a piano). In many cases, things 
  can still be done with some effort (and more slowly) if the injury is 3 harm 
  or less. The character may be required to acT under pressure (such as 
  getting dressed in a hurry if his arm is in a cast) when performing normally 
  mundane tasks. When injuries are more severe (or localized), it is ultimately 
  left to the Keeper’s discretion, and should always serve to drive the narrative 
  forward.
  Basic Shock Scale
  This information is found in the keeper’s secTion under Oh, the 
  Horror!  (p. 116).
  As a player, you get to discover how shocking things are the hard way, 
  through trial and error.
  Seeing a Friend Die or Go Mad
  If another character dies in front of you, or you find their corpse, or they go 
  insane, you must successfully acT under pressure, or take an amount 
  of shock equal to your Trust with them.  
  If your Trust in that character is negative, you do not recover shock if 
  horrible things happen to them, but you don’t have to shed tears either.
  You may reassign Trust (as found under The Circle of Life, p. 17) 
  when the Keeper indicates you may do so.
  
  -28-
  Conditions
  You have a Health Track and Sanity Track each consisting of six segments. 
  Each time you take harm or shock, you knock off the next open space on 
  the appropriate track. Harm affects your health. Shock affects your Sanity.
  Will go away naturally with time:
  firsT segMenT: Scuffed/Startled
  second segMenT: Bruised/Shocked
  Will neither worsen, nor improve without treatment:
  Third segMenT: Battered/Disturbed 
  Will get worse if untreated or not stablized. Requires treatment 
  for improvement:
  fourTh segMenT: Broken/Traumatized
  fifTh segMenT: Grievous/Hysteric 
  sixTh segMenT: Dying/Deranged
  Over six: Not coming back. Dead/Insane. An ex-Character. Grab a new 
  Playbook. 
  The daMage Tracks are as foLLoWs: 
  heaLTh 
  saniTy 
  1 Scuffed 
  Startled
  1
  2 Bruised
  Shocked
  2
  3 Battered
  Disturbed
  3
  4 Broken
  Traumatized
  4
  5 Grievous
  Hysteric
  5
  6 Dying
  Deranged
  6
  + Dead
  Insane
  +
  
  -29-
  Suffering Damage
  Damage is suffered in two forms: harm or shock. Whenever it is taken, 
  the character rolls on the following table. If damage suffered is 0 (or is 
  reduced to 0), the Keeper may still call for a roll (based on the situation and 
  circumstances). For example, a big bruiser might tap your skull, doing no 
  serious damage, but knock you out cold.
  Damage Moves
  When you suffer damage, roLL+daMage suffered (after subtracting any 
  protections you may have). No other modifiers come into play.
  on a 10+, the Keeper can choose 1:
  • You’re out of action: unconscious, trapped, incoherent, or panicked.
  • It’s worse than it seemed. Take an additional 1 damage.
  • Choose 2 from the 7–9 list below.
  on a 7–9, the Keeper can choose 1:
  • You lose your footing.
  • You lose your grip on whatever you’re holding.
  • You lose track of someone or something you’re attending to.
  • You miss noticing something important.
  on a 6 or Less: 
  The Keeper can still choose something from the 7–9 list above. If they do, 
  damage suffered is reduced by 1 (to a minimum of 0).
  Recuperation
  Simple Recovery
  bed resT: Recover 1 damage per week (if lightly injured or in shock); 
  choose which one if suffering from both harm and shock.
  Simple Aids
  a properLy appLied bandage: Eliminates 1 harm.
  a good sTiff drink (or equivaLenT): Eliminates 1 shock.
  noTe: A character may only benefit from one simple aid for each category 
  once per day.  Simple recovery and aids only work when the character has 
  two or less segments of damage in a particular category.
  
  -30-
  Is There a Doctor in the House?
  If there is not a Doctor or other such type in the party, the Keeper determines 
  whether there is a doctor, hospital, or clinic available in the local community 
  (generally there should be—if not, why not?). An NPC can heal a character 
  per the rules found in the physicaL WeLLness and MenTaL heaLTh 
  sections. 
  A doctor’s visit costs the character 1 Wealth per stock the doctor uses 
  to treat their injuries (minimum 1 up to 3).
  Light damage (1-2) requires 1 stock. Medium damage (3-4) uses 2-3 
  stock. Serious damage (5+) uses 3 stock. Naturally, a character can request 
  more or less care (e.g. stock) depending upon their personal finances.
  An Alienist is unlikely to be found in a community without an asylum 
  of some kind nearby, but would follow the same guidelines if available. 
  
  -31-
  Physical Wellness
  Certain characters, notably the Doctor, may treat people who are suffering 
  harm. Those trained to use medical supplies may spend 0–3 stock.
   
  To treat a character with three or more harm, roLL+sTock spent.
   
  on a 7+, the subject stabilizes (eliminating all harm beyond the second 
  segment), but the Keeper chooses  1 (on a 10+), or 2 (on a 7–9):
  • They need to be physically stabilized before you can move them.
  • Even sedated, they fight you; you’re acTing under pressure.
  • They’ll be in and out of consciousness for 24 hours.
  • Stabilizing them eats up your stock; spend 1 stock more.
  • They’ll be bedridden, out of action, for at least a week.
  • They’ll need constant monitoring and care for 36 hours.
   
  on a 6 or Less, they take 1 harm instead.
  To use medical attention to speed the recovery of someone with one or two 
  segments of harm, don’t roll, just spend one stock. They choose: spend 4 
  days (segment 1) or 1 week (segment 2) sedated, immobile but happy, or 
  do their time like everyone else. 
   
  To use medical supplies to revive someone who’s dying (at the sixth 
  segment, not beyond): roLL+sTock spent. 
  on a 10+, they recover to broken (segment 4). 
  on a 7–9, they recover to grievous (segment 5). 
  on a 6 or Less, you’ve done everything you can, but they’re still dead.
    
  
  -32-
  Mental Health
  Certain Characters, notably the Alienist, may treat people who are suffering 
  shock. The patient must be in a place he feels safe. At the very least, he must 
  be removed from the locale/source/presence of his discomfort(s).
   
  To treat a character with three or more shock, roLL+sTock spent.
   
  on a 7+, the subject stabilizes (restore Sanity to second segment), but the 
  Keeper chooses 1 (on a 10+) or 2 (on a 7–9):
  • They need to be physically restrained before you can move them.
  • Even sedated, they fight you; you’re acTing under pressure.
  • They’ll be in and out of consciousness for 24 hours.
  • Stabilizing them eats up your stock; spend 1 stock more.
  • They’ll be bedridden, out of action, for at least a week.
  • They’ll need constant monitoring and care for 36 hours.
   
  on 6 or Less, they take 1 shock instead.
   
  To use medical supplies to speed the recovery of someone with one or 
  two segments of shock, don’t roll. They choose: spend 1 day (segment 1) 
  or 1 week (segment 2) sedated, immobile but happy, or do their time like 
  everyone else.
   
  To use medical care to revive someone who’s deranged (at the sixth 
  segment, not beyond): roLL+sTock spent. 
  on a 10+, they recover to TrauMaTized (segment 4). 
  on a 7–9, they recover to hysTeric (segment 5). 
  on a 6 or Less, you’ve done everything you can, but they’re still insane.
  
  -33-
  Variations of Play
  By default, tremulus should be played with the constant threat of mortality 
  and madness looming; this style is called bLack. When you suffer harm or 
  shock, it cannot be mitigated by selecting debilities (for Health) or disorders 
  (for Sanity). On the other end of the spectrum, you can play WhiTe, where 
  the character may choose to stave off death or insanity by selecting a debility 
  or disorder. A mixture of the two styles (Black and White) is called grey 
  with the White damage axis called out in parentheses. This gives a total of 
  four play styles, none of which are particularly kind. 
   
  bLack. All damage is suffered without recourse or remedy. 
  WhiTe. All damage may be mitigated with physical debilities or mental 
  disorders.
  grey (heaLTh). Health (White) and Sanity (Black). 
  grey (saniTy). Health (Black) and Sanity (White).
  
  -34-
  Physical Debilities
  When the character’s harm exceeds—or will exceed—Battered (three or 
  more segments), the player can choose to mark a debility. Taking a debility 
  stops harm at Broken (segment four). Once the character exceeds Broken, 
  they can choose to take a debility instead of any more harm. Debilities are 
  permanent. 
  The debiLiTies are:
  • Shattered: -1 Reason
  • Broken: -1 Passion
  • Crippled: -1 Might
  • Unfortunate: -1 Luck
  • Disfigured: -1 Affinity
  Mark the debility, adjust the attribute, and deal with it.
  It’s always the player’s choice whether to take a debility, no one 
  else’s. 
  The only time a player should take a debility is when their character would 
  be otherwise killed, and it would be better to be messed-up than dead. 
  Sometimes, though, dead is better. Your call. 
  
  -35-
  Mental Disorders
  When the character’s shock exceeds—or will exceed—Disturbed (three or 
  more segments of shock), the player can choose to suffer a mental disorder, 
  and the shock stops at Traumatized (segment four on the Sanity track). 
  Once he’s past Disturbed, he can choose to take a disorder instead of 
  suffering any more shock (or increase a lesser disorder to a greater one).
  The player and the Keeper should select an appropriate disorder from 
  the Mental Disorder List for the character based upon the surrounding 
  circumstances and events. Mental disorders are permanent, until 
  eliminated/reduced with an advance.
  Lesser To greaTer
  A character may convert a disorder from lesser to greater by choosing it a 
  second time.  A greater disorder should do at minimum both of the things 
  listed under minor disorder. 
  A greater disorder can be reduced to a lesser disorder with extended 
  therapy (an advance).
  oTher Madnesses
  Look to the Mental Disorder List first. If none of them seem to fit, the 
  players and Keeper can work together to sort out the appropriate mechanical 
  details based upon variations found on this list. Ultimately, getting a mental 
  disorder is better than going completely off the rails. Isn’t it?
  roLL Modifiers
  Each roll modifier (positive or, more likely, negative) is ongoing until said 
  disorder is eliminated. For example, a -1 or a +1 is, in fact, -1ongoing or 
  +1ongoing. 
  
  -36-
  Mental Disorder List
  aMnesia
  Lesser: The character mentally blocks out the memories of whatever caused 
  the trauma, but suffers from occasional flashbacks. A character should note 
  the event which caused this. If reminded of the event in the future or 
  confronted with similar circumstances, she must roll+reason to see if the 
  repressed memories flood back in. 
  on a 10+, the mind’s barriers hold. The character recalls nothing.
  on a 7-9, the character unclearly remembers fragments. She is -1 until the 
  situation passes or she is allowed an opportunity to regain her composure.
  on a 6 or Less, the character is dismayed as past events momentarily 
  flood back into horrifying clarity. She is -1 for the scene and immediately 
  suffers 1 shock.
  Greater: The memories become harder and harder to shut out, and events 
  get confused. The roll+reason to keep memories repressed is now made at 
  -1.
  deLusions and haLLucinaTions 
  Lesser: The character begins to hear voices, catch movement out of the 
  corner of his eye, or see fleeting glimpses of things that are not present. He 
  can’t be certain if what he sees is real or just the product of his own troubled 
  mind. He has a –1 to poke around.
  Greater:  He has a -2 to poke around.
  depression
  Lesser: The character loses hope for the future and ceases attaching emotional 
  importance to certain aspects of life. She has a -1 to convince and read 
  a person.
  Greater:  She has a -2 to convince and read a person.
  
  -37-
  generaLized anxieTy disorder
  Lesser: The character suffers from a variety of physical and emotional 
  symptoms such as jumpiness, twitches, expectations of doom, and hyper-
  vigilance. He jumps at shadows and is always looking for danger. He is -1 
  except for poke around, where he suffers no penalty.
  Greater: He is -2 except for poke around, where he suffers no penalty.
  Mania
  Lesser: The character’s mind is constantly racing, and she has difficulty 
  focusing on anything in particular. She suffers –1 on all rolls requiring 
  concentration.
  Greater:  She suffers -2 as her concentration worsens.
  nighT Terrors
  Lesser: The character’s sleep is tainted by the horrors he has seen. Each time 
  the character sleeps, he must roll+passion on the table below, as his dreams 
  are drenched with nightmares.
  on a 10+, the character has horrible, vivid visions. He takes 1 shock and 
  gains 1 Lore.
  on a 7-9, bad dreams. The character is -1ongoing for the day.
  on a 6 or Less, the character is -1ongoing for the day and cannot gain 
  any Lore.
  Greater:  The character gains +1 to his night terrors roll.
  
  -38-
  obsession
  Lesser: The character becomes obsessed with something or someone, 
  investing strong emotional bonds in it, or gaining a sense of security from 
  possessing it or being near them. The object of the obsession can be almost 
  anything: a good luck charm or teddy bear, a person, or even a place. The 
  character must keep the object of her obsession close by at all times (or 
  themselves near the object/place). If the item is removed from the character 
  for any reason, she must always acT under pressure.
  Greater: The character is -1 to acT under pressure when not near the 
  target of her obsession.
  obsessive-coMpuLsive disorder
  Lesser: The character develops a set of rituals and nervous responses he 
  must perform. These could range from simply washing his hands repeatedly 
  to very complex patterns of behavior. This unsettles people around him, 
  giving the character a –1 to convince. If the character is prevented from 
  performing his rituals (which take several minutes), he is -1ongoing until he 
  is able to complete them.
  Greater:  In addition to the above penalties, the character acTs under 
  pressure when unable to perform his rituals.
  paranoia
  Lesser: The character becomes convinced that enemies are everywhere, 
  believing others are plotting against her. She reduces the Trust she has with 
  other characters by 1. She must be convinced to take the heLp move 
  or to share Lore.
  Greater:  The character reduces her Trust with other characters by an 
  additional 1. Even if convinced, she will never willingly share Lore, or 
  surrender a weapon or item of import to another.
  phobia
  Lesser: The character has a strong, unnatural fear of some particular object 
  or situation, suffering a –1 when in the presence of his phobia.
  Greater:  The character must acT under pressure when around his 
  phobia.
  
  -39-
  psychoTic episodes
  Lesser: The character suffers occasional psychotic episodes during which 
  she becomes detached from reality. She may see terrifying hallucinations, 
  suffer delusions, become manic and rant wildly about the horrors she has 
  witnessed, or simply curl up into a ball. Any time a character acTs under 
  pressure and fails, she may suffer an episode of some sort (Keeper’s 
  Choice).
  Greater: The character is -1 to acT under pressure.
  psychosoMaTic condiTion
  Lesser: The character has a mental malady impacting his physical 
  performance. He is -1 to one of his Attributes and, though it manifests as a 
  physical impairment, it is all in his head and cannot be rehabilitated through 
  the treatment of the body.
  Greater: The character’s condition worsens and he is an additional -1 to the 
  same attribute (for a total of -2).
  sociopaThic Tendencies
  Lesser: Some horrors are so great they force a character to become 
  emotionally detached from the world around her to insulate her from what 
  she has witnessed. Such individuals seem strange to better adjusted folk. 
  Other characters reduce their Trust with her by 1. The character is -1 to 
  convince and +1 to ThreaTen.
  Greater: The character grows more violent and anti-social. Other characters 
  reduce their trust with her by an additional one. The character is -2 to 
  convince and always tries to inflict as much harm as possible when she 
  engages in a physical confrontation, regardless of personal safety.
  Weak Mind 
  Lesser: The character suffers a –1 when they acT under pressure.
  Greater:  The character suffers a -2 when they acT under pressure. 
  His ability to convince is at -1 as well, as he exhibits nervous twitches 
  and other erratic behavior.
  
  -40-
  Rituals, Rites, and Whatnot
  Attempting any ritual requires knowledge of the ritual, the proper 
  ingredients, and the expenditure of at least one point of Lore.  Each ritual 
  has a Power level, indicating the amount of Lore necessary to fuel it without 
  the risky prospect of a roll. If you have enough Lore, you can spend the 
  requisite points to activate the ritual without rolling. Otherwise, you must 
  roLL+Luck (–poWer) + Lore expended.
  on a 10+, the ritual is successfully cast and the character takes half 
  damage.
  on a 7-9, the ritual works, with complications. The character takes half 
  damage and chooses 2 from the Backlash table:
  Backlash
  • A new hazard is introduced by the Keeper.
  • Physical debility (Keeper’s choice).
  • Mental disorder (Keeper’s choice).
  on a 6 or Less, the character fails to cast the ritual, takes damage, and the 
  Keeper chooses one from the table above and holds one for a hard move.
  base daMage: Equals the ritual’s Power.
  
  -41-
  Pooling Lore
  When a group of characters wish to work together to perform a ritual, one 
  character must choose to lead it.  Others may offer Lore to the process, 
  giving the casting character an amount of Lore up to their Trust with that 
  character (providing they have any). If the characters are still in a deficit, the 
  leader must roll, and she is the one who suffers any fallout.
  Dabbling with Dark Forces
  When a character attempts to perform a ritual with insufficient Lore, she 
  takes an amount of damage based upon the ritual’s power.  The character 
  suffering the damage may distribute it as she sees fit between her harm and 
  shock.
  exaMpLe
  Amy attempts a ghost summoning.  The ritual is Power 7, meaning it 
  requires 7 points of Lore to fuel it without rolling. Amy has Lore 2. She 
  has luck 0. Amy must spend a minimum of 1 point of Lore to attempt the 
  ritual, but spends both Lore points to give her the best shot of success. She 
  roLLs+Luck (-7 poWer) +2 Lore. The best she can hope for is a partial 
  success. Let’s say she does so. She chooses to take half damage (for 4 points), 
  suffers a mental disorder, and notices that besides the ghost, something else 
  comes through…
  M
  
  -42-
  Tags
  A tag is a descriptor for an inanimate object or a thing, providing a shorthand 
  method for indicating some distinct power or property belonging to it. An 
  item without a tag is typical of its category (and should therefore have all 
  the pertinent tags implied). 
  Tag Glossary
  n arMor: Protects you from harm and absorbs damage. When you take damage, 
  subtract your armor from the total. If you have more than one item with n arMor, 
  only the highest value counts. 
  +n arMor: Protects you and stacks with other armor. Add its value to your total 
  armor.
  +n daMage: Particularly harmful to your enemies. When you deal damage, you add 
  n to it. 
  +bonus: Modifies your effectiveness in some particular situation. It might be 
  “+1forWard to puzzLe Things ouT” or “-+1ongoing in coMbaT.”
  n piercing: Goes right through armor. When you deal damage with n piercing, you 
  subtract n from the enemy’s armor for that attack. 
  n aMMo: Counts as n ammo for appropriate ranged weapons.
  n uses: Can only be used n times. 
  appLied:  Only useful when carefully applied to a person or to something they eat or 
  drink. 
  area:  May effect targets in the same general vicinity.
  aWkWard: Unwieldy and tough to use. 
  cLuMsy: Tough to move around with. -1ongoing while using it.
  dangerous: Easy to get in trouble with it. If you interact with it without proper 
  precautions, the Keeper may freely invoke the consequences of your foolish actions.
  forcefuL: Can knock someone back a pace, maybe even off their feet. 
  Loud: Can be easily heard a distant range outside or within a given structure. The range 
  is reduced to long if there are intervening barriers.
  Messy: Does damage in a particularly gruesome way, ripping people and things apart. 
  reLoad: Requires taking a specific action to reload or reset it before it can be used it 
  again.
  requires: Only useful to those meeting the requirements, working weakly (if at all) 
  for those who don’t. 
  sLoW: Takes minutes or more to use it.
  Touch: Used by touching the target directly (skin, scales, or the like)
  TWo-handed: Takes two hands to use it effectively. 
  unreLiabLe: Doesn’t always work. If you roll a natural 2 while using it, it breaks 
  down or quits working.
  Worn: Must be worn in order to use it.
  
  -43-
  Range Tags (From Nearest to Farthest)
  Touch: Can hit someone within arm’s reach.
  cLose: Can hit someone at arm’s reach plus a foot or two.
  shorT: Can hit someone several feet away, maybe as far as twenty. 
  MediuM: Can hit someone within shouting distance. 
  Long: Can hit someone several blocks or more away.
  
  -44-
  Equipment and Such
  Each character begins with gear she has accumulated over her life up to 
  the point where the story begins. Getting more stuff is not the focus of this 
  game, but certainly some of your players may feel the need to get a weapon 
  or some such to give them the illusion of safety. Depending upon the era 
  and location you have chosen to play in, weapons could be as common as 
  raindrops in a thunderstorm or as rare as hen’s teeth—the Keeper decides.
  The Cost of Things
  As Wealth is an abstraction, decide upon the economy of the place where 
  you center your stories. In general, a ranged weapon should cost harm+1 
  Wealth, e.g., if someone wants a small pistol, it would cost 2 Wealth. Melee 
  weapons should generally cost half their harm, if that. Any applicable tags 
  are at the Keeper’s discretion. 
  Simple Weapons
  • small (1 harm) 
  brass knuckles, large knife, poker, sap, small pistol, or fist-sized rock
  • medium (2 harm)
  medium pistol, sledgehammer, or light rifle
  • large (3 harm)
  greatsword, shotgun, large pistol, or heavy rifle
  Sample Firearms 
  • derringer (short, 1 harm)   
  • .38 revolver (medium, 2 harm)
  • 9mm (medium, 2 harm)
  • hunting rifle (long, 2 harm, two-handed)
  • sawed-off shotgun (short, 3 harm, two-handed, forceful, messy)
  • shotgun (medium, 3 harm, two-handed, messy)
  • tommy gun (medium, 2 harm, two-handed, area)
  Every firearm is loud by default. Round out weapons with additional tags 
  as necessary. Assign reload and/or n ammo (as serves the purposes of your 
  story and your play style).
  
  -45-
  Other Weaponry
  • pocket knife (touch, 1 harm)
  • butcher knife (close, 1 harm)
  • baseball bat (close, 2 harm,  two-handed)
  • crowbar (close, 2 harm, messy)
  • dynamite/grenades (short/medium, 4 harm, area, loud, messy)
  • machete (close, 3 harm, messy)
  • sword cane (close, 1 harm, 1 piercing) 
  Other Gear
  Suggested costs are listed. The Keeper is final arbiter of the economy of the 
  story, and may adjust as he sees fit.
  First-aid kit (recover 1 health, 1 Wealth per 3 uses), roLL+Luck 
  Sedatives (recover 1 shock, addictive, 1 Wealth per 3 uses), roLL+Luck 
  Off-the-rack clothes (1 week’s worth, 1 Wealth)
  Nice outfit (1 Wealth)
  Tailored outfit (2+ Wealth)
  Heavy coat (1 armor, 1 Wealth)
  Lantern (unreliable, refuel, 1 Wealth)
  Flashlight (1 Wealth)
  Camera (unreliable, 1 Wealth)
  Instamatic camera (2 Wealth)
  Tent (cramped, 1 Wealth)
  Old car (unreliable, 2 Wealth)
  Old car (reliable, 3 Wealth)
  Car or truck (4 Wealth)
  Camper (5 Wealth)
  Sports car (6 Wealth)
  Small house (6 Wealth)
  Farmstead (7 Wealth)
  Large house (8 Wealth)
  Small plane (8 Wealth)
  
  -46-
  Basic Wealth Scale
  Following are some general ideas of how much things cost. As long as a 
  character has at least 1 Wealth, he is able to interact with the economy (e.g., 
  buy food, toiletries, and other everyday necessities) without keeping track of 
  minutiae. Should a character expend all his wealth, he is destitute and must 
  rely upon charity, friends, and the kindness of strangers.
  1: An expensive meal, something the character needs, something otherwise 
  ordinary but in limited supply, cross country bus travel, bribing a clerk, 
  doorman or bartender.
  2: A glorious night on the town, footing an expensive meal for a group, 
  entertaining a special someone, air travel, bribing a hotel manager or beat 
  cop, upkeep in a boarding house.
  3: A new car, a diamond ring, bribing a sheriff or lower-echelon government 
  official, upkeep in a nice hotel.
  4: A fur coat, renting an apartment long-term, buying a handful of tailored 
  outfits.
  5: An exotic piece of art, bribing a mayor, chartering a plane, chartering a 
  ship.
  
  -47-
  Buying Goods
  When a character goes into town looking for some particular thing to buy 
  and it’s not obvious whether she should be able to just buy that particular 
  thing, roLL+reason.
   
  on a 10+, she can buy it without any problem.  
  on a 7-9, the Keeper chooses one of the following:
  It costs 1 more Wealth than expected, and:
  • It’s available, but only if she meets with a guy who knows a guy.
  • I had one, but I just sold it to Farmer Brown…maybe she can buy it off 
  him?
  • Sorry, I don’t have that, but maybe this will do instead?
  on a 6 or Less, the locals know you’re looking for something, which may 
  or may not be a good thing. 
   
  When a character spreads the word she wants a thing and drops money to 
  speed it on its way to her, the player roLLs+WeaLTh spent (!). 
  on a 10+, it comes to her, no strings attached. 
  on a 7-9, something pretty close comes to her. 
  on a 6 or Less, it comes to her, strings very much attached.
  Haggling
  When you want to trade your stuff for other goods, roLL+passion.
  on a 10+, a person is willing to trade at -1 Wealth. 
  on a 7-9, is willing to trade at -2 Wealth. 
  on a 6 or Less, no one is interested in your stuff, and people know what 
  you are looking for.
  For example, if you have 3 Wealth of goods you wish to trade, on a 10+, 
  you can trade them for 2 Wealth worth of stuff. On a 7-9, trading the same 
  goods you can get 1 Wealth worth of stuff.
  
  -48-
  Advancement
  Characters in tremulus are generally static. Don’t worry about keeping track 
  of experience. Just count yourself lucky if you’ve managed to keep one 
  character alive through to the end of a story. Your Keeper will tell you when 
  it’s time to advance; just keep track of the number of advances you earn. 
  When you advance, choose one of the following:
  increase any of your basic aTTribuTes by one. Any attribute can 
  be increased over play by up to +2, to a maximum of +3. For example, if 
  you begin play with a Reason -1, you can eventually increase your Reason 
  +1. If you start with a Might +2, you can increase to Might +3. 
  seLecT a neW Move on your pLaybook. This is now part of who you 
  are and what you do. 
  eLiMinaTe a MenTaL disorder. While physical disabilities are forever, 
  your mind can be healed by overcoming the horrors you face. You may 
  elect to get rid of one of these at the end of a session you advance (with 
  Keeper approval).
   
  seLecT a Move froM anoTher pLaybook. Upon your sixth (and any 
  subsequent) advance(s), you may opt to select a move from any playbook 
  not in use by another player (with Keeper approval). 
  
  -49-
  The Alienist
  You have studied at fine universities the world over. You know the inner 
  workings of the human mind, and have a knack for uncovering people’s 
  darkest secrets and deepest desires. You help to heal the soul, much as a 
  doctor heals the body.
  Creating the Alienist
  To create your alienist, choose name, look, attributes, moves, and gear.
  The Playbooks
  
  -50-
  The Alienist
  You have studied at fine universities the world over. You know the inner 
  workings of the human mind, and have a knack for uncovering people’s 
  darkest secrets and deepest desires. You help to heal the soul, much as a 
  doctor heals the body.
  Creating the Alienist
  To create your alienist, choose name, look, attributes, moves, and gear.
  
  -51-
  Name
  Doctor Harmsworth, Hermann van Cleef, Simon Blackford, Dr. Gunther 
  Hesse, Mariam King, Annette Cushing, Dr. Cassandra Nabokov
  Look
  gender: Man, woman, or androgynous.
  cLoThes:  Tailored suit, wrinkled attire, worn fine, or outdated formal.
  face: Plain, round, smug, friendly, or condescending.
  eyes: Mesmerizing, exotic, clever, inscrutable, or close-set.
  buiLd: Bony, slender, corpulent, energetic, or graceful.
  Attributes
  choose one seT:
  • Reason +1 Passion +2 Might -1 Luck 0 Affinity +1
  • Reason +1 Passion +2 Might 0 Luck -1 Affinity +1
  • Reason +1 Passion +2 Might +1 Luck -1 Affinity 0
  • Reason +2 Passion +2 Might -1 Luck -2 Affinity +2
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 2d6 Wealth .
  • Valise with 6+d6 stock (sedatives and the like) .
  And choose two:
  • A motorcycle (fast, reliable).  
  • 4d6 accumulated wealth in valuable metals or a small sidearm or sword 
  cane.
  • Diary of a madman; may be studied a d6 hours each day. roll+reason. On 
  a 10+, gain 1 Lore. On a 7-9, gain one clue. On a miss, -1ongoing for the 
  day (disturbed). 
  • Wealthy patron. Gain +1d6 Wealth per month.
  • Clipping service. Make a roll+luck at the start of each session, on a 10+, 
  gain 1 Lore. On a 7-9, gain one clue. It costs 1 Wealth each month to 
  maintain.
  
  -52-
  Alienist Moves
  You begin with
  Therapy: You may restore people’s Sanity through talk and the proper 
  administration of sedatives. You may roLL+sTock to heal the mind. See 
  MenTaL heaLTh, p. 32 for details.
  Choose two special moves.
  coTTage: You have a small cottage in town where you can treat patients. 
  It is a safe place. You may have a loyal assistant (Oswald or Sheryl?) as well. 
  You earn a d6 Wealth per month it is in operation.
  draWing concLusions: You may use roLL+passion to puzzLe 
  Things ouT.
  eMpaThic: You may use roLL+passion to convince.
  quid pro quo: When you successfully read a person, you may ask 
  additional questions (up to your reason) by answering one posed by the 
  target first. You must be completely honest and open in the exchange.
  sTudenT of huMan naTure: You gain +1 to any attempts to 
  convince.
  Your Lore move is
  shock Therapy: You may quickly attempt to snap someone out of a 
  mental fugue without being in a safe place. roLL+reason and check the 
  following:
  10+: Heal 2 segments. 
  7–9: Heal 1 segment.
  6 or Less: You may choose to either not heal, or heal 1 segment, and the 
  Keeper gains 1 hold to use as a hard move at any time. 
  
  -53-
  The Antiquarian
  You have spent your life studying antiquities, turning your interest into your 
  occupation. Over the years, strange items have come into and out of your 
  possession, and you know some things out there are truly evil. You fear 
  what may happen if they fall into the wrong hands, and direct your energies 
  into locking them away from prying eyes and dark dispositions.
  Creating the Antiquarian
  To create your antiquarian, choose name, look, attributes, moves, and gear.
  
  -54-
  Name
  Thurmond Mastiff, Jodi French, Roy Kellogg, Peter Strand, Jessica Norbert, 
  Miss Kensington, Franklin Hale
  Look
  Select one from each category.
  gender: Man, woman, or ambiguous.
  cLoThes: Worn suit, rustic casual, rustic fine, or outdated fine.
  face: Plain, round, gaunt, or pensive.
  eyes: Sharp, beady, wide, or watery.
  buiLd: Wiry, stooped, hunched, emaciated, or fat.
  Attributes
  Choose one set:
  •Reason: +2, Passion: 0, Might: -1, Luck +2, Affinity: 0
  •Reason: +1, Passion: +1, Might: 0, Luck: +1, Affinity: 0 
  •Reason: +2, Passion: -1, Might: 0, Luck: +1, Affinity: +1
  •Reason: +1, Passion: +1, Might: -2, Luck: +2, Affinity: +1
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 1d6 Wealth
  • 1d6 Wealth of knick-knacks (you decide what).
  And choose two:
  • A walking stick
  • 1d6 worth of more knick-knacks (you decide what, if weapons, they have 
  a tag of old or unreliable).
  • Eyeglasses (+1 Reason when worn, if needed, -1 Reason when not worn).
  • Reference Library (+1 Reason for one topic, you choose. When used 
  requires a d6 hours).
  • +1 Lore.
  
  -55-
  Antiquarian Moves
  Choose two special moves.
  anTique shop: You have a small store filled with bric-a-brac, and perhaps 
  an assistant (Chester or Jennifer?) who runs things when you’re out and 
  about. You may use roLL+reason to poke around your shop once 
  per day. Your shop generates d6 Wealth per month.
  forTunaTe: Things tend to fall your way, +1 Luck.
  horse Trader: With your glib tongue, you may swap items with people 
  instead of wealth for goods or services. roll+affinity.
   10+: You make a favorable trade—your goods are worth +1 Wealth.
   7-9: Even trade. 
   6 or Less:  You may either make the trade at -1 wealth or renege on the 
  deal, gaining a -1 forward with the person/place you’re dealing with. 
  idenTify objecTs: When you use puzzLe Things ouT on an item of 
  import (your call), you may ask one additional question.  
  shreWd deaLer: You are able to analyze people through your insight 
  and experience. You use roLL+reason to read a person.
  Your Lore move is
  provenance: You know a lot about the item in question. You can spend 
  Lore to ask three questions about an item. 
  
  -56-
  The Author
  You are a writer of no small acclaim who devotes most waking moments to 
  pondering the strangeness of this world, so it is no wonder you often have 
  strange dreams that fade with the morning light. Your lustful curiosity has 
  led you to come across occult texts filled with awfulness, only to discover 
  such horror is real.
  Creating the Author
  To create your author, choose name, look, attributes, moves, and gear.
  
  -57-
  Name
  Matthew Chadwick, Arthur Niles, Daniel Lewis, Sylvia Blair, Rhonda 
  Langford, Claire Davis
  Look
  Select one from each category.
  gender: Man, woman.
  cLoThing: Worn suit, worn dress, rumpled casual, or fine old.
  face: Refined, haggard, somber, thoughtful, or plain.
  eyes: Faraway, clever, red-rimmed, tired, or probing.
  body: Emaciated, full, corpulent, thin, or lithe.
  Attributes
  Choose one set:
  • Reason +1 Passion +2 Might -2 Luck 0 Affinity +2
  • Reason +2 Passion -1 Might -1 Luck +1 Affinity +2
  • Reason +1 Passion 0 Might -1 Luck +2 Affinity +1
  • Reason +2 Passion +2 Might 0 Luck -1 Affinity 0
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 1d6 Wealth.
  And choose two:
  • Writer’s Circle (2d6 members).
  • Royalties (gain +2d6 Wealth per month).
  • A bicycle.
  • A small sidearm.
  • A pet (you name it and decide what it is) only you can love, cheap and 
  loyal.
  • Eyeglasses (+1 Reason when worn, if needed, -1 Reason when not worn).
  • A small room in a boarding house (costs 1 Wealth/month).
  • +1 Lore.
  
  -58-
  Author Moves
  Choose two special moves.
  auThor-in-residence: You have been put up by the local college as 
  a feather in their cap and given a small cottage near the campus. You are 
  expected to make an occasional appearance on campus, which earns you 
  2d6 Wealth per month and +1 affiniTy with the academic community 
  and those who appreciate the arts.
  bookish: You may roLL+reason when you poke around a library 
  or similar place (county records office, and so on.)
  creaTive Thinker: You may roLL+passion instead of roLL+reason 
  when you puzzLe Things ouT. When you achieve at least a partial 
  success in this manner, you gain +1 quesTion.
  hard To raTTLe: You have a tough mind. Whenever you suffer shock, 
  you take one less.
  sTrangeLy inTense: When you acT under pressure, 
  roLL+Luck instead of roLL+reason.
  Your Lore move is
  noveL experience: The place reminds you of something from one of 
  your books. You may spend a point of Lore to get +2 to poke around.
  
  -59-
  The Detective
  You’ve found missing heirs, lost children, and brushed up against more 
  than a few weird things in your hunt for the truth (and a steady paycheck). 
  You’ve been banged around a lot over the years. It comes with the territory. 
  Creating the Detective
  To create your detective, choose name, look, attributes, moves, and gear.
  
  -60-
  Name
  Richard Lacy, Tommy Stone, Jackie Boy, Sharon Speed, Miss Brooke, 
  Eleanor Pickford 
  Look
  Select one from each category.
  gender: Man or woman.
  cLoThes: Cheap suit, cheap dress, rumpled suit, or outdated skirt.
  face: Hard, rugged, pretty, honest, or soft. 
  eyes: Sleepy, smoldering, clever, or piercing.
  buiLd: Lanky, sturdy, lean, lithe, or fat.
  Attributes
  Choose one set:
  • Reason +1 Passion -1 Might +2 Luck 0 Affinity +1
  • Reason +2 Passion +1 Might -1 Luck -1 Affinity +2
  • Reason +1 Passion 0 Might 0 Luck +2 Affinity 0
  • Reason +2 Passion +2 Might +1 Luck -1 Affinity -1
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 1d6 Wealth.
  • A medium sidearm.
  • A cheap change of clothes.
  And choose two:
  • A nice hat (+1 Affinity when worn).
  • A hunting rifle.
  • A shotgun.
  • A cheap automobile (unreliable).
  • A contact in the community (you choose who they are).
  • A client from the City (generates a d6 Wealth per month, as long as you 
  show some results).
  
  -61-
  Detective Moves
  Choose two special moves.
  Loner: You work better on your own. You gain a +1 to all rolls connected 
  with one attribute (your choice), but never gain any benefits from anyone 
  helping you. 
  MeThodicaL: When you take your time to poke around, you may use 
  roLL+reason instead of roLL+Luck.  You may choose to find a clue 
  on a 7+, instead of a 10+.
  rough and TuMbLe: You’ve been in more than a few fights. You gain 
  +1 MighT and are treated as having +1 arMor at all times. You also get 
  a set of brass knuckles, a blackjack, sap, or some other small bit of handheld 
  nastiness for dealing with trouble. 
  sMooTh:  You gain +1 passion and may spend one hold earned to gain 
  a clue when you successfully read a person.
  sTreeTWise: When you read a person, you may ask one additional 
  question on a 7+ and may roLL+affiniTy to spread the word when 
  buying goods.
  Your Lore move is
  deducTive reasoning: You may spend a point of Lore to reveal one 
  hazard or gain a +1 ongoing with an NPC. Whenever you discover a clue, 
  gain 1 Lore.
  
  -62-
  The Devout
  You have been called to minister to a flock of souls who have lost their path. 
  You have encountered evil in its many guises and know it falls upon those 
  of strong heart and conviction to stay the course.
  Creating the Devout
  To create your devout, choose name, look, attributes, moves, and gear.
  
  -63-
  Name
  Father Brown, Brother Michaels, Rabbi Luca, Joshua White, Mother Jones, 
  Sister Janice, Teresa Hollister
  Look
  Select one from each category.
  gender: Man or woman.
  cLoThing: Formal vestments, worn vestments, robes, habit, casual clothes, 
  or missionary clothes.
  face: Open, pinched, friendly, calm, ascetic, serious, or honest.
  eyes: Bright, piercing, peaceful, or accusing.
  body: Slim, full, trim, heavy, or angular.
  Attributes
  Choose one set:
  • Reason 0 Passion 0 Might 0 Luck +1 Affinity +2
  • Reason +1 Passion +1 Might -1 Luck +1 Affinity +1
  • Reason 0 Passion 0 Might +1 Luck +2 Affinity 0
  • Reason +1 Passion +1 Might -1 Luck +2 Affinity 0
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 1d6 Wealth. 
  • Symbol of your faith.
  • Bible or other book of faith.
  And choose two:
  • A relic (weird) handed down to you by your old mentor.
  • A small sidearm.
  • An old pickup truck (unreliable).
  • A cane.
  
  -64-
  Devout Moves
  Choose two special moves.
  divine inspiraTion: You may engage in lengthy meditation or prayer to 
  think upon serious matters. When you do, you may roLL+Luck instead 
  of roLL+reason to puzzLe Things ouT.
  easy To TaLk To: You gain +1 Affinity.
  grace: You gain +1 to all Luck-related rolls.
  pLace of Worship: You have a small church, synagogue, temple, or 
  converted house where you tend to your flock. You have a room above it 
  where you sleep and keep your personal effects. Of the congregation, you 
  have ten loyal souls you can call upon as the situation demands. You earn 
  d6 Wealth per month.
  sancTify: You may perform rituals or rites using holy water, incense, 
  prayer, and the like to make a dwelling or individual safe from otherworldly 
  affairs. This uses d6 supplies. (If it’s a big place, or has many points of egress, 
  probably 2d6.) Should you not have enough on hand, all supplies you have 
  used are wasted, and you’ll have to begin anew. Should a malevolent force be 
  present, you’ll be acTing under pressure. Otherwise, roLL+reason.
  Supplies cost 1 Wealth per six. You start with 2d6 supplies.
  Your Lore move is
  sMiTe:  You may spend a point of Lore to roLL+Luck instead of 
  roLL+MighT when you resorT To vioLence or ThreaTen.
  
  -65-
  The Dilettante
  Born with a silver spoon in your mouth, you are filthy rich and jaded 
  beyond your years. Your idle hours are filled with the pursuit of exotic 
  entertainments, each more fantastic than the last. Your wealth allows you 
  indulgences others only dream of.
  Creating the Dilletante
  To create your dilettante, choose name, look, attributes, moves, and gear.
  
  -66-
  Name
  Amelia T., Miss Duvall, Michelle Winslow, Emily Gordon, Jack Windsor, 
  Peter Hamilton, Eric Von Braun III 
  Look
  Select one from each category.
  gender: Man, woman, ambiguous, or concealed.
  cLoThes: Tailored dress, fine suit, fine casual, leather jacket and slacks, 
  or riding gear.
  face: Plain, refined, aristocratic, clever, condescending.
  eyes: Sharp, milky, appraising, bedroom, or weak.
  buiLd: Bony, full, trim, energetic, or graceful.
  Attributes
  Choose one set:
  •Reason +1 Passion -1 Might +2 Luck 0 Affinity +1
  •Reason -1 Passion +2 Might 0 Luck +1 Affinity +1 
  •Reason +2 Passion -1 Might 0 Luck 0 Affinity +2
  •Reason 0 Passion +1 Might +1 Luck +2 Affinity -1
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 2d6 x 2 Wealth.
  • Weekly stipend: 1d6 Wealth.
  • Expensive changes of clothes (valuable).
  • An automobile.
  And choose two:
  • A small pistol or sword cane.
  • A trunk full of books.
  • 2d6 worth of jewelry.
  • Fur coat (valuable), +1 armor.
  • A pet (valuable, alive), your choice and yours to detail.
  
  -67-
  Dilettante Moves
  Choose two special moves.
  aThLeTic: You are healthy and hale; add +1 Might. Whenever you must 
  physically acT under pressure, you get a +1 to your roll.
  deep pockeTs: You have a regular reserve of wealth you can tap into at 
  any time. If you need to access cash, you can go to a bank once per day, 
  and with a successful roLL+Luck, you get the following:
  10+: You can withdraw 2d6 Wealth.
  7-9: You can get d6 Wealth, but people will gossip about your large withdrawal.
  6 or Less: The bank is unaccustomed to such large transactions, and doesn’t have 
  that much on hand. You can either wait d6 days to try again, or get a letter of credit 
  for the amount. If the latter, it has to be made out to a particular party, they must 
  be willing to take it, and people are going to know your business.
  ready for anyThing: At the beginning of a session, roLL+passion. 
  on a 10+, hold 2.  Spend 1 Hold at any time to gain a +1ongoing for a scene.
  on a 7–9, hold 1.  Spend 1 Hold at any time to gain a +1ongoing for a scene.
  on a 6 or Less, the Keeper Holds 1, and can spend it to have you “caught out” 
  (i.e., ill prepared and -1 for a scene).
  suMMer hoMe: Your family has a place in the area, perhaps unvisited 
  since your childhood. It is a fine, old mansion, and you have sent ahead 
  two of your attendants (perhaps Strickland and Alice, a butler and maid?).
   
  upper crusT: People naturally defer to your grace and bearing (or maybe 
  just your money?). You can drop your name and station to persuade people 
  to do or say things they might not normally. roLL+affiniTy.
  10+: They’ve heard of you and are willing to help. Hold 1. You can spend this 
  at any time to get them to do pretty much anything they’d do normally. If it’s 
  something against their nature or they wouldn’t otherwise do, it’s going to cost you 
  2d6 wealth. If you don’t have the money on hand, they won’t do later.
  7-9: They’ll help you out or answer questions, but it’s going to cost a d6 wealth. 
  And it has to be legal and non-harmful to them.
  6 or Less: Who do you think you are throwing your weight around? The Keeper 
  gets to hold 1 and may spend it at any time to take a hard move against you. 
  Your Lore move is
  you’ve done This before: You can spend a point (or more) of Lore 
  to gain a +1forWard to any Move. You get +1forWard for each point 
  of Lore expended (up to +3). If you would’ve succeeded without spending 
  any Lore, you don’t spend any.
  
  -68-
  The Doctor
  You have more than a calling, you have a gift. You are a skilled healer who 
  has decided to leave the grind of the big city behind in search of greener 
  pastures.  
  Creating the Doctor
  To create your doctor, choose name, look, attributes, moves, and gear.
  
  -69-
  Name
  Doctor Jameson, Old Doc Smith, Franklin Woodard, Dr. Jacqueline Atway, 
  Carla Wells, Doctor Sheila Kensington
  Look
  Select one from each category.
  gender: Man, woman, or ambiguous.
  cLoThing: Worn suit, rustic casual, rustic fine, or outdated fine.
  face: Plain, round, gaunt, or pensive.
  eyes: Sharp, beady, wide, or watery.
  buiLd: Slim, pudgy, fat, or rangy.
  Attributes
  Choose one set:
  • Reason +1 Passion +1 Might -1 Luck 0 Affinity +2
  • Reason +2 Passion +1 Might 0 Luck -1 Affinity +1
  • Reason +2 Passion -1 Might +1 Luck +1 Affinity 0
  • Reason +2 Passion +2 Might 0 Luck 0 Affinity -1
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 2d6 Wealth. 
  • A medical bag with 6+d6 stock of medical supplies. 
  And choose two:
  • A sword cane.
  • A small or medium sidearm.
  • Eyeglasses (+1 Reason when worn, if needed, -1 Reason when not worn).
  • Reference Library (+1 Reason for one topic, you choose, when used 
  requires d6 hours).
  • An average automobile.
  
  -70-
  Doctor Moves
  You begin with
  MedicaL Training: You are a trained physician capable of dealing with 
  cuts, scrapes, and broken bones. You may roLL+sTock to treat injuries. 
  See physicaL WeLLness (p. 31) for details. You may use any medical 
  supplies with roLL+reason.
  Choose two special moves.
  bedside Manner: Gain +1 Trust with a character when you successfully 
  treat them. If you roll a 6 or less when treating them, lose 1 Trust. If you 
  treat an NPC successfully, gain +1ongoing with them or -1ongoing 
  with them on a 6 or less.
  docTor’s office: You have a small home with a clinic where you can 
  treat patients. You may have a loyal assistant (Jane or John?) as well. You 
  have a stock of pharmaceuticals and other medical supplies on hand to treat 
  people. You earn d6 Wealth per month it is in operation.
  fieLd Medic: While you are caring for people (not fighting), you get +1 
  arMor.
  forensic experT: When you poke around corpses, you may use 
  roLL+reason instead of roLL+Luck. On a 7+, you gain 1 clue in 
  addition to anything else. You also gain +2 to puzzLe Things ouT about
  causes of death, and anatomy related questions.
  TrusTWorThy: Your position makes people innately inclined to confide 
  in you. You gain +1 Affinity, and may ask one additional question when you 
  successfully read a person.
  Your Lore move is
  eMergency Triage: You may quickly attempt to heal a wounded person 
  in any situation. Spend 1 Lore and roLL+Luck. 
  10+: Heal 2 segments. 
  7–9: Heal 1 segment.
  on a 6 or Less: You may choose to either not heal or heal 1 segment. 
  If you choose the latter, the Keeper gains 1 hold to use as a a hard move 
  at any time. 
  
  -71-
  The Heir
  You have always felt apart, different, as though you didn’t belong anywhere. 
  You attended university, got a nice job, and found a place where you could 
  live out a mundane existence. Somewhere deep within, you knew it couldn’t 
  last. It began with the letters from a place you never heard of, but you felt 
  strangely called to it. You let them languish, unopened and unread—afraid 
  of what they might contain. You had been warned to always avoid that side 
  of the family. Then the man came, an attorney with a briefcase, a ticket, and 
  the deed to your ancestral home. You felt a sudden release, as though you’d 
  been holding your breath all these years, and decided to see for yourself if 
  there was really a future for you somewhere else in a place less ordinary, a 
  place where you might belong, a place you could call your home.
  Creating the Heir
  To create your heir, choose name, look, attributes, moves, and gear.
  
  -72-
  Name
  Samuel Hale, Franklin Weed, Benjamin Blackwood, Amanda Leach, Teresa 
  Wilkinson, Eleanor Radford
  Look
  Select one from each category.
  gender: Man, woman.
  cLoThing: Nice casual, worn casual, nice rustic, worn suit, or simple 
  dress.
  face: Plain, friendly, innocent, or honest.
  eyes: Bright, clever, wide, tired, narrow, or almond.
  body: Slim, athletic, full, lithe, or angular.
  Attributes
  Choose one set:
  • Reason +1 Passion +1 Might -2 Luck +2 Affinity +1
  • Reason +1 Passion 0 Might -1 Luck +1 Affinity +2
  • Reason +1 Passion +1 Might 0 Luck +1 Affinity 0
  • Reason +1 Passion +1 Might -1 Luck +2 Affinity 0
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 1d6 Wealth.
  And choose two:
  • A beat-up roadster (valuable, unreliable).
  • A small trust fund set up for you, d6 Wealth per month.
  • A good item of your choice (up to 3 wealth), inherited from the dearly 
  departed (weird).
  • Contact: the town attorney (perhaps Vincent Miller?), or the only friend 
  of the deceased.
  
  -73-
  Heir Moves
  Choose two special moves.
  ancesTraL hoMe: You have a large, crumbling, remote manor that has 
  seen better days. It is filled with an assortment of oddities your ancestor 
  collected. It is a Weird place, to say the least. You may poke around 
  the old place once per day. 
  on a 7+, you may choose to find one good item of your choice or two 
  clues (or choose from the normal choices). 
  on 6 or Less, the Keeper may Hold 2 to use as hard moves. 
  If you don’t initially choose Ancestral Home, then the house is still tied up 
  in probate, boarded up, and you can’t use it. Sorry.
  cerTainTy: You are certain there is some reasonable explanation for the 
  weirdness you witness. You aren’t delusional; you know strange things exist. 
  You just know they must have logical underpinnings to them.  Reduce any 
  shock taken by 1.
  franTic: After you are harmed, you may use roLL+Luck instead of 
  roLL+MighT to ThreaTen your assailant. On a hit, you deal 1 extra 
  harm.
  hoW bad is iT?: After a fight, you may roLL+Luck to recover from 
  physical injury.
  on a 10+, heal 2.
  on a 7-9, heal 1.
  on a 6 or Less, your wound is worse (suffer 1 additional harm).
  sensiTive: Increase your Passion by +1. You sometimes get strange vibes. 
  Whenever you roll a natural 12, immediately make a roLL+passion. 
  on a 10+, you get 1 Lore.
  on a 7-9, you get 1 clue.
  on a 6 or Less, you suffer a horrible vision and take 2 shock.
  Your Lore move is
  Lucky:  You may spend a point of Lore to turn any partial success into a 
  success. You can use this for rolls made by other characters, provided you 
  are close by (within shouting distance) and you trust them (Trust +1 or 
  greater).
  
  -74-
  The Journalist
  Your passion for digging deep to find stories has given you a reputation as a 
  muckraker and a no-nonsense sort. You’re just willing to look where others 
  aren’t…or won’t. You turn over rocks, look for skeletons in closets, and are 
  concerned first and foremost with the truth. You discovered early on the 
  truth is often ugly and harsh, and something most don’t want to hear. In 
  this pursuit, you’ve learned a few unsettling things, things downright strange 
  and weird, and you’ve collected those notes in a box for when you write 
  your memoirs. Until then, you get your byline when you can.
  Creating the Journalist
  To create your journalist, choose name, look, attributes, moves, and gear.
  
  -75-
  Name
  Nash Anderson, Fredrick Sheridan, Patrick Hansen, Shelby Brooke, 
  Alexandria Woodard, Margaret Storm
  Look
  Select one from each category.
  gender: Man or woman.
  cLoThing: Worn suit, antiquated casual, slightly out-of-date fine, or worn 
  formal.
  face: Haggard, vibrant, plain, bearded, or refined.
  eyes: Faraway, clever, red-rimmed, tired, or probing.
  body: Corpulent, thin, energetic, full, or bony.
  Attributes
  Choose one set:
  • Reason +2 Passion +1 Might -2 Luck 0 Affinity +2
  • Reason +2 Passion -1 Might -1 Luck +1 Affinity +2
  • Reason +2 Passion 0 Might -1 Luck +1 Affinity +1
  • Reason +2 Passion +2 Might 0 Luck -1 Affinity 0
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 1d6 Wealth. 
  • A room in a boarding house (costs 1 Wealth per month).
  • A decent camera (unreliable).
  And choose two:
  • An old jalopy or motorcycle (either unreliable). 
  • A small sidearm (unreliable).
  • A couple of local gossips who are sometimes good for a story (+1ongoing 
  with them).
  • +1 Lore.
  
  -76-
  Journalist Moves
  Choose two special moves.
  faMiLiar WiTh deadLines: You gain +1 to rolls when you acT under 
  pressure.
  nose for neWs: You gain a +2 bonus from clues, instead of the normal 
  +1.
  snappy coMeback:  You have a knack with a camera and a sharp eye. 
  No camera is unreliable in your skilled hands. You may snap photos and 
  later poke around them to see if there was anything you may have 
  missed. Of course, to get any of those things, or more knowledge about 
  them, will require you to go back to where the pictures were taken. 
  sTaff reporTer: You have a small desk located in the office of the local 
  rag. You earn d6 Wealth per month and may roLL+Luck once per day. 
  On any success, you get a story lead (a clue). On 6 or less, you have to wait 
  d6 days before you can try again. 
  undaunTed: When you fail to Convince an NPC you may roLL+Luck 
  to try another angle.
  10+: They will do it, if you keep their name out of things.
  7-9: They tell you about a guy who knows someone who may know.
  6 or Less: They wonder why you won’t take no for an answer. The 
  Keeper may give you -1ongoing with the NPC or hold 1 to take a hard 
  move against you at any time.
  Your Lore move is
  Locks are suggesTions: You may spend a point of Lore to get quickly 
  and quietly into or out of any mundane place.
  
  -77-
  The Professor
  Learning is your greatest love, and you happily share your knowledge 
  through teaching. You have taught in various colleges and universities across 
  the country. Over the years, you have learned life is strange and history is 
  often hysterical. 
  Creating the Professor
  To create your professor, choose name, look, attributes, moves, and gear.
  
  -78-
  Name
  Professor Thomas Mince, Professor Grant, Trent Banks, Professor Cynthia 
  Adams, Professor Black, December Green
  Look
  Select one from each category.
  gender: Man or woman.
  cLoThing: Worn suit, antiquated casual, slightly out-of-date fine, or worn 
  formal.
  face: Haggard, vibrant, plain, bearded, or refined. 
  eyes: Analytical, distant, clever, red-rimmed, tired, or probing.
  body: Heavyset, thin, energetic, full, or bony.
  Attributes
  Choose one set:
  • Reason +2 Passion +1 Might -2 Luck 0 Affinity +2
  • Reason +2 Passion -1 Might -1 Luck +1 Affinity +2
  • Reason +2 Passion 0 Might -1 Luck +1 Affinity +1
  • Reason +2 Passion +2 Might 0 Luck -1 Affinity 0
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 1d6 Wealth. 
  • A small home (or faculty housing).
  And choose two:
  • Two fellow academics. 
  • Tenure (gain d6 wealth a month).
  • A bicycle.
  • A small sidearm.
  • A pet only you can love (you name it and decide what it is), cheap and 
  loyal.
  • Eyeglasses (+1 Reason when worn, if needed, -1 Reason when not worn).
  • +1 Lore.
  
  -79-
  Professor Moves
  Choose two special moves.
  cLearheaded: When you puzzLe Things ouT, you may ask 1 
  additional question on 7+.
  experT: You gain +2ongoing with all rolls relating to one topic (your 
  choice). When you puzzLe Things ouT on this topic, you may ask one 
  additional question on a 7+, and gain a point of Lore in addition to your 
  other choices on a 10+.
  LogicaL: You think things through. +1 reason.
  sage advice: When a character comes to you for advice, tell them what 
  you honestly think the best course is. If they do it, they take +1 to any rolls 
  they make while following your suggestions, and you gain a point of Lore.
  sound arguMenT: You may use 
  roLL+reason instead of 
  roLL+affiniTy to convince someone. For NPCs, on a 6 or less, you 
  have -1forWard with them.
   
  Your Lore move is
  Learned:  Spend a point of Lore to gain +1ongoing regarding one topic 
  of study (chosen by you) for yourself or someone else.
  
  -80-
  The Salesman
  Others may consider you a wheeler-dealer, a huckster, or a peddler of snake-
  oil, but you know better. You don’t just sell things, you sell dreams. You help 
  put a product in someone’s hands to make their lives better, and the world 
  better to boot. Sure, you’ve knocked on a few doors and have encountered 
  more than your share of strange people in your travels, and you know every 
  now and then you have to hightail it out of some place when you’ve worn 
  out your welcome, but hey, that’s all part of doing business. What’s wrong 
  with turning a little profit while you save the world? 
  Creating the Salesman
  To create your salesman, choose name, look, attributes, moves, and gear.
  
  -81-
  Name
  Traveling Jason Freely, Mister Mack, Doc, Miranda McLane, Candice 
  Fairview, Sylvia Collins
  Look
  Select one from each category.
  gender: Man, woman.
  cLoThing: Worn suit, crumpled casual, slightly out-of-date fine, or worn 
  formal.
  face: Vibrant, sharp, bearded, honest, or refined.
  eyes: Friendly, sharp, clever, probing, or appraising.
  body: Energetic, full, spare, or trim.
  Attributes
  Choose one set:
  • Reason 0 Passion +1 Might -2 Luck +2 Affinity +2
  • Reason 0 Passion +1 Might -1 Luck +1 Affinity +2
  • Reason +1 Passion 0 Might -1 Luck +1 Affinity +2
  • Reason +2 Passion +1 Might -1 Luck -1 Affinity +2
  Basic Moves
  You get all the basic moves (pp. 20-24).
  Gear
  You get:
  • 1d6 Wealth. 
  • A pickup (reliable, awkward) with a camper on it for sleeping.
  • 2d6 Wealth worth of useless bric-a-brac (you decide what).
  • A cracked, wooden baseball bat you’ve had to use once or twice (unreliable).
  And choose two:
  • A small sidearm.
  • A flashlight.
  • Camping equipment.
  • An old book (weird) you’ve picked up in a trade somewhere.
  
  -82-
  Salesman Moves
  Choose two special moves.
  a MiLe in Their shoes: You are able to get inside the heads of other 
  people and think what you would have done in their place. You may 
  roLL+passion when you want to puzzLe Things ouT. 
  deveLop rapporT: Whenever you successfully read a person, you 
  get +1ongoing when reading them in the future.
  have i goT a deaL for you!: You can get nearly anyone to put down 
  hard coin for anything you own. You may convince people to buy your 
  stuff.
  10+: They will pay you Wealth+1 in cash.
  7-9: They will pay you its value (or offer to trade you something of roughly 
  equivalent worth), Keeper’s choice. Depending upon the person targeted, it may 
  take them d6 days to come up with the money.
  6 or Less: The Keeper can choose that they don’t want it or can’t afford it, or 
  will give you value-1 for it, if you do them a favor first.
  May i have your aTTenTion, pLease?: You are able to convince 
  a crowd of folks to do something you like. If you miss the roll, however, 
  they don’t take kindly to your interference and become hostile towards you.
  My Word is My bond: You can attempt to convince anyone, 
  anytime, to do something for you, even if you have nothing they might 
  want. 
  10+: They don’t really expect you to come through later and will be happy if you 
  do (+1forWard).
  7-9: They will be upset if you don’t come through in the next d6 days. Failure 
  to deliver will either create bad feelings (-1ongoing to convince), a bad 
  reputation (where you can’t use this move again until you make things right), or 
  the Keeper may hold one and decide some badness for you later.
  6 or Less: They’ve heard this sort of thing before, and you have -1forward with 
  them in the future.
  
  -83-
  Your Lore move is
  jusT The Thing: Spend a point of Lore to produce a specific minor item 
  of your choice. roLL+Luck to determine how good it is.
  10+: It is of good quality.
  7-9: It is unreliable.
  6 or Less:  Whatever it is, it will work one time or only for a short 
  duration. A key will work once and then snap off, a flashlight will last a 
  scene (maybe), and so on. It can be repaired, but may cost as much as a 
  new item to get fixed.
  
  -84-
  Actual Play Examples
  Here are excerpts from various playtests conducted during the development 
  of tremulus. 
  Amy is a librarian, being played by a brand new player. She’s playing solo 
  and is a bit hesitant about exploring, so starts off keeping close to the library 
  where she works.
  aMy: “I finish straightening up downstairs and go upstairs to check out the 
  second floor. Anything unusual?”
  keeper: “You see the usual shelves of books you’d expect to see. The 
  windows are grimy, as is the floor, and you note the shelves are dirty. You 
  knew the library had been shut down for years before you accepted the 
  position.”
  aMy: “I know, but I wasn’t expecting to pull janitorial duties. I want to see 
  if there is anything particularly unusual up here.”
  keeper: “You want to poke around?”
  aMy: “Sure. That’s roLL+Luck for me, right?”
  keeper: “Yep. Remember if you miss completely, I get to hold.”
  aMy: “Okay.” Undaunted she rolls. “I get a 9. What can I do?”
  keeper: “You can find a minor item, determine danger, or find a hidden 
  area.”
  aMy: “Hmmm. I don’t think there’s any danger around here, and the 
  library is already so big, I’ll take the item. Do I get to choose?”
  keeper: “No. I do, but is there anything you were looking for in particular?” 
  
  -85-
  aMy: “Nope. I’m just on the lookout for anything interesting while cleaning 
  up.”
  keeper: “Fine.” Thinks a moment. “You find an old key hidden under a 
  book while you’re straightening up. And about an hour’s passed since you 
  started looking around.”
  aMy: “Interesting. What does it look like?”
  keeper: “It is an old brass skeleton key that is remarkably clean, as though 
  it has been used recently.”
  aMy: “Hmmm. It’s kind of like the key to the front door of the library. 
  Right?”
  keeper: “Similar. Yes.”
  aMy: “I want to see if I can figure out anything out about it. Is that 
  puzzLe Things ouT?”
  keeper: “You got it. That’s a roLL+reason.”
  aMy: “Reason? Right? Cool. I’ve got a high reason. I roll an eleven!”
  keeper: “You can gain Lore or ask three questions.”
  aMy: “I don’t trust what you want to tell me. I’ll ask some questions. 
  Hmmm.” She looks over the list. “What is this?”
  keeper: “As you examine it closely, you realize it must be the key to the 
  restricted area upstairs. A place you haven’t explored yet.”
  aMy: “Okay. I want to know why it was under the book.”
  
  -86-
  keeper: “Cool. I’ll consider that a variation of ‘what does this mean?’ You 
  conclude that it was hidden there by someone who has surreptitiously been 
  going into the restricted book area.”
  aMy: “Interesting. Now I’m a little nervous. Can I ask questions based 
  upon the answers I’ve gained?”
  keeper: “Maybe. Let’s hear what you’ve got and see if it makes sense that 
  you could figure it out.”
  aMy: “I want to know who’s in control here.”
  keeper: “That’s not something you can determine at this point. You’ve 
  barely explored the town. Right?”
  aMy: “Okay. Fine. I had to try. Do I lose the question?”
  keeper: “No. It’s not that kind of game. Have another question? You 
  could ask something like what should I keep an eye out for, or even how 
  does the key fit into the mystery of the missing librarian?”
  aMy: “Hmmmm. I see what you’re trying to do there. I’d like to know 
  what I should keep an eye out for.”
  keeper: “You can tell the key has been used recently. Right? So someone 
  else must have a key to the library and is pretty good at covering their 
  tracks. You definitely want to keep an eye out for trespassers and becoming 
  too complacent in the apparent safety of the library.”
  aMy: “Thanks. It’s not as if I wasn’t already paranoid…”
  * * *
  
  -87-
  Another group of experienced gamers get together online. There is Jake 
  the detective and Lilly the antiquarian, who are cousins, and then Doctor 
  Wilhelm, an alienist, who is Jake’s old friend. They suspect the town doctor, 
  a nice enough chap by the name of Strong, is up to no good, and they 
  decide to visit his office after hours.
  jake: “I see a light on, so I knock on the door.”
  keeper: “A large, brutish man opens the door a crack. He tells you to go 
  away, and starts to close the door. Behind him, you see a number of folks 
  either asleep or passed out from heat exhaustion in the waiting room.”
  WiLheLM: “I step forward and give the man a winning smile. Please? 
  Could you just let me in a moment? I believe I have left something from 
  my visit earlier?” (He attempts to convince the man, rolling an 8.) 
  keeper: “He’s not completely sure about whether to let you in or not. 
  He eyes your nice watch. ‘You let me hold onto that, and you can come in. 
  You bother the doctor, and I’ll keep it.’ He opens the door enough for you 
  to come in, and gives a cold stare to your companions.”
  LiLLy: “I stop him from closing the door.” (She acTs under pressure, 
  rolling a 10, and slides her foot sideways into the door with ease.) “Now, I 
  give him a smile and ask him if I can come in as well. I need to, hrmmm, 
  use the facilities.” (She rolls a 9 to convince.)
  keeper:  The man sighs heavily. “Fine. Same deal as your friend. What 
  do you have?”
  LiLLy: “I rummage around through my huge purse and pull out a knick-
  knack, a mirror. ‘This is quite collectible. See the duck pattern around the 
  handle? Very popular.’ ” (He relents, and she walks in.)
  
  -88-
  Cut outside to Jake who couldn’t convince the brute to let him in—he 
  wanders into the alley to poke around for anything of interest and 
  discovers a good item, a strange map which comes into play later.
  Cut to Wilhelm who is snooping around the back area of the clinic and hears 
  strange sawing sounds coming out of one of Strong’s examination rooms. 
  It is about this time that Lilly approaches him and draws the attention of 
  the brute.
  keeper: “The brute glares at the two of you. ‘You’re nosing around where 
  you shouldn’t. You need to go now.’”  (The characters begin to talk and the 
  Keeper takes a hard move against the alienist, who suffers 2 harm as the 
  brute pummels him with trained precision. He then turns towards Lilly.)
  LiLLy: “I begin to scream.” (The brute grabs for her. Lilly, failing to acT 
  under pressure, is caught up in his meaty arms.)  “I bite him.” (The 
  players have an epiphany as they discover Lilly can deal with the brute 
  in three different ways: she can acT under pressure to wriggle free, 
  ThreaTen  him with her bite, or resorT To vioLence and chomp 
  down hard, likely getting a fist in her face for her trouble. She chooses to 
  bite (ThreaTen) and rolls a 7.)
  keeper: “You bite his forearm and he’s surprised. He lets you go and steps 
  back away from both of you. ‘Get out!’ he snarls, dropping into a fighting 
  stance. You caught him off-guard once. It’s unlikely you’ll do so again.
  WiLheLM: “I pull out the sword from my sword cane and flourish it 
  at him. ‘No brute dares lay a hand on Doctor Wilhelm!’ I attack!” (The 
  character resorTs To vioLence. He rolls a 5. It’s just not Wilhelm’s 
  night.)
  keeper: “The brute easily dodges your slash—you must be a bit out of 
  practice—and hits you hard in the abdomen with his meaty fist.” (They 
  check the damage: Wilhelm has taken 4 harm at this point.) “You hear a 
  rib crack, and fall back.”
  LiLLy: “I glare at the brute. ‘We get the message. We’re leaving.’  I help 
  him outside. ‘Come along, Doctor Wilhelm.’”
  
  -89-
  A bit later, Jake and Lilly decide to explore the Washburn Estate. Doctor 
  Wilhelm decides bed rest is probably prudent, after his landlady bandages 
  him up. The action commences just as they have hiked up the trail from 
  the main road where they left their car, to the high outer wall of the Estate.
  jake: “So, I’m examining the front gate. Is it open?”
  keeper: “No. It’s not that easy. Washburn is a private man. Though it 
  appears only in fair condition, it is very sturdy.”
  jake: “Hmmm. I’m pretty strong too. What do you think we should do, 
  Lilly?”
  LiLLy: “I think we should look around the outer walls for another way in.”
  jake: “Sounds like a plan. I’m going to help her look.”
  Lilly decides to poke around and with Jake’s heLp, they find a servant’s 
  entrance gate on the side, which is rusty and slightly ajar. They pry it open 
  and squeeze through.
  keeper: “You’re inside, and you see a massive wall of hedge in front of 
  you. There is a narrow passage—too narrow for either of you to easily 
  navigate—to your left (in the general direction of the manor) and to the 
  right.”
  jake: “This must be the maze on that weird map I found.” (Jake had 
  poked around earlier and found a good item. The Keeper decided it was 
  an enchanted map to the Washburn Estate.)
  LiLLy: “You first. I’m not even sure why we’re out here, cousin.”
  jake: “There is something strange about this heat wave, and I’m certain 
  Washburn is behind it. I try to squeeze through the hedges to the left.”
  keeper: “As you enter into the hedge maze, you see it tangle about you, 
  trying to hold onto you. What do you do?” (The maze is a landscape hazard 
  with the subtype of prison. The Keeper is taking a move.)  
  
  -90-
  jake: “My, oh, this isn’t what I was expecting. I try to pull myself away.” 
  The Keeper could either rule it was a roll+might as he physically pulls himself 
  away, except this is strange, and rules he is acTing under pressure. 
  Jake gets an 11 and staggers back, a bit rattled, but unscathed.
  LiLLy: “You can’t fit? Let me try.”
  jake: “It moved. It tried to grab me!”
  LiLLy: “Don’t be silly. You’re just a big man.” She moves into the hedge.
  keeper: “The tendrils shoot out at you. Jake was right!”
  LiLLy: “I pull myself back.” 
  (She acTs under pressure and rolls an 8. The Keeper grins.)
  keeper: “Here’s where things get interesting. I’m going to give you a few 
  choices. You get to decide what happens. You can lose your glasses to the 
  hedge. You can take 2 shock or you can take 1 harm.”
  LiLLy: “None of those choices are good, but you’re NOT going to get my 
  glasses that easily! I’ll take the point of harm.”
  keeper: “As the hedge surrounds you, one vine in particular catches on 
  your calf, tearing into your flesh as you pull away. Several vines threaten to 
  rip away your glasses. You manage to beat them back with your purse, and 
  now stand beside your cousin, breathing hard. It’s been awhile since you’ve 
  been so active.”
  jake: “See, I told you they were alive.”
  LiLLy: “Great. Now we have to get through a whole maze like this? I’m 
  going to wait in the car.”
  jake: “C’mon. People are counting on us.” He pulls out the map. “Let’s 
  see if we can figure out what to do next…”
  
  -91-
  Let’s return to our beginning player after she’s gotten a better sense of the 
  system and setting.
  Amy (now a bit more seasoned, and far more suspicious of the locals) goes 
  into the diner to talk with her acquaintance, Laney, who runs the place.
  aMy: “How’s it going, Laney? Any news about the coal mine collapse?”
  keeper: “Her brow is a bit furrowed. ‘I don’t really want to talk about it, 
  sugar,’ she says, and starts to go back to work.”
  aMy: “C’mon, Laney, you can talk to me. I ran those errands for you the 
  other day. I’m a friend!” (She rolls to convince with a +1ongoing she 
  earned earlier, getting an 11.)
  keeper: “Laney sighs and says, ‘Yeah, I know, you’re right. I’m just 
  so worried about Big Jack, and it’s got me not thinking straight. He was 
  working down there when the thing collapsed. He shouldn’t have even been 
  there. Should’ve been behind his counter in the hardware store. Clark Lewis 
  needed his help though.’”
  aMy: “I’m trying to figure out what she’s thinking.” (She rolls read a 
  person and with her +1, gets an 8.) “Oh well, I thought I’d roll better than 
  that. Hmm. I know! I want to know how I can get her to tell me what Jack 
  was doing down there?”
  keeper: “You know that if you offered to ride to the mines with her, she’d 
  tell you on the way.”
  aMy: “Super. That’s what I do. ‘Laney, I see you’re baking a lot of pies to 
  take down to the mines. Would you like some company?’”
  keeper: “Laney looks slightly relieved. ‘That’d be great, hon. Help me 
  load them up and I’ll tell you what fool business that man got himself into 
  this time…’”
  
  -92-
  
  -93-
  The Keeper’s Section
  if you pLan To be The one To 
  orchesTraTe, organize, and faciLiTaTe pLay, 
  pLease Turn The page. 
  
  -94-
  Proper Preparations
  The Keeper Should...
  Set Aside Preconceptions
  Let go of any habits of complete autonomy and control you may 
  have when running a game. This is a collaborative experience. Trust 
  your friends to work with you to tell a compelling tale of horror and 
  intrigue. They want to do it as much as you do.
  Read the Book
  You may want to leap right into running a game, and that’s cool, but 
  make certain you read through the whole book at least once, not just 
  the Keeper’s Section, being mindful of examples.
  Place Fiction First
  This is important to keep in mind. You’re creating a collaborative 
  story with your friends, and you should be enjoying the tale unfolding 
  before you. Don’t get hung up on the details of the rules or let them 
  get in the way of a good story. Go with the flow, and learn as you go.
  Encourage Narrative Thinking
  Make certain your players don’t get hung up on the rules either. 
  Yes, they have a playbook, but they should be spending more time 
  engaged with you and each other than mulling over said playbook. 
  Encourage them to embrace their role and decide what they would 
  do in the present circumstance, then you can work out what specific 
  move (if any) comes into play.
  Nudge New Players
  It takes some folks a while to wrap their heads around this type of 
  game, and you want to help them. Be willing to step through the use 
  of Keeper Moves and playbook moves a few times as you progress, 
  rather than just expecting them to ‘get it’. When asking them what 
  they do, suggest options narratively (then point out the move).
  
  -95-
  Embracing Darkness
  A Sense of Purpose
  You’re wanting to tell a tale, and you don’t know where to begin. You can 
  use a playset, a framework, or start nearly from scratch (with a looming 
  mystery). A playset is essentially a questionaire presented by the Keeper to 
  the players, and their choices determine the framework(s) and hazards of the 
  story. A framework is akin to a rough outline of a story and can be quickly 
  prepared. While you can start with nothing, a looming mystery helps as it 
  provides a big idea of what the story is going to be about. While all stories 
  should have a looming mystery, a creative Keeper can walk in with just that, 
  or have one suggest itself as the players reveal a bit about their characters. 
  The First Session
  The Keeper has three major choices when establishing the story. Do you use 
  a playset? Do you create your own framework? Do you start from scratch 
  and bring everyone in from the outset with no foreknowledge whatsoever? 
  There are advantages and challenges to each.
  Using a Playset
  The easiest way to immediately jump into play without any formal 
  preparation is with the use of an existing playset (such as Ebon Eaves). 
  bring To The TabLe: printed copies of the playbooks, reference sheets, 
  and one or more copies of the playset questionnaire.
  The fLoW: Each player selects a playbook, and then the Keeper proceeds 
  directly to ask the playset questions of the group. Once the choices are 
  made, the Keeper fills out the worksheet with its hazards, while the players 
  flesh out their playbooks (choosing their attributes, special moves, and gear). 
  Trust values should be assigned privately, with an eye towards relationships 
  (as outlined in inTersecTing Lives, p. 16). The Keeper then presents the 
  investigator notes to the players, and they then proceed to figure out what 
  gets them involved in the storyline. 
  
  -96-
  The MoTivaTion: What gets the characters involved in the story? Reasons 
  can be varied from the simple to the complex: a change of scenery, a job 
  opportunity, visiting the old summer home, or something more intimately 
  connected to the mystery such as an interest in ghosts, researching a novel 
  about strange lights, or somehow tied into their relationships with the other 
  characters. This should be explored over the course of play. Many of the 
  playbooks have ready hooks waiting to be incorporated, whether through 
  their special moves (that are location moves, in effect) or their odd and 
  unusual gear choices (relic, diary of a madman, and the like).
  The chaLLenges: If you’re not conversant with running games on 
  the fly, then you’ll want to take about fifteen to twenty minutes creating 
  frameworks of the existing hazards, tying them into threads and the like (as 
  described in archiTecTing nighTMare, beginning on p. 147). Keepers 
  find it particularly useful to do this while the players are detailing out their 
  characters and sorting out their backstories a bit. If you’re comfortable 
  with running games on the fly, you’ll still want to pay attention to pacing. 
  Depending upon the amount of time allocated for your story (be it one 
  session or multiple), you’ll want to allow the characters to explore the game 
  space (be it the small town of Ebon Eaves, a remote research station, or a 
  luxury liner) before the mystery properly envelops them.
  benefiTs: The playset is established during the first session of play and 
  lasts for the length of the campaign, creating a broad sandbox for you and 
  your friends to build upon and explore. Various threads which arise during 
  collaborative play can be further investigated, and details can be easily added 
  as your story grows.
  Tips: Contact your players ahead of time and have them pick their 
  playbooks and make their choices about the town, and then you can have 
  everything formalized and ready to jump into right away when it’s time to 
  game.
  
  -97-
  Using a Framework
  Building a framework strikes a happy balance between using a playset and 
  starting completely from scratch.  Creating a framework should generally 
  take between fifteen minutes and an hour, depending upon your experience 
  with the system.
  bring To The TabLe: printed copies of the playbooks, reference sheets, 
  and your framework, of course.
  The fLoW: Each player selects a playbook and then establishes their 
  relationship web as normal. 
  The MoTivaTion: The Keeper can help personalize characters’ motivations, 
  using his framework and their playbook choices as a guide (or at least 
  present them as options for getting into the story). Otherwise, they can 
  present their own reasons for getting drawn into the mystery.
  The chaLLenges: Depending upon how the framework is prepared, 
  the characters still need a place for things to transpire. If the framework is 
  something like a haunted house, then it still needs a time and place. If it 
  takes place in a larger area, like a town, the Keeper will likely need to be 
  ready to develop details with his players on the fly.
  benefiTs: Taking the middle road between no preparation and a playset, 
  the environment can be readily tailored to suit the sense and sensibilities of 
  the group. A forest can be established on the outskirts of town. An asylum 
  can spring up in the old hills, and so on.
  Tips: Don’t try to detail every little bit of your framework. Resist the urge 
  to answer questions beforehand. Whenever you really want to know the 
  answer to something, instead make it a question you want to see come up 
  during play. Create hazard tracks with ticking bombs to drive the story 
  forward, and assist the players in being active rather than reactive. You can 
  also use a time and place you and your players are familiar with to make it 
  easier for you to bring your own weird stories to life.
  
  -98-
  Starting from (Nearly) Scratch
  Coming to the table with no preconceived ideas whatsoever sounds daunting, 
  but offers up its own secret rewards.
  bring To The TabLe: printed copies of the playbooks, reference sheets, 
  and an open mind full of questions (and perhaps, a looming mystery?).
  The fLoW: Each player first selects a playbook, after which the session 
  begins with an open conversation between the players and Keeper as they 
  establish where and when they are, and how and why they know each other.
  The MoTivaTion: There is invariably going to be some sort of looming 
  mystery, but it is a vague thing at best. The motivation of the characters 
  doesn’t lie so much in the future, at least starting out, but goes back to 
  the past. The Keeper wants to discover the characters and learn revelations 
  about them, as they move through the last bits of normalcy they may really 
  experience before the story starts in earnest.
  The chaLLenges: There are few, if any, boundaries when using this 
  approach. The Keeper and players must be ready for anything. This unready 
  state requires real cooperation and a sense of trust at the table. Everyone 
  needs to be willing and able to look through the fragments of facts brought 
  to the fiction of the story and piece it together to collaboratively create 
  a whole. The Keeper needs to follow the Maxims and not let the game 
  devolve into a character study. Things need to be happening. Weird things. 
  Strange things. 
  benefiTs: Leaving things largely open can allow for stories to emerge that 
  none of you may have thought possible. 
  Tips: Come to the table with at least one looming mystery. Something 
  that can serve as a broad question that helps suggest other questions (and 
  gives everyone something to build upon). Explore establishing questions 
  right away. Get some concrete details going, ask provocative questions, and 
  encourage players to do the same with each other as Trust relationships 
  are being built. Work towards getting buy-in from all the players, and help 
  instill in them the sense that you’re all in this together, because you are.
  
  -99-
  The Looming Mystery
  Whether you’re planning for one session or an ongoing storyline, it’s 
  recommended you start off with one big, broad question to get the creative 
  juices flowing. It could be something as simple as “Who killed Jane Archer?” 
  or “Why did the oil company abandon Sargasso Flats?” This is a question 
  you can bring into the open directly and immediately (but what fun is 
  that?), or one intimated indirectly as play progresses (yes!). 
  noTe: If you’re starting from scratch, you should probably throw it out as 
  a completely open and inviting question for everyone to gnaw upon during 
  your first session. 
  Moving Forward
  Beyond the first session, you can refine, build out, and adjust your 
  frameworks, hazards, and hazard tracks based upon what has taken place. 
  The story should be a living, organic thing (with nothing set in stone). 
  Think about how the session went and where things are going. What needs 
  to be answered? What do you want to find out? What do the players want 
  to find out? And (most importantly) what would be cool and scary to find 
  out?
  
  -100-
  Apart and a Part
  The Keeper has many duties and responsibilities. Like the players, you have 
  certain rules by which you must abide, rules that are specifically designed 
  to help you work with the players to create an entertaining and suspenseful 
  storytelling experience for all involved. Although these maxims might first 
  seem like constraints, you will soon see that they not only provide you with 
  a powerful set of tools to guide your group’s flow of play, but also enable 
  you to deeply explore emotion-rich, personal stories of nightmare and dread. 
  
  -101-
  The Maxims 
  As the Keeper, you must adhere to a strict code when you play this game: 
  this is essential and cannot be stressed enough. You might wish to steer the 
  ship in some other fashion, or modify and tweak the interaction of Moves 
  and play in a way that more closely represents other games you’re familiar 
  with. But don’t. Resist the temptation and just play the game as presented. 
  Doing so will provide you with a certain freedom found only when adhering 
  to a form, and you will discover that there is more going on here than you 
  might have seen at first glance. 
  As the Keeper, hold carefully to the following maxims and do not 
  deviate. You’ll soon find you and your players are really enjoying the form 
  and flow of the experience, and a circle of trust and deep storytelling will 
  develop with each passing session as a result of your collaborative efforts. 
  The Agenda
  1. Make tremulus real.
  2. Make the characters’ lives interesting.
  3. Play to find out what happens.
  The Execution
  Always say: 
  • What the principles demand (and follow through).
  • What the rules demand.
  • What your preparation demands.
  • What honesty demands.
  The Principles
  • Introduce the strange, the weird, and the alien at every opportunity.
  • Address yourself to the characters, not the players.
  • Make your move, but misdirect.
  • Make your move, but never speak its name.
  • Look through a cracked lens of madness.
  • Name everyone, make everyone human. 
  • Ask provocative questions. Build upon the answers.
  • Successes should be bittersweet at best, with rewards few and far between. 
  • Be a fan of the players’ characters.
  • Think about what is happening elsewhere as well. 
  • Sometimes, put the decisions in the players’ hands.
  
  -102-
  Managing the Maxims: Expanded Insights
  The maxims are comprised of three major parts: the agenda, the execution, 
  and the principles. 
  The Agenda
  The three major tenets should be adhered to at all times. Doing so will result 
  in a rich experience for everyone involved.
  1. Make TreMuLus reaL.
  This may sound strange in a game revolving around the weird, but it’s 
  important to maintain verisimillitude in your story. Have NPCs work 
  towards their own ends. Provide necessary detail to make things real. Make 
  the world around the characters appear to operate according to the normal 
  laws of the universe, so when you throw in the peculiar and strange, it has 
  even more impact, and they are willing to accept it. 
  2. Make The characTers’ Lives inTeresTing.
  Keep them on their toes. It shouldn’t be too difficult. Not everything has to be 
  completely drenched in malevolent evil. You should be constantly exploring 
  the depths of their personalities, and providing them with situations where 
  they can be reactive as well as proactive. Use your hazards and moves to 
  push them outside of their comfort zones whenever possible.
  3. pLay To find ouT WhaT happens.
  Within every tremulus story lies another mystery waiting to be uncovered. 
  Do not have the answers ready. Instead have questions you want to see 
  answered. Make these secret questions interesting and engaging for everyone 
  involved. 
  
  -103-
  The Execution
  Your role as Keeper is to reveal the truths and darkness of the mystery as the 
  characters explore the story space. As such, it is essential you communicate 
  this clearly during play.
  AlwAys sAy...
  WhaT The principLes deMand (and foLLoW Through).
  Adhere to the tenets of the principles as you progress through the story, and 
  do not compromise your actions or let your conviction waver.
  WhaT The ruLes deMand.
  If someone pokes around and decides they find a hidden area/threshold, 
  it is your responsibility to let them do so. It’s exact nature is up to you, but 
  if a character gets any degree of success, you should present them with the 
  options available, and let them choose. Likewise, should a character be on 
  the verge of madness and another character he is close to dies before his 
  eyes, you should not let him slide. His mind should shatter like ice dropped 
  from a great height upon a sidewalk.
  WhaT your preparaTion deMands.
  Your framework serves as a compass to guide you through the story, with 
  your hazard tracks pushing the story forward. Use them. The narrative 
  demands it. If the characters are injured (or have been idle), and they are 
  supposed to be attacked by hostile villagers on the third day, then let the 
  chips fall where they may, even if they are recuperating or lounging.
  WhaT honesTy deMands.
  You will be tempted to keep secrets back from the characters. Don’t. If 
  they puzzLe Things ouT, they get truthful, generous answers. Don’t 
  shortchange them. By the same token, if they manage to derail a hazard 
  track, good for them. Don’t compromise your integrity by having it proceed 
  as planned because “it would be so cool” to play out. There will certainly 
  be another opportunity to present the death cult scene in a future storyline.
  
  -104-
  The Principles
  These rules help you follow the agenda and guide you in your execution of 
  your responsibilities as the Keeper.
  inTroduce The sTrange, The Weird, and The aLien aT every 
  opporTuniTy.
  There should be no truly normal people or events within your story. 
  Everyone should have their tics and idiosyncrasies. When the characters 
  stop at a gas station, why is the attendant playing a violin and singing in 
  Latin? Why does Miss Peterson collect picture books of the dead? The rain 
  last week dropped Roman coins. Oddments should be regular and expected.
  address yourseLf To The characTers, noT The pLayers.
  Very important, both for yourself and your players. This heightens the level 
  of investment in your story and greatly personalizes things.
  Make your Move, buT MisdirecT.
  You should never reveal your machinations. When you take a move to 
  separate the characters, you could have them lost in a swirl of mist or pulled 
  into different conversations. Don’t come right out and say you’re separating 
  them. Let the story suggest the ways your chosen move can be integrated 
  into the narrative.
  Make your Move, buT never speak iTs naMe.
  Always bury the move beneath the fiction. Don’t say the landscape reveals 
  something to someone. That’s boring at best. Use phrases like “while out for 
  your morning walk, you notice a  a tantilizing bit of tarnished brass sticking 
  out from Mourner’s Hill...”
  Look Through a cracked Lens of Madness.
  Don’t be afraid to think the worst of NPCs. Have them wrapped up in yet 
  undiscovered weirdness of their own. What if the innocent Miss Wilkins 
  turns out to be more sinner than saint? Don’t hesitate to kill them off, 
  either, if it serves the story. Each can die as readily as the next. Present even 
  the mundane in a disturbing fashion. Describe a slice of cherry pie with the 
  juices trickling out like the blood of a fresh kill.
  
  -105-
  naMe everyone, Make everyone huMan. 
  Personalize the NPCs at every turn. It’s not the used bible salesmen, “it’s 
  Harry Carver from the big city who passes through town around this time 
  each month, and everyone knows he has a crush on the mayor’s wife.”
  ask provocaTive quesTions. buiLd upon The ansWers.
  Don’t ask simple yes or no questions. The characters’ initial relationship 
  webs should give you some material to work with at the outset. What did 
  they study at university? How did they first meet? Ask them about their 
  first brush with weirdness. What drives them to fight? What does it feel like 
  to kill a man? What are you afraid of? Use these details to help inform and 
  shape your story. If someone studied Egyptology, for example, you should 
  certainly incorporate some Egyptian motifs somewhere along the way.  
  successes shouLd be biTTersWeeT aT besT, WiTh reWards feW 
  and far beTWeen. 
  The world is not a kind place. There will be misery. There will be loss. 
  There is tragedy everywhere. Success should come at some cost, whether it 
  be a loss of life or limb, the disappearance of someone or something, or a 
  character forced to compromise or sacrifice himself for the greater good, in 
  either word or deed, like a pacifist taking a life or holding back a horde, so 
  his companions can flee. Survival with mind and body intact can often be 
  victory enough.
  be a fan of The pLayers’ characTers.
  While the world and its weirdness may be out to get them, you should not 
  be. Always give them the benefit of the doubt, especially new players. Work 
  with them. 
  Think abouT WhaT is happening eLseWhere as WeLL. 
  While your attention should be focused on the events playing out, keep a 
  close watch on what your hazards are up to. Hazard tracks are especially 
  handy for you to keep an eye on the big picture and what is going on at 
  any given time.
  soMeTiMes, puT The decisions in The pLayers’ hands.
  Players love pitching in to actively form the fiction. Ask them for names of 
  people, if certain places are present in the town, and if the person they shot 
  will survive or not. There are always dark sides to every decision, after all.
  
  -106-
  Keeper Moves
  There are two classifications of moves: general and situational.  General 
  moves can be used at any time. Situational moves should be contextualized 
  and make sense given what is happening. They are used when the characters 
  are either in a threatening situation (often involving a hazard), or when a 
  character successfully pokes around or puzzLes Things ouT. 
  noTe: When a Keeper Move is immediate, unpleasant, and irrevocable, 
  it is referred to as a ‘hard move’ to help build a sense of dread among the 
  players. 
  General
  • Separate them.
  • Capture someone.
  • Put someone in harm’s way.
  • Announce trouble elsewhere.
  • Foreshadow future trouble.
  • Take away their stuff.
  • Make them buy.
  • Activate their gear’s downside (hitting tags is especially useful for this)
  • Tell them the possible consequences and ask.
  • Offer an opportunity, with or without a cost.
  • Turn their move back on them.
  • Let the dice decide. Call for a roll+luck.
  • Make a hazard (obstacle) move (from your framework).
  Situational
  • Trade damage for damage.
  • Inflict damage.
  • Present items and clues.
  • Reveal knowledge.
  After every move:  aLWays ask the players “What do you do?”
  
  -107-
  Making Moves and Spending Hold
  As the Keeper, you make a move:
  1. Whenever there’s a pause in the conversation and everyone looks to you 
  to say something.
  2. As a consequence of a character’s failure (someone makes a move and 
  gets a 6 or less on their roll).
  3. At any time, when you spend a point of hold.†
  In any case, to make a move, you simply select one, and do it.
  Remember the principles. Remember to address yourself to the characters, 
  remember to misdirect, and remember to never speak your move’s name. 
  Say what happens to the characters as though it were their world that’s the 
  real one. After each move, be certain to ask them “What do you do?”
  †Hold is either spent to take hard moves against particular characters, or 
  against the entire group (depending upon how it was gained). Whenever 
  possible, it’s more genre appropriate to take your move against the party/
  parties involved in giving you the hold in the first place. You should make 
  certain your hard moves against an individual are particularly unkind. Players 
  quickly learn the consequences of their actions in an uncaring Lovecraftian 
  universe.
  
  -108-
  Moves in Action
  Keeper Moves in Perspective
  When you make a Keeper Move, it should always:
  1. Flow from the fiction.
  2. Allow for character intervention
  3. Set up future moves.
  This means you describe what happens, but pause just before the outcome 
  is known. At that point, you ask the players what they do.
  The creature leaps out at you from the rafters. What do you do?
  The Mayor rises to usher you out of his office. What do you do?
  The chanting rises to a crescendo and something begins forming within the 
  mystic circle. What do you do?
  Remember
  There is a long list of Keeper Moves, and you may find it daunting at first. 
  You may think you need to memorize them all, but that’s not the case. The 
  list simply codifies what experienced Keepers do in play anyway, and should 
  serve to inspire and refine your ideas, rather than limit and constrict. The 
  more you play, the more the moves become second nature. 
  Keeper Moves should continually drive the story forward (that’s what setting 
  up future moves is all about) and make things interesting and engaging for 
  everyone involved. 
  For example, you could let them see a couple of men carrying a body out 
  of a house, a body covered in strange pock marks, towards a beat-up pickup 
  truck (foreshadowing future trouble). What do they do?
  
  -109-
  Hard Moves in Perspective 
  A Hard Move:
  1. Flows from the fiction.
  2. Cannot be interrupted.
  3. Is to be feared by the players.
  This means you describe something from start to finish and it happens 
  before you ask the players what they do.
  The creature leaps down from the rafters and you take 2 harm as it bites 
  into your neck. What do you do?
  The Mayor ushers you out of his office, closes the door, and you hear it lock 
  firmly behind you. What do you do?
  The chanting rises to a crescendo, something forms within the circle, and 
  the slavering beast tears three cultists asunder as the rest run screaming past 
  you. What do you do?
  Remember
  Not every hard move has to be horrible and violent. The main takeaway 
  is that it is something that happens without the characters being able to 
  intervene. Whether it’s someone jumping from the clock tower to their 
  doom or a door slammed in their face, it happens, and that’s that. After it 
  takes place, you then ask the players what they do.
  The ability to hold hard moves is a powerful tool in the Keeper’s arsenal. 
  Holding hard moves serves to build a continual sense of impending doom 
  and rising tension as the story moves forward. This is not to say you need to 
  hoard them, but when the players know you have some tucked away (as a 
  result of their failures), they are torn between treading carefully and rushing 
  towards a resolution of their present predicament (and/or their inexorable 
  fate).
  
  -110-
  General
  separaTe TheM
  use To:  heighten tension, send them in different directions, and diminish 
  resources.
  exaMpLes
  As Amy moves along the passageway, the ceiling suddenly collapses behind 
  her. Nash is forced to take another route.
  The window is large enough for Sheridan to squeeze through; Turnbull 
  must look for another way in.
  capTure soMeone
  use To: put one or more characters in danger and separate the group.
  exaMpLes
  Turnbull gives Sheridan a lift over the high wall, and hears a slight metallic 
  click behind him. He turns to see the groundskeeper pointing a rifle at his 
  mid-section.
  Running through the forest, Nash screams in surprise as a snare whips him 
  into the air.
  puT soMeone in harM’s Way
  use To: really shine a spotlight on a character, often to see how they act 
  under pressure. This is also good to ramp up the energy or change the 
  pacing of a session.
  exaMpLes
  Turnbull finds he is unable to pay for his meal, having mislaid his wallet, 
  and must contend with the manager’s nephew who is easily twice his size.
  Amy lets out a startled yell as three menacing figures emerge from the fog 
  around her, knives in hand.
  
  -111-
  announce TroubLe eLseWhere
  use To: underscore how horrible things are at this very moment.
  exaMpLes
  The snarling and screaming in the yard meant three things to Sheridan: 
  Rabbit, Hightone’s dog, had gone rabid, broken the leash, and found 
  Hightone’s sweetmeats. 
  The chanting behind the door ends, and the sweet smell of incense cannot 
  mask the sudden, overpowering stench of rotting fish.
  foreshadoW fuTure TroubLe
  use To:  give a glimpse into how horrible things will be. 
  exaMpLes
  The weatherman said the storms were sweeping across the Great Plains and 
  moving in fast, cutting a swath of destruction before them.
  Old Gnarls is a good bartender, but a bad driver. As he heads off, he hits a 
  squirrel, and doesn’t even bother to swerve or stop, only slightly slowing to 
  take another sip from the bottle nestled between his body and the car door.
  Take aWay Their gear
  use To:  deprive them of necessary resources to amplify the tension of a 
  situation, increase potential dramatic conflict, or to get them in a position 
  where they have to buy.
  exaMpLes
  Jake stumbles going down the stairs and grabs onto the rail to keep from 
  falling. The borrowed flashlight flies from his hand, and cracks on the hard 
  basement floor. Seamus isn’t pleased.
  Amy leaves the Hangdog Saloon only to discover her bike has been stolen.
  Make TheM buy
  use To:  get them to interact with the locals, use some of their wealth, or 
  realize nothing is free.
  exaMpLes
  Sheridan realizes he used up the last of the shotgun shells, and decides he’d 
  better hoof it into town before nightfall.
  Amy asks Seamus if she can borrow his flashlight, and he tells her she’d be 
  better off getting her own.
  
  -112-
  acTivaTe Their gear’s doWnside 
  use To:  increase tension, reveal the frailty of man, and underscore the 
  situation.
  exaMpLes
  As Turnbull entered the chamber, the cheap flashlight flickered and went 
  out. He sighed and felt about his pockets for matches, hoping he hadn’t 
  used them all up.
  Nash leapt into the seat of his car and jammed his key into the ignition. 
  The engine failed to turn over. He doubted the creature chasing him would 
  kindly give him a few moments.
  noTe: Hitting tags is especially useful for this.
  TeLL TheM The possibLe consequences and ask
  use To:  present them with some clear choices, honestly and directly.
  exaMpLes
  Turnbull can get the drop on the doctor by smashing through the window, 
  but everyone on the estate will be alerted to his presence. Or he can take 
  his time and carefully pry the lock open, though the doctor shall likely be 
  elsewhere in the house by then. What does he do?
  The slavering hound leaps at Nash. He can dive out the window, suffering 
  great harm, or may hold his ground and smash it in the face as it bites him. 
  What does he do?
  offer an opporTuniTy, WiTh or WiThouT a cosT
  use To: give them a clear choice while knowing exactly what they’re 
  getting into.  
  exaMpLes
  Amy can slip through the small window easily. Of course, she’ll have to 
  leave Nash behind.
  The ancient book emanates evil. If destroyed, Amy will suffer shock and 
  unleash evil, yet the dark priest’s power will be largely diminished. What 
  does she do?
  
  -113-
  Turn Their Move back on TheM
  use To:  show them what happens when they miss their rolls.
  exaMpLes
  Sheridan is poking around in the basement of an old manor and fails his 
  roll. He cuts his hand on a bit of broken glass (suffering 1 harm) as he 
  discovers a collection of worthless mason jars.
  Amy asks Laney to share the local gossip and fails her roll. Amy may either 
  take action on Laney’s rumors or suffer a -1forward if she doesn’t.
  LeT The dice decide (caLL for roLL+Luck)
  use To:  determine things which are of little general import (at least on 
  the surface).
  exaMpLes
  Does Amy, despite having an umbrella, get soaked by the freak rainstorm?
  Does Sheridan have any gum in his pocket?
  Make a hazard Move (froM your fraMeWork)
  use To: remind them of the weirdness of the world; demonstrate directly 
  or indirectly, what they are up against.
  exaMpLes
  The Hanging Tree seemed to sigh as Jillian passed beneath its creaky 
  branches.
  Sheridan awoke in the night to see a trail of slime lead from the open 
  window into the closet where he could hear something shifting about.
  afTer every Move:  
  aLWays ask The pLayers “WhaT do you do?”
  
  -114-
  Situational Moves
  Trade daMage for daMage
  When To use: As a result of a hazard Move or when a conflict has 
  arisen.
  exaMpLes
  The farmhand rushes The Detective who is standing with a baseball bat, 
  ready and waiting. He inflicts 1 harm and takes 1 harm in return.
  The Heir picks up the small, weeping child, and its skin sloughs off revealing 
  a slimy, chitinous shell beneath. The Heir takes 2 shock, and the young 
  abomination’s spine cracks as it is thrown against the far wall in turn (taking 
  1 harm).
  infLicT daMage
  When To use: As a result of a hazard Move or when a conflict has 
  arisen.
  exaMpLes
  Milly crawled into her bed in the strange old house and had horrible dreams 
  that she can scarcely remember. She takes 1 shock.
  Turnbull followed Knack into the narrow clearing and let out an exclamation 
  as Knack lurched back and collapsed, clutching at the arrow piercing his 
  throat.
  
  -115-
  presenT iTeMs and cLues
  When To use: As a result of the characters using the poke around or 
  puzzLe Things ouT moves.
  exaMpLes
  Amy spends the afternoon researching the Manley family lineage in the attic 
  and discovers Joshua Manley is over 200 years old. She earns a clue about 
  him, giving her +1forward with other rolls regarding him.
  Nash decides to poke around the old cemetery and discovers a good item 
  (Keeper’s Choice). He finds the groundskeeper’s lantern, well cared for and 
  full of oil.
  reveaL knoWLedge
  When To use: To flesh out existing mysteries, to propel the story forward, 
  or to heighten tension.
  exaMpLes
  On the drive back from the mines, Laney tells Amy how the Manley Moon 
  is bad luck. Nothing good ever happens when it’s hanging in the sky.
  The book on the pedestal is instantly recognizable as the Necronomicon, a 
  cursed book said to be of great evil and import.
  
  -116-
  Oh, the Horror!
  When a character sees something terrifying or potentially startling (and 
  thus, could reasonably cause shock), he must immediately acT under 
  pressure You can refer to this as a saniTy check. It is a roLL+reason 
  (unless they have moves that indicate otherwise).
  on a 10+, they take 1 less shock and may act normally.
  on a 7-9, they take 1 less shock but are -1forward.
  on a Miss, they take full shock and are either -1ongoing (for the scene) 
  or the Keeper holds one (Keeper’s choice).
  
  -117-
  Basic Shock Scale
  These guidelines give a general idea of the amount of shock things and 
  situations can cause, and are left to the Keeper’s discretion. Specific creatures 
  (those defined by the ash scaLe, p. 156) have defined scores, and are 
  exempt from this scale. 
  0 shock
  Finding a rotting corpse.
  Someone leaping out of the darkness.
  Discovering a book is bound in human skin.
  1 shock
  Discovering the corpse of an acquaintance.
  Seeing a stranger killed.
  Watching someone lose their mind.
  Being faced with a wild animal.
  Finding a skeleton in a closet.
  Killing someone.
  2 shock
  Seeing a ghost or mysterious apparition.
  Seeing a close friend killed (or discovering their corpse).
  Discovering a fine meal is human flesh.
  Seeing an object move of its own accord.
  Finding a twisted fetus in a jar.
  3 shock
  Making mental contact with a lesser alien entity.
  Seeing a trusted friend killed (or discovering their corpse).
  Observing interspecies relations, or evidence thereof. 
  4 shock
  Being the sole survivor of a horrific event.
  Seeing a loved one tortured to death.
  Having to cut off one of your own limbs.
  Forced to participate in unnatural acts.
  Killing a companion, trusted friend, or relative.
  5+ shock
  Making mental contact with a powerful alien entity.
  Seeing a town destroyed.
  Releasing a powerful evil into the world.
  
  -118-
  The Price of Friendship
  Remember, if a character dies, their corpse is discovered, or they go insane, 
  other characters must make a saniTy check (acT under pressure) 
  or take an amount of shock equal to their Trust with the dearly departed/
  mentally absent friend.
  Fine-tuning Fear
  The Keeper is given a great deal of latitude in how often to force the issue 
  of Sanity checks. In fact, its nebulousness allows you to tailor the game to 
  suit personal sensibilities. Whether characters are required to roll the first 
  time they see a particular horror or every time they confront one or more 
  similar horrors (like a single deep one as opposed to many) gives the Keeper 
  a powerful choice. By adjusting this, it can easily make the game range 
  from slightly unsettling to absolutely mind shattering. There is nothing 
  preventing it from varying within a particular story, either.
  Terror is in the Eye of the Beholder
  Just because something doesn’t normally cause shock (based upon the scale), 
  doesn’t mean it can’t. This is at the Keeper’s discretion, and the character’s 
  background can be taken into consideration. If you want, you may call 
  for a saniTy check. Failure can cause a point of shock (with additional 
  consquences as determined by the resultant damage roll).
  
  -119-
  Hazards
  There are five main types of hazards. Every hazard falls into one of the 
  following categories:
  eLders: Community members in positions of power.
  ToWnies: Groups bound together by common interests/goals.
  Landscape: Natural, unnatural, or man-made.
  Weird: Twisted people, entities, or things.
  dooM: A danger coming or an event already taking place.
  Defining hazards in this manner gives the Keeper an easy way to keep 
  track of the essential moving parts of his framework that are at odds with 
  the characters. It is perfectly normal and natural for other parts of the 
  environment to arise through discourse—NPCs, buildings, and landmarks—
  that are not initially hazardous, but more or less serve as either window-
  dressing or enable the Keeper to make either a general or situational move. 
  Over the course of play, however, as the story progresses these innocuous 
  elements may (or should) become hazards in their own right.
  The Nature of Hazards
  A hazard is further defined by its subtype, which is nothing more than 
  giving it an easy handle which defines its impulse. This impulse serves to 
  reveal its motivation, driving force, and purpose in play. A hazard may act 
  in a contrary manner on the surface, but it does so as a means to an end 
  and will always, eventually reveal its true nature over the course of the story. 
  Leopards cannot, after all, change their spots.
  Broad and Narrow
  Just as hazards have categories, so do hazard moves. For example, an Elder 
  move is a hazard move specific to Elders.
  
  -120-
  Hazard Types, Subtypes, and Related Moves
  eLders
  A member of a community in a position of some sort of power. He/She 
  need not be in office (though they often are). An elder could just as easily 
  be the barber, the mechanic, the sheriff, or the town gossip. An elder hazard 
  is the elder plus any people/entities under his control:
  Choose subtype
  • coLLecTor (iMpuLse: to own)
  • dicTaTor (iMpuLse: to control)
  • propheT (iMpuLse: to denounce and overthrow)
  • proTecTor (iMpuLse: to maintain the status quo)
  Elder Moves
  • Outflank someone, corner someone, encircle someone.
  • Attack someone suddenly, directly, and brutally. 
  • Attack someone cautiously, holding reserves.
  • Seize someone or something, for leverage or information.
  • Make a show of force.
  • Make a show of discipline.
  • Offer to negotiate. Demand concession or obedience.
  • Claim territory: move into it, blockade it, or assault it.
  • Buy out someone’s allies.
  • Make a careful study of someone and attack where they’re weak.
  Elders act primarily through their people, acting directly themselves only 
  when cornered or caught out in the open.
  
  -121-
  ToWnies
  A townies threat is a group of people, often with an informal leader, linked 
  together through some common bond or goal.
  Choose subtype
  • cuLT (iMpuLse: to victimize and incorporate people)
  • enforcers (iMpuLse: to victimize anyone who stands out)
  • faMiLy (iMpuLse: to close ranks, protect their own)
  • hunTing pack (iMpuLse: to victimize anyone vulnerable)
  • Mob (iMpuLse: to riot, burn, kill scapegoats)
  • sybariTes (iMpuLse: to consume someone’s resources)
  An individual person within a group of townies might not share the group’s 
  impulse, and might even fight against it. It’s the group’s impulse, not 
  necessarily any individual person’s motivation.
  Townies Moves 
  • Burst out in uncoordinated, undirected violence.
  • Make a coordinated attack with a coherent objective.
  • Tell stories (truth, lies, allegories, homilies).
  • Demand consideration or indulgence.
  • Rigidly follow or defy authority.
  • Cling to or defy reason.
  • Make a show of solidarity and power.
  • Ask for help or someone’s participation.
  
  -122-
  Landscape
  A landscape hazard can be natural, unnatural, or man-made.  
  Choose subtype
  • breeding piT (iMpuLse: to generate weirdness)
  • forTress (iMpuLse: to deny access)
  • furnace (iMpuLse: to consume things)
  • Maze (iMpuLse: to trap, to frustrate passage)
  • Mirage (iMpuLse: to entice and betray people)
  • prison (iMpuLse: to contain, to deny egress)
  Landscape Moves 
  • Reveal something to someone.
  • Display something for all to see.
  • Hide something.
  • Bar the way.
  • Open the way.
  • Provide another way.
  • Shift, move, rearrange.
  • Offer a guide.
  • Present a guardian.
  • Disgorge something.
  • Take something away: lost, used up, or destroyed.
  
  -123-
  Weird
  A weird hazard is a twisted person, entity, or thing belonging firmly within 
  the strange and alien. It may appear altogether normal and innocuous on 
  the surface.
  Choose subtype
  • cannibaL (iMpuLse: craves satiety and plenty)
  • disease vecTor (iMpuLse: craves contact, intimate and/or anonymous)
  • MegaLoManiac (iMpuLse: craves mastery)
  • ouTcasT (iMpuLse: craves restitution, recompense)
  • perversiTy (iMpuLse: craves overthrow, chaos, the ruination of all)
  • sadoMasochisT (iMpuLse: craves pain, its own or others’)
  Weird Moves 
  • Display the true weirdness of its world.
  • Display the contents of its heart.
  • Attack someone from behind or otherwise by stealth.
  • Attack someone face-on, but without threat or warning.
  • Insult, affront, offend, or provoke someone.
  • Offer something to someone, or do something for someone, with strings 
  attached.
  • Put it in someone’s path, part of someone’s day or life.
  • Threaten someone, directly or else by implication.
  • Steal something from someone.
  • Seize and hold someone.
  • Ruin something. Befoul, rot, desecrate, corrupt, or alter it.
  • Tell stories (truths, lies, allegories, homilies).
  
  -124-
  dooM
  A doom isn’t a person, but a horrible danger to come, because of something 
  that people are doing, an event taking place, or something that has already 
  come to be. 
  Choose subtype
  • barrier (iMpuLse: to impoverish people)
  • condiTion (iMpuLse: to expose people to danger)
  • deLusion (iMpuLse: to dominate people’s choices and actions)
  • disease (iMpuLse: to saturate a population)
  • MyThos (iMpuLse: to destroy/dominate)
  • sacrifice (iMpuLse: to leave people bereft)
  • TradiTion (iMpuLse: to promote and justify violence)
  A doom is any bad practical circumstance. The town’s water filtration breaks 
  down? The roads are iced over? There’s not enough food to get through 
  the dry season? 
  Doom Moves 
  • Someone neglects duties, responsibilities, or obligations.
  • Someone flies into a rage.
  • Someone takes self-destructive, fruitless, or hopeless action.
  • Someone approaches, seeking help.
  • Someone approaches, seeking comfort.
  • Someone withdraws and seeks isolation.
  • Someone proclaims the doom to be a just punishment.
  • Someone proclaims the doom to be, in fact, a blessing.
  • Someone refuses or fails to adapt to new circumstances.
  • Someone brings friends or loved ones along.
  • Someone dies.
  The “Someone” in these Moves should generally only be the NPCs.
  
  -125-
  Making Hazard Moves
  In this section, you shall find detailed examples of all the hazards, and how 
  to use their particular moves within your stories. Its express purpose is to 
  aid you in navigating through the dark corners of nightmare, and inspire
  you until such time that everything falls into place. And it will with 
  frightening speed. While it may appear quite mechanical on the surface, 
  remember there is an ebb and flow dynamic taking place during your 
  stories, and your moves are as much active as reactive. Don’t forget moves 
  should feel natural, and not forced.
  
  -126-
  Elders
  Collector
  iMpuLse: To own.
  exaMpLes: Antiquarian, rich recluse, business owner, or farmer.
  Dictator
  iMpuLse: To control.
  exaMpLes: The mayor, the sheriff, cult leader, or wealthy business owner.
  Prophet
  iMpuLse: To denounce and overthrow.
  exaMpLes: Religious zealot, visionary, drifter, out-of-towner, or scientist.
  Protector
  iMpuLse: To maintain the status quo.
  exaMpLes: The mayor, the sheriff, community leader, or favored son.
  reMeMber: Elders rarely act directly; they prefer to use other agencies to 
  do their dirty work.
  
  -127-
  Elder Moves
  ouTfLank 
  soMeone, 
  corner 
  soMeone, 
  or 
  encircLe soMeone.
  exaMpLes
  As Amy approached the mayor, his guards gathered around him and 
  suggested she move along.
  Nash turned off his office light to see a man waiting near his car with 
  threatening eyes.
  aTTack 
  soMeone 
  suddenLy, 
  direcTLy, 
  and 
  bruTaLLy.
  exaMpLes
  Turnbull saw the sheriff nod slightly just a moment before the deputy’s 
  nightstick caught him in the ribs.
  Nash knew Mr. Masterson was too genteel to get his hands dirty. His 
  assistant, Jennings, had no such compunction. Nash woke up later in a 
  ditch, resoundingly thrashed, but glad to be alive.
  aTTack soMeone cauTiousLy, hoLding reserves.
  exaMpLes
  Sheridan heard the cult leader call out something in a dead language. One 
  of his undead servants shambled slowly towards him, while three more 
  hung back, watching with blind eyes.
  The sheriff sent one of his men to subdue Turnbull. The other two shifted 
  uneasily, readying their shotguns just in case. 
  seize soMeone or soMeThing, for Leverage or 
  inforMaTion.
  exaMpLes
  Amy heard a crash of glass upstairs, reaching the second floor in time to see 
  a figure exiting the window with her journal.
  Milly received a phone call from the sheriff. Jake had been taken in by the 
  police for questioning.
  
  -128-
  Make a shoW of force.
  exaMpLes
  Amy heard a gunshot and rushed outside the library. Smoke curled from 
  the sheriff’s gun. Nearby a songbird lay, little more than blood and feathers.
  Dr. Nabokov knew the mayor abused his position, but having a parade in 
  honor of his birthday revealed how narcissistic he truly was.
  Make a shoW of discipLine.
  exaMpLes
  Deputy Connors was a big man with a big heart, a black eye, and a swollen 
  lip. The sheriff huffed and rubbed his forehead with a dirty handkerchief. 
  “Man comes in late for his shift, he’s gotta learn.”
  The mayor’s aide requests an immediate accounting of Amy’s recent neglect 
  of her duties, else she faces the prospect of possible dismissal from her post.
  offer To negoTiaTe. deMand concession or 
  obedience.
  exaMpLes
  Nash was ushered in to Professor Stem’s office. On the desk was a brown 
  envelope the old professor slid towards him. “Kill the story, and there’s 
  more where this came from.”
  Sheridan saw the look in the farmer’s eye as he gutted the pig with a single, 
  forceful stroke. “Maybe now you’ll think twice ‘fore you trespass on my 
  land again.”
  cLaiM TerriTory: Move inTo iT, bLockade iT, or 
  assauLT iT.
  exaMpLes
  Amy noted all the recently abandoned shops were being bought up by 
  Franklin Pharmaceuticals.
  Milly arrived home to find an eviction notice on her door for failure to pay 
  back taxes. Through the window, she saw several burly men loading up her 
  belongings in boxes.
  
  -129-
  buy ouT soMeone’s aLLies.
  exaMpLes
  Turnbull was deep in the clearing when Knack paused and turned towards 
  him, gun in hand. “Why?” he asked. Knack smiled. “I like you, Mr. Turnbull. 
  I do. It’s simply a matter of money. He’s paying me more.”
  When Nash reached Mickey the Snitch’s place, a large man greeted him 
  with a smile. Mickey stood in the corner, drinking, as Nash got worked 
  over. “Really?” Nash said between blows. “Sold me out for a bottle of 
  scotch?” Mickey grinned as he replied, “It’s really good scotch.”
  Make a carefuL sTudy of soMeone and aTTack 
  Where They’re Weak.
  exaMpLes
  Amy wept as she shakily returned the phone to the receiver. Jenkins had 
  been with the family for years. She picked up the phone after regaining her 
  composure and phoned the funeral home.
  Turnbull wound up with a trick knee in the last war. Evidently, someone 
  had done their research, because that’s precisely where the first blow from 
  the nightstick hit him. He fell like a box of rocks.
  
  -130-
  Townies
  Cult
  iMpuLse: to victimize and incorporate people.
  exaMpLes: corrupted church congregation, a secret society, or a criminal 
  enterprise.
  Enforcers 
  iMpuLse: to victimize anyone who stands out.
  exaMpLes: local authorities, outside authorities, militant church group, or 
  community group.
  Family 
  iMpuLse: to close ranks, protect their own.
  exaMpLes: local family or community sector (agricultural, blue collar, 
  white collar, farmers, musicians, etc.).
  Hunting Pack
  iMpuLse: to victimize anyone vulnerable.
  exaMpLes: troublemakers, teenagers, local authority, or criminal 
  organization.
  Mob 
  iMpuLse: to riot, burn, kill scapegoats.
  exaMpLes: locals, outsiders, protestors, or those for/against change.
  Sybarites 
  iMpuLse: to consume someone’s resources.
  exaMpLes: carousers, tourists, or subset of locals (blue collar or white 
  collar).
  reMeMber: An individual person within a group of townies might not 
  share the group’s impulse, and might even fight against it. It’s the group’s 
  impulse, not necessarily any person’s motivation.
  
  -131-
  Townies Moves 
  bursT 
  ouT 
  in 
  uncoordinaTed, 
  undirecTed 
  vioLence.
  exaMpLes
  As Amy walked down the street, she saw people throwing glass bottles, 
  tipping over cars, and setting fires. “Some of the locals get excited when the 
  Dodgers beat the Yankees,” Nash remarked.
  Turnbull ducked behind the bar as two shifts of miners got into a brawl. 
  The older bartender grinned toothlessly and hunched down beside him as a 
  glass smashed on the wall above them. “It’s always about a girl.”
  Make a coordinaTed aTTack WiTh a coherenT 
  objecTive.
  exaMpLes
  The Brothers of Liberty and Life pressed the stage as Senator Alford 
  approached the podium. When Chaff gave the sign, they began throwing 
  bottles. Jake had seen this sort of thing before—the senator was in trouble.
  Nash watched from the rooftop. The tip indicated the Homer boys were 
  going to make a run at the Capriccio family for trying to set up shop in 
  town. Right on cue, the boys pulled up in their town car, and a moment 
  later he heard tommy-guns erupting inside the small diner.
  TeLL sTories (TruTh, Lies, aLLegories, hoMiLies).
  exaMpLes
  Miners gathered around Nash. Scotty, the shift leader, began telling him 
  how they’d seen some sort of creature in Tunnel 5, and that Johannes was 
  reported missing
  Brother Jones smiled and approached Amy. His friends milled around 
  behind him, handing out papers. He began telling her how he prophesied 
  the end days recently in a dream.
  
  -132-
  deMand consideraTion or induLgence.
  exaMpLes
  Reverend Williams heard the knock on the door from his rectory. 
  He answered it and a dozen sets of eyes glared at him from the rain. 
  “This is the only place in town with power. Can we come in?” Though 
  he knew his quarters would be cramped, he invited them within. 
  Laney entered the library with a group of women chatting behind her. 
  “Would you mind so very much if we had the Ladies’ Auxiliary Auction 
  here tomorrow night?” she asked Amy. 
  rigidLy foLLoW or defy auThoriTy.
  exaMpLes
  During the mayor’s birthday parade, the band suddenly began to play “Ain’t 
  We Got Fun?” as they passed the grandstand. Nash noticed the mayor 
  glowering as he stomped off the stage.
  Amy asked the miners if she could see their supervisor. They shook their 
  heads and reminded her that only workers were allowed on the grounds.
  cLing To or defy reason.
  exaMpLes
  The strange, translucent cloud receded into the woods. Amy looked around 
  at the crowd. “What happened?” she asked. “Nothing dear,” an elderly 
  woman said, “it’s just the Hanover fog.”
  Nash saw the crowd was anxious and trouble was brewing. He didn’t expect 
  it when they began to chant for the head of the reporter who broke the 
  story, as they began pulling out small crescent knives.
  Make a shoW of soLidariTy and poWer.
  exaMpLes 
   
  Amy, Nash, and Turnbull were stunned as their car was suddenly surrounded 
  by the weird children. They could either drive through them or get out. It 
  got worse when the children began throwing rocks.
  Turnbull and Sheridan saw Ames handing out hoes and scythes to the other 
  farmhands. “We’ll do what we can to hold those things off while you look 
  for your friends.”
  
  -133-
  ask for heLp or for soMeone’s parTicipaTion.
  exaMpLes
  One of the volunteer firemen ran over to Nash with a bucket. “Hurry!” he 
  exclaimed. “The church is on fire!”
  Blackwell and his boys entered Alex’s Antique shop. Alex paused in his 
  reading and looked up. Blackwell swallowed hard and spoke. “We can’t get 
  it to leave. Can you help?”
  
  -134-
  Landscape
  A landscape hazard can be natural, unnatural, or manmade.  
  Breeding pit 
  iMpuLse: to generate weirdness.
  exaMpLes: an old landfill, a toxic lake, a deep cave, or a catacomb.
  Fortress 
  iMpuLse: to deny access.
  exaMpLes: an old mansion, a manor, a scientist’s lab, a forest, or an 
  asylum.
  Furnace 
  iMpuLse: to consume things.
  exaMpLes: a lake, a park, a factory, an old manor, or a forest.
  Maze 
  iMpuLse: to trap, to frustrate passage.
  exaMpLes: a forest, a cemetery, catacombs, factory, or old mansion.
  Mirage  
  iMpuLse: to entice and betray people.
  exaMpLes: a forest, a candy store, an antique shop, a canyon, or a park.
  Prison 
  iMpuLse: to contain, to deny egress. 
  exaMpLes: an asylum, a forest, a manor, or a museum.
  
  -135-
  Landscape Moves 
  reveaL soMeThing To soMeone.
  exaMpLes
  As Amy passes the lake, she sees a cracked bottle washed up on the shore.
  Turnbull pushed through the forest to discover the crumbling ruins of an 
  old house.
  dispLay soMeThing for aLL To see.
  exaMpLes
  The lights in the manor flickered to life, and the pair could see something 
  moving past the upstairs window, something not quite human.
  The stairs led them to an ancient chamber where the still-glowing coals of 
  the brazier indicated someone had been there a short time ago.
  hide soMeThing.
  exaMpLes
  Seamus stumbled into the bedroom, slipped on the rug, and his flashlight 
  tumbled out of his hand and under the chifforobe.
  The fog in the forest grew thick. Soon, they could not make out the 
  horseman’s trail and were forced to return back to their rooms in the 
  boarding house.
  bar The Way.
  exaMpLes
  The front door of the manor was securely locked. They sought another way 
  in.
  As they went to leave town, they found that the old bridge had been washed 
  away by the torrential rainfall.
  
  -136-
  open The Way.
  exaMpLes
  The forest wall seemed to be solid until Turnbull noticed a small gap in the 
  undergrowth, where a few deft flicks of the machete would grant them easy 
  ingress to the ruins.
  The avalanche revealed a hidden tunnel, one leading into the hillside’s 
  depths.
  provide anoTher Way.
  exaMpLes
  Nash found a way in through the cellar door. Hopefully, it would connect 
  to the house proper.
  Though the bridge was down, Amy could see the ferry boat coming down 
  the river. Soon they would be across.
  shifT, Move, rearrange.
  exaMpLes
  The drawing room was different. Something had changed. Seamus realized 
  the desk had been moved to the opposite wall, closer to the fireplace.
  As Turnbull approached the far corner of the attic, he realized it was not the 
  best idea, as the rotted wood gave way beneath him.
  offer a guide.
  exaMpLes
  Turnbull had wandered around the old woods for over an hour until he saw 
  an old man fishing by a creek. “Sure, I can take you to the stone circle…if 
  you really want to go there.”
  The gas station attendant finished topping off the tank while Nash puzzled 
  over the map. “If you want help getting around Piney Woods, I know it like 
  the back of my hand. Come back around in about half an hour.”
  
  -137-
  presenT a guardian.
  exaMpLes
  Sheridan heard something rustle in the leaves behind him. He swung up 
  onto the low-hanging branch above him just as the wolf pounced.
  The cave smelled like an admixture of rotting fish and bile. The scum-
  covered pond rippled ever so slightly, but Amy noted it, and the blackish-
  grey webbed hand rising from the surface to pull itself onto the cave floor. 
  disgorge soMeThing.
  exaMpLes
  Nash approached Amy excitedly. “Those slight tremors last night? They 
  uncovered that monolith we’ve been looking for!”
  Turnbull heard a flapping overhead, coming from the direction of the caves. 
  It was an abomination. Its blackish-green skin shimmered in the moonlight 
  as its leathery wings sliced through the air. He saw its uncaring eyes regard 
  him for a moment before returning to its unknown errand.
  Take 
  soMeThing 
  aWay: 
  LosT, 
  used 
  up, 
  or 
  desTroyed.
  exaMpLes
  Nash emptied his clip into the creature as it bore down on him. It didn’t 
  stop. The creature grabbed his gun, crushing both it and his hand before 
  disappearing up the chimney.
  Amy found the cave system beneath the old house continued for miles. Her 
  lantern flickered, reminding her she had nearly used up her reserve. She 
  needed to get to the surface before she was forever lost in the labyrinth.
  
  -138-
  Weird
  A weird hazard is any strange person, place, object, or creature (living or 
  undead) beyond the realm of the norm. 
  Cannibal 
  iMpuLse: craves satiety and plenty.
  exaMpLes: an old hermit, a pleasant mailman, the family secret, a plump 
  church lady, traveling salesman, or butcher.
  Disease vector 
  iMpuLse: craves contact, intimate and/or anonymous.
  exaMpLes: the preacher’s daughter, a flapper, a playboy, or an unliving 
  creature.
  Megalomaniac 
  iMpuLse: craves mastery.
  exaMpLes: a cult leader, the mayor, a preacher, old family retainer, or a 
  washed-up celebrity.
  Outcast
  iMpuLse: craves restitution, recompense.
  exaMpLes: an abandoned child, a laboratory experiment, a disowned 
  person, or the town drunk.
  Perversity
  iMpuLse: craves overthrow, chaos, the ruination of all. 
  exaMpLes: the mayor, a cultist, a mad scientist, an insane preacher, or 
  the druggist.
  Sadomasochist
  iMpuLse: craves pain, its own or that of others.
  exaMpLes: an ex-boxer, disgruntled factory worker, a drifter, a bartender, 
  or lounge singer.
  
  -139-
  Weird Moves 
  dispLay The True Weirdness of iTs WorLd.
  exaMpLes
  Amy could hear a thrumming from the back of the cave and saw the creature 
  standing atop a black crystalline pedestal, calling to a faintly glowing light 
  that pulsed in reply.
  Nash walked into the ruins and it was then a fierce chill wind blew up. 
  Through his wind-stung, teary eyes, he saw the altar, restored, knowing the 
  stains were from the blood of countless sacrifices made to alien gods over 
  the centuries.
  dispLay The conTenTs of iTs hearT.
  exaMpLes 
  Pigeon’s room was a mess. On the walls were faded photos of the missing 
  girls and newspaper headlines. Sheridan gagged when he found the jar of 
  small teeth, dried eyeballs, and pale ribbons on the nightstand.
  The doctor sloughed off his skin in the shadows and oozed towards Turnbull. 
  “I have shed the petty constraints of man,” it gurgled. “Why don’t you join 
  me? It all makes sense now.”
  aTTack soMeone froM behind or oTherWise by 
  sTeaLTh.
  exaMpLes 
  Turnbull followed the creature into the sewer tunnels against Amy’s advice. 
  He couldn’t pinpoint its movements. Sounds of splashing echoed about him 
  until one fierce claw, and then another brought him low.
  The lab was empty, abandoned, and covered with layers of dust. Suddenly 
  it swirled around Seamus, and he saw the outline of Professor Leary as he 
  brought the sledgehammer down.
  
  -140-
  aTTack soMeone face-on, buT WiThouT ThreaT 
  or Warning.
  exaMpLes 
  Miss Peterson began clearing the table, piling up the plates and collecting 
  the silverware, until she reached Nash, suddenly stabbing him in the face.
  Sheriff Osgood thanked the men for helping out with the manhunt. After 
  they dispersed, he approached Turnbull. “You have caused enough heartaches 
  for this family,” he said, and promptly shot him in the mid-section.
  insuLT, affronT, offend or provoke soMeone.
  exaMpLes 
  The town drunk laughed at Nash as he walked off. “You think you’re doing 
  the right thing? That’s what I thought too.” 
  Gnarls poked Turnbull in the chest. “You’re a waste of space. Get out of 
  my bar.”
  offer soMeThing To soMeone, or do soMeThing 
  for soMeone, WiTh sTrings aTTached.
  exaMpLes 
  “I know what you need,” cackled Professor Leary, “And I’ll get it for you, if 
  you can procure the blueprints to the electrical grid.”
  Farmer Brown looked through the closed shutters. “If you want the whole 
  story, bring the cash back tomorrow.”
  puT iT in soMeone’s paTh, parT of soMeone’s 
  day or Life.
  exaMpLes
  Nash met Snitch at the usual place, the abandoned rail yard outside of 
  town. Two dogs were fighting over some scraps of meat. Nearby lay what 
  remained of Snitch’s foot. 
  When Seamus went to his workshop, Rembrandt, the town drunk, was 
  curled up near the fire, sleeping soundly, a carved bone clutched in one 
  hand like a club.
  
  -141-
  ThreaTen 
  soMeone, 
  direcTLy 
  or 
  eLse 
  by 
  iMpLicaTion.
  exaMpLes 
  The sheriff paused in the doorway. “You should leave town soon. I hear 
  strange things happen around the old Windsor house. Ugly things.”
  Gnarls looked Turnbull over. “Last time someone came poking around my 
  place, I shot ’em. I’ll do it the next time too.”
  sTeaL soMeThing froM soMeone.
  exaMpLes 
  The gray, dead thing thrust Amy aside, grabbing the ancient tome from 
  her desk.
  Jake looked over his room. It was neat, but something was out of place. He 
  checked under the pillow, finding a few spatters of black mud where his 
  pistol had been stashed.
  seize and hoLd soMeone.
  exaMpLes 
  The dark priest barked something in ancient Sumerian and Turnbull 
  suddenly found himself paralyzed.
  Amy ran through the forest and heard Nash scream. Looking back, she saw 
  two of the ghouls had caught him and were dragging him away.
  ruin 
  soMeThing. 
  befouL, 
  roT, 
  desecraTe, 
  corrupT, or aLTer iT.
  exaMpLes
  The pond had been beautiful the day before. Now, the water was covered 
  with an oily sheen which the sunlight could not penetrate.
  Amy opened the cell door in Leary’s lab.  The man chained to the wall was 
  little more than a rotted husk. His arms had been cut off, as were his feet. 
  He made a mewling, whimpering sound. His tongue was later discovered 
  sewn with great care to the top of his mouth. And he was quite mad.
  
  -142-
  TeLL sTories (TruTh, Lies, aLLegories, hoMiLies).
  exaMpLes
  Professor Leary sat in the darkest shadows of his study. “I will tell you how 
  it all began. Every. Last. Thing.”
  The strange creature skittered over to Amy, Turnbull, and Nash, with its 
  arms raised. “You wish to kill me, perhaps? Shall I tell you the fate of the 
  last who tried?”
  
  -143-
  Doom
  A doom isn’t a person, but a horrible danger to come, because of something 
  that people are doing, an event taking place or something that has already 
  come to be.
  Barrier 
  iMpuLse: to impoverish people.
  exaMpLes: avalanche, landslide, volcano.
  Condition
  iMpuLse: to expose people to danger.
  exaMpLes: heat wave, blizzard, heavy fog, rainfall.
  Delusion
  iMpuLse: to dominate people’s choices and actions.
  exaMpLes: a mesmerizing spell, a growing movement, possession, alien 
  control.
  Disease
  iMpuLse: to saturate a population.
  exaMpLes: a horrible plague, a flu epidemic, a corrupting influence.
  Mythos
  iMpuLse: to destroy/dominate.
  exaMpLes: sleeping god rising, earth colonization, a dark ritual.
  Sacrifice
  iMpuLse: to leave people bereft.
  exaMpLes: cult activity, madness, entity attacks.
  Tradition
  iMpuLse: to promote and justify violence.
  exaMpLes: local custom, the company way, the Mayor says so.
  A doom is any bad practical circumstance. The town’s water filtration breaks 
  down? The roads are iced over? There’s not enough food to get through 
  the dry season? 
  
  -144-
  Doom Moves 
  soMeone negLecTs duTies, responsibiLiTies, or 
  obLigaTions.
  exaMpLes 
  Jake realized he had forgotten to check the fluid levels of the car, as it 
  overheated somewhere around Black Gulch.
  Nash noticed the spike in crime since the sheriff had been bedridden.
  soMeone fLies inTo a rage.
  exaMpLes 
  The spoiled milk had somehow altered Stout’s system. The friendly hardware 
  store owner yelled at everyone to get out so he could concentrate on his 
  crossword puzzle.
  Johnny saw the creatures all around him, though no one else could. He 
  ran to his father and began hitting him on the chest. “Why can’t you stop 
  them?” he wailed.
  soMeone Takes seLf-desTrucTive, fruiTLess, 
  or hopeLess acTion.
  exaMpLes 
  Farmer Brown stared out from the hayloft window, watching as the rain 
  washed away his crops and all hope of saving his farm. He stepped forward, 
  falling downward until the noose around his neck broke his fall.
  The sheriff charged into the burning building without thinking of his safety. 
  Jake shook his head. He almost liked the guy.
  soMeone approaches, seeking heLp.
  exaMpLes 
  Stout approached Amy. “Laney never made it into the diner. It’s the fog. 
  Can you help me find her?”
  Knack, bloody and broken, fell at Turnbull’s feet, reaching out with one 
  trembling, scabrous hand. 
  
  -145-
  soMeone approaches, seeking coMforT.
  exaMpLes 
  Miss Peterson wept and threw herself into Sheridan’s arms. He patted her 
  lightly on the shoulder.
  Seamus heard a light tapping on the window of his workshop. Stout stood 
  calf-deep in the snow, a bottle in his hand. “I don’t like to drink alone,” he 
  said, after Seamus let him in.
  soMeone WiThdraWs and seeks isoLaTion.
  exaMpLes 
  Ever since her sister Stephanie came to town, Miss Peterson never left her 
  room much.
  The sheriff, never much one for the heat, had retreated to his place on the 
  lake, leaving his inept deputy in charge. 
   
  soMeone procLaiMs The dooM To be a jusT 
  punishMenT.
  exaMpLes 
  Pastor Turner stood at his pulpit and motioned everyone for silence. “That 
  rain? That’s angels’ tears, shed to drown out the sinners amongst you. Get 
  on the right side of the Lord or learn to swim.”
  Judge Taylor shook his head at the hungry folks standing outside his general 
  store. “Everything’s gone. Sold out. You should’ve stocked up like I told 
  you.”
  soMeone procLaiMs The dooM To be, in facT, a 
  bLessing.
  exaMpLes 
  Shepard looked at the smoke roiling off the mountain. “The fire’s gonna 
  kill off the deadwood. You’ll see. Everything’s gonna grow back better than 
  ever.” 
  “The lack of water is teaching people to conserve,” said Mary as she pulled 
  her hair back. “It might be rough until the drought breaks, but it’s really 
  bringing the community together.”
  
  -146-
  soMeone refuses or faiLs To adapT To neW 
  circuMsTances.
  exaMpLes 
  Franklin was found frozen in his shack, beneath a stack of blankets. “He 
  refused to ever get a proper stove in this place,” said Doc Hollinger, sighing 
  as he tried to pry the stiff corpse from the bed.
  Sweat dripped down the sheriff’s face as he entered Laney’s. He mopped his 
  forehead with a greasy cloth. “Old fool won’t ever wear nothing but his old 
  uniform, even in this wretched heat,” Laney commented.
  soMeone brings friends or Loved ones aLong.
  exaMpLes 
  Amy met the sheriff at the station. He waited inside with his wife and two 
  small children. “Need to bring them with us,” he said. “Who knows when 
  that thing will strike next?”
  Turnbull was surprised to see Mandy sleeping in the back seat of Laney’s 
  car. “She only had a bike. We’ll be lucky enough as it is to outrun the storm. 
  Hop in.”
  soMeone dies.
  exaMpLes 
  As the thing leapt past Amy, the store manager recoiled too late—bits of his 
  face hit the floor before he did.
  Franklin clutched his chest and collapsed on the floor of Stout’s Hardware. 
  Stout checked the man’s pulse and shook his head. “Looks like this bake 
  oven heat wave just claimed another one.”
  The “Someone” in these moves should generally only be the NPCs.
  
  -147-
  Architecting Nightmare
  A good horror story revolves around underlying questions, with terrible 
  secrets waiting to be discovered. Herein, the tools you need to create tales 
  both dark and weird are at your fingertips, limited only by your imagination.
  The Building Blocks
  The Framework
  A scenario typically formed by two or three threads.
  The Thread
  A thread is the basic element of a framework comprised of three or four 
  hazards bound together in some way.
  The Linchpin
  The linchpin is the central hazard of a thread. Each thread may have many 
  hazards, but should only ever have one linchpin. While destroying a linchpin 
  can disrupt a thread, the fallout from its destruction results in an existing 
  hazard becoming the new linchpin, or may even result in an altogether new 
  thread or even the introduction of a new linchpin.
  Remember, any hazard can be the linchpin, be it the mayor, a social club, 
  an old manor, an ancient relic, or an oppressive heat wave.
  The Texture
  Every thread has a texture. The texture defines the type of story that thread 
  wants the characters to tell. This revolves around the linchpin in some way, 
  shape, or form.
  
  -148-
  TexTures
  ascenT: A rise to power.
  descenT: A fall from power or grace.
  escape: Getting away from someone or something.
  forbidden Love: Romance gone awry, often dark, twisted, or between 
  human and alien entities. 
  Love: Romance through a weird lens (Obsession? Eros? Alien?)
  MaTuraTion: Someone or something is growing up.
  MeTaMorphosis: Someone or something is physically changing.
  pursuiT: Someone or something seeks to get away.
  rescue: Someone or something must be restored to its proper place.
  revenge: A past slight redressed or a murder in the making.
  rivaLry: Competing with another agency for the same objective.
  TeMpTaTion: The promise of something someone desires.
  TransforMaTion: Someone or something is changing on a subtle level.
  WreTched excess: Someone or something goes beyond the bounds of 
  normalcy.
  All scenarios ultimately revolve around mystery and discovery. Textures 
  serve to further refine and define the mystery.
  The Cat’s Cradle
  Interweaving frameworks together creates a miasma of possibilities, allowing 
  for more complex stories to be told. This is not simply having two (or more) 
  frameworks running in parallel fashion, but by the Keeper intentionally 
  connecting the frameworks together during their construction or allowing 
  bleed over to occur naturally based upon the direction the players are taking 
  the story. Playsets establish two (or more) distinct story threads which can 
  be brought together to create something greater than the sum of its parts. 
  Often the connections appear obvious (such as with dark forces at play in 
  one or more story threads), while other times less so (which can be every bit 
  as intriguing, if not more so). These are questions waiting to be answered 
  in the course of play, as your stories unfold.
  
  -149-
  Putting the Pieces Together
  Now that you’ve got a handle on the basic concepts, let’s dig deeper into 
  their practical application.  
  Thread creaTion
  1. Choose three or four hazards.
  2. Choose a linchpin.
  3. Choose a texture.
  Example
  The group is due to arrive in a half-hour, and I need to cobble something 
  together for them, something brand new. I choose three hazards: elder, 
  landscape, and weird. I decide the elder will be the linchpin of this thread. 
  I decide the texture of this thread will be “descent.” That takes just a few 
  minutes. We’ll call this “Thread A.”
  
  -150-
  Turning a Thread into a Framework
  Now that we have Thread A, the generic choices we’ve made don’t tell us 
  a whole lot. If we can’t get a grip on them, how will the players? We need 
  to particularize.
  The elder becomes the mayor. The landscape becomes the old manor on 
  the edge of town. The weird becomes an antique sword newly arrived in the 
  local museum. Now, we’re getting somewhere. We still have the texture that 
  can radically affect how the thread works.
  Since we decided on “descent” and tied it to the linchpin of the elder, we’ve 
  determined the mayor is falling from power. The house and the sword are 
  part of this thread, and so also have something to do with it. Let’s say the 
  mayor killed old man Manley in the manor house with the sword, which he 
  then gave to the museum, so in fact, the evidence is right there on display. 
  The house is now haunted by Manley, who won’t rest until he is avenged.
  This is far more interesting. Now, let’s add the subtypes of hazards into play. 
  We can select any of them, but we’ll go with Elder (dictator), Landscape 
  (furnace), and the Weird (sadomasochist). We can then integrate them with 
  our hazards giving us Mayor (dictator), Old Manor (furnace), and Ancient 
  Sword (sadomasochist).
  From this, we can come up with a lot of questions which we’ll ask in our 
  framework. These are things we don’t know the answer to, but things we, 
  as the Keeper, find interesting and want to find out about in play. There 
  should be nothing ignored or foregone at this point. We’re setting up 
  dominoes, wanting to see how they will tip over in the game. Don’t cheat 
  and try to guess. We’ll explore this further in the next section.
  
  -151-
  Formalizing the Framework
  Every framework shares the following basic structure:
  The Tragic end: what happens if evil wins.
  The unknoWn: open questions to be answered during play.
  Lurking eviL: the hazards facing the characters.
  darkness groWs: each hazard or framework may have a hazard track 
  which can advance over time, in response to the characters’ actions, or both.
  TheMe: The texture of the thread.
  Short scenarios may have only a single thread or two; more intricate scenarios 
  may be comprised of multiple threads to form a cat’s cradle.
  A framework is a set of hazards with their relevant motivation, driving force, 
  and so on.
  Creating a framework means making decisions about backstory and about 
  NPC motivations. Real decisions—binding ones—that call for creativity, 
  attention and care. You do it outside of play, between sessions, so that you 
  have the time and space to think. A thread has some obvious mechanical 
  components, but fundamentally it is the conceptual structure that is of 
  prime importance. 
  
  -152-
  The purpose of your preparation is to equip you with interesting things to 
  say and do. As the Keeper, you’re going to be playing your threads and 
  playing your hazards, but that doesn’t mean anything mechanical. It means 
  saying what they do. It means offering opportunities to the players to have 
  their characters do interesting things, and it means responding in interesting 
  ways to what the players have their characters do. Accordingly, when you 
  create a framework, follow your own inspiration.
  Choose the things that are suggestive to you, things that put you in mind 
  of weirdness, horror, romance, violence, gore, danger, or trauma. Choose 
  the things you’d love to read in a book, skipping the things that don’t spark 
  your interest.
  You can also give your framework a name, if you like. For now, we’ll still 
  stick with Thread A and see what becomes of it.
  The Tragic end: The mayor is found dead in the manor, with the old 
  sword in his hand and twenty-five stab wounds. It is ruled a suicide by the 
  coroner. The house remains haunted.
  The unknoWn:  Why did the mayor kill Manley? What does the sword 
  look like? Can anyone use the sword? Does the sword corrupt? What 
  will the ghost do to intruders? How can the sword be destroyed? Can the 
  characters save the mayor? How far will the mayor go to keep his secret?
  Lurking eviL: Mayor (dictator), Old Manley Manor (furnace), and 
  Ancient Sword (sadomasochist)
  darkness groWs: Hazard tracks are not something we’ve gone into 
  detail about yet, so we’ll address them next.
  
  -153-
  Creating and Using Hazard Tracks
  A hazard track is a reminder to you as Keeper that your hazards have 
  impulse, direction, plans, and intentions, along with the will to sustain 
  action and to respond coherently to the players.
  When you create a hazard, if you have a vision of its future, give it a 
  hazard track. You can also add hazard tracks to hazards you’ve already 
  created.
  Jot down a list of events that are spurred by characters’ actions or the 
  passing of time. Finding items, clues, and whatnot can be good ways 
  to spur things along, as well as the usage or discovery of Lore. As the 
  characters gain knowledge, the darkness gains power. This happens all the 
  time in horror works. Each hazard track is called by its appropriate type 
  (e.g., elder track, doom track, and so on). You are free to particularize 
  them even further by attaching them to a particular thread or a specific 
  hazard (such as Doom Track for Thread A or, better yet, Mayor Hink’s 
  Track).
  On the track, list some things that will happen:
  1. Something’s coming, but maybe it can be stopped.
  2. Signs and portents.
  3. The danger manifests fully.
  4. And so on until bad things happen.
  As you play, advance the tracks, each at their own pace, by checking things 
  off the list. Hazard tracks are both descriptive and prescriptive.
  descripTive: when something you’ve listed happens, advance the track 
  to that point.
  prescripTive: when you advance the hazard track otherwise, it causes 
  the things you’ve listed. 
  Hazard tracks can be derailed. When something happens that changes 
  circumstances so that the countdown no longer makes sense, just scratch 
  it out.
  
  -154-
  For the most part, list things beyond the characters’ control:  the decisions 
  and actions of NPCs, conditions in a population or a landscape, evolving 
  relations and conflicts between rivals, and so on. When you list something 
  within the characters’ control, always list it with an “if”, implied or explicit:
  “If Turnbull explores the attic,” not “Turnbull explores the attic”
  Prep circumstances, pressures, and developing NPC actions, not future 
  scenes to which you intend to lead the characters.
  Let’s put together a hazard track for our creatively named “Thread a.” 
  We could give one to each of the hazards, so let’s do so.
  Mayor Track
  Mayor Hink starts to drink heavily (when questioned or after the first day 
  the investigators have been in town).
  Mayor Hink is caught trying to burn down the house. (After the sword is 
  discovered or after the investigators explore the house.)
  Mayor Hink crashes his car. (Day after his arson attempt.)
  Mayor Hink is removed from office. (Day after he crashes his car.)
  Old Manor Track (Advance track once per day.)
  Strange lights are seen around the house.
  A dog is devoured by the house.
  The electrician is eaten by the house.
  The ghost fully manifests. 
  Antique Sword (Advance track once per day.)
  The curator cuts his hand on the sword.
  A child stabs a family member with the sword.
  The sword is put into the vault.
  The sword is stolen.
  Now, as you can see, there is a fully fleshed-out framework, ready for 
  exploration by your players.
  
  -155-
  Creatures, Strange and Horrible
  H.P. Lovecraft invented all sorts of nightmare horrors that inhabited his 
  works, which have bled over into popular culture to such a degree that 
  many of his most famous creatures are familiar to many people likely to play 
  this game. If anything, the people most drawn to this sort of game may be 
  the ones for whom the scares come the hardest—familiarity indeed breeds 
  contempt. 
  By necessity, it falls upon the Keeper to craft new terrors: it is the 
  unknown that is the most terrifying. Rather than present a ready-made 
  list of monstrosities, it is far better for you to be able to quickly and 
  easily come up with some of your own. Don’t worry; we’ll present the 
  mechanical underpinnings for a handful of foul fiends to see you on your 
  way. Once you see how easy it is, you’ll want to make your own anyway.
  The Thing Is...
  All of this is incredibly easy. As you’ve come to understand, you don’t need 
  to have heavy blocks of stats to represent things. Tags do a lot of the heavy 
  lifting, so all you really need to have is a handful of tags to help you easily 
  put a handle on your creatures.
  
  -156-
  An Overview of ASHES
  The elemental bits of any adversary (be it mundane, alien, or otherwise) are 
  as follows, broken into five categories (ASHES:  Armor, Shock, Harm, Extras, 
  Special):
  arMor: How much harm it ignores. 
  shock: How terrifying it is to behold. 
  harM: How much harm it inflicts.
  exTras: Additional attacks, weaknesses, or strengths (generally represented 
  by tags).
  speciaL: Unique moves.
  The ASH Scale 
  This quick table enables you to throw together the essential bits of a creature 
  at a moment’s notice, using the building blocks of Armor, Shock, and Harm.
  arMor
  shock
  harM
  0
  None
  None
  No attack/grappling
  1
  Light
  Spooky
  Fist/kick/head-butt
  2
  Medium
  Scary
  Small claws/bites
  3
  Heavy
  Frightening Acid/claws/tentacles/strength
  4
  Incredible
  Terrifying
  Fangs/strong tentacles/great strength
  5
  Monstrous Horrifying
  Great claws/powerful tentacles/incredible strength
  arMor, shock, and harM: All creatures have a value of 0 to 5 in each 
  of these categories.
  reMeMber: you are encouraged to choose, although you can roll a d6-1 
  for each of these values if you want to generate something totally random. 
  Or roll 3d6 (-3) and assign out or, you know, just choose. 
  a siMpLe ruLe of ThuMb: give the creature a composite ASH score 
  equal to the number of characters in play x 2. Three players would give 
  you six points to divvy up as you see fit, for example. This works best for 
  convention games or shorter story arcs, but for extended play over multiple 
  sessions, it may get stale and predictable rather quickly.
  
  -157-
  Extras
  This catchall category works for notes or other bits and pieces of things that 
  can have a mechanical impact in play. You should include creature tags and 
  what-have-you here, like “aquatic,” “stealthy,” and “lives in the north end 
  of the swamp.”
  Creature Tags
  aeriaL: Can fly and swoop.
  aquaTic: Can swim and breathe underwater.
  aLien: Strange anatomy, +1 shock. (Its intelligence is usually equal to or 
  greater than human.)
  fasT: Attempts to flee from the creature inflict full damage on a partial 
  success.
  fiery: The Keeper may elect to do half harm as damage and put an ON 
  FIRE tag on the target. The target must get a success on roll+luck for the 
  fire to go out by itself, or takes a point of harm each round until the fire is 
  extinguished (via roll+reason).
  invuLnerabLe To x: The creature cannot be harmed by whatever X 
  is: rocks, fire, water, whatever. This can be broad or narrow, mystical or 
  mundane. If you make X everything, however, it’s not so much a creature as 
  an unstoppable doom. Rethink that choice and consider making that the worst 
  possible thing on a hazard track. Things should have at least one weakness, if 
  they are otherwise wickedly tough.
  Minion: Can’t take much harm. Put a number in parentheses and that’s 
  how much damage it can take before it is out of commission.
  MysTicaL: This thing is otherworldly. It can do ranged mojo (inflicting AP 
  harm damage equal to its shock) or more. Assign a +/- damage value. Mystical 
  +2 equals shock +2 damage. Mystical -2 equals shock -2 damage.
  nighT vision: This thing gets around just fine in the dark. Doesn’t matter 
  how—even if it’s blind and has radar, darkness presents no problem.
  sTeaLThy: The creature is hard to spot. It requires a 10+ roll to be detected 
  until it reveals itself.
  sLoW: The creature is easy to get away from. A partial success means a 
  character suffers no ill effect.
  sWarM: There are many of these things. A swarm’s main advantage is its 
  damage ignores armor.
  TenTacLed: May engage many targets  at once. 
  Weakness To x: All damage from a particular thing or type is considered 
  AP and inflicts +2 harm.
  
  -158-
  The Interplay of Creatures and Hazards
  Creatures can fall into any hazard category. You might think it can’t be 
  landscape, but remember breeding pits and guardians? Yes. You can attach 
  creatures to any hazard. They will use the moves of that category and 
  are motivated by the impulse of the subtype. In essence, a creature is an 
  extension of the subtype, if not the actual subtype itself. It’s also good to 
  note that not all creatures are necessarily monstrous in appearance. They 
  should all have some weirdness to them—even the more typically mundane 
  ones.
  exaMpLe
  A forest (furnace) wants to consume things. A wolf could be a forest 
  guardian. It wants to devour any who venture within. At the other end of 
  things, a forest (barrier) wants to keep things out. An old bear could be a 
  forest guardian driven to protect its territory.
  Creature Tags
  You are encouraged to create tags necessary for your story. Tags should 
  help, not hinder. Use them to remind you of important key things, not 
  to realistically port something over.  For example, an owl has night vision, 
  so why write it down? That’s common sense. Noting Doctor Grey’s night 
  vision, on the other hand, is completely encouraged. 
  
  -159-
  Special
  The Special part of ASHES covers aspects particular or unique to a creature. 
  Just as the playbooks have custom moves, creatures can have custom moves 
  as well, things not covered anywhere else. This is where you should let 
  your imagination run wild. It also works as a spot to place reminders for 
  something you don’t want to forget about in the course of play. If you want 
  to have a move where the creature does a brain suck, then you could 
  quantify it as follows. 
  brain suck
  Whenever a target tries to flee and gets a partial success or less, the creature 
  attaches itself to them. It can only be removed with a roll+might success. 
  If it is able to drill through the target’s skull (3 or more harm), the target 
  immediately takes 4 shock and acTs under pressure to resist the 
  entity’s commands.
  A Tag by Any Other Name: Extra versus Special
  Technically, there is no real difference. Specials may have a bit more 
  information under them which you may want to refer to until you’ve got it 
  down (but that’s what you’ll probably do with stock creature tags until you 
  get a feel for them anyway). 
  In practice, you’ll find having the Special move you concocted at the 
  end, in its new category, will serve you in several ways. Having it at the 
  bottom of your descriptive block lets you know it’s important, likely 
  untested, and you will have plenty of space to detail it nicely without 
  interrupting the flow. Once you find it works in play, go ahead and move 
  it over to your arsenal of creature tags, and then come up with your next 
  Special thing.
  Ultimately, it doesn’t matter what tag goes where. Why worry about 
  format and semantics? You’ve got stories to tell, and monsters to bring 
  to life.
  
  -160-
  Damage Track for Creatures and NPCs
  The player characters are a bit more durable than creatures (they have 
  one extra segment on both damage tracks). However, you have an infinite 
  number of creatures, and some of them are likely to have skin that can 
  easily deflect a shotgun blast at point-blank range. Any creature tied to a 
  hazard doesn’t have to worry about shock. That’s your call and should go 
  with what the narrative dictates, e.g., the mayor’s aide (tied to an Elder 
  mayor) may freak out; a cultist, on the other hand, won’t.
  Creatures and NPCs can take five segments of damage as follows:
  segMenT 1: Cosmetic damage, pain, concussion, or fear (if the NPC is 
  likely to be afraid of pain).
  segMenT 2: Wounds, unconsciousness, bad pain, broken bones, likely 
  fatal, sometimes immediately so.
  segMenT 3: Maybe 50-50 that it’s immediately fatal; otherwise, terrible 
  wounds, death soon.
  segMenT 4: Usually immediately fatal, but sometimes the target has to 
  wait to die, mangled and ruined.
  segMenT 5: Immediately fatal and bodily destructive. 
  
  -161-
  A Motley Assortment of Things
  That Go Bump in the Night
  Lovecraftian Creations
  Deep Ones
  “I think their predominant colour was a greyish-green, though they had 
  white bellies. They were mostly shiny and slippery, but the ridges of their 
  backs were scaly. Their forms vaguely suggested the anthropoid, while their 
  heads were the heads of fish, with prodigious bulging eyes that never closed. 
  At the sides of their necks were palpitating gills, and their long paws were 
  webbed. They hopped irregularly, sometimes on two legs and sometimes 
  on four. I was somehow glad that they had no more than four limbs. Their 
  croaking, baying voices, clearly used for articulate speech, held all the dark 
  shades of expression which their staring faces lacked.”  
   
   
  -The Shadow Over Innsmouth
  a: 2 s: 2 h: 2
  exTra: Aquatic
  speciaL 
  beneaTh The surface: A deep one is treated as stealthy whenever 
  submerged.
  gLug, gLug, gLug: By taking a hard move, the Deep One can pull or 
  knock a character at close range into the water. This move can be taken 
  on a character already in the water within close range of the Deep One to 
  initiate drowning.
  
  -162-
  Ghouls
  “These figures were seldom completely human, but often approached 
  humanity in varying degree. Most of the bodies, while roughly bipedal, had 
  a forward slumping, and a vaguely canine cast. The texture of the majority 
  was a kind of unpleasant rubberiness.”  
  -Pickman’s Model
  a: 1 s: 1 h: 2
  exTra: Fast
  speciaL 
  burroW: The ghoul can dig through unworked earth at preternatural 
  speeds.
  grab and cheW: When a ghoul hits, the character must resorT To 
  vioLence before he can attempt escape.
  infecTion: Any character bitten must get a success on roLL+Luck 
  (-harM) or begin to transform into a ghoul himself.
  Mi-Go
  “They were pinkish things about five feet long; with crustaceous bodies 
  bearing vast pairs of dorsal fins or membraneous wings and several sets 
  of articulated limbs, and with a sort of convoluted ellipsoid, covered with 
  multitudes of very short antennae, where a head would ordinarily be.... As 
  it was, nearly all the rumours had several points in common; averring that 
  the creatures were a sort of huge, light-red crab with many pairs of legs and 
  with two great bat-like wings in the middle of their back. They sometimes 
  walked on all their legs, and sometimes on the hindmost pair only, using 
  the others to convey large objects of indeterminate nature. On one occasion 
  they were spied in considerable numbers, a detachment of them wading 
  along a shallow woodland watercourse three abreast in evidently disciplined 
  formation. Once a specimen was seen flying—launching itself from the top 
  of a bald, lonely hill at night and vanishing in the sky after its great flapping 
  wings had been silhouetted an instant against the full moon.” 
  -The Whisperer in Darkness
  a: 2 s: 3 h: 2
  exTra: Aerial, Alien 
  speciaL: Can speak human languages, scientifically advanced
  
  -163-
  Nightgaunts
  “Shocking and uncouth black beings with smooth, oily, whale-like surfaces, 
  unpleasant horns that curved inward toward each other, bat-wings whose 
  beating made no sound, ugly prehensile paws, and barbed tails that lashed 
  needlessly and disquietingly. And worst of all, they never spoke or laughed, 
  and never smiled because they had no faces at all to smile with, but only a 
  suggestive blankness where a face ought to be. All they ever did was clutch 
  and fly and tickle; that was the way of night-gaunts.” 
   
   
   
   
  -The Dream-Quest of Unknown Kadath
  a: 2 s: 2 h: 0
  exTra: Aerial, Alien
  speciaL
  TickLe, TickLe, TickLe: If a nightgaunt is able to close with someone, 
  the target must immediately acT under pressure. Failing, they begin 
  laughing uncontrollably (-1 ongoing) and take 1 harm at intervals until they 
  lose consciousness.
  Shoggoths
   “We were on the track ahead as the nightmare plastic column of foetid black 
  iridescence oozed tightly onward through its fifteen-foot sinus; gathering 
  unholy speed and driving before it a spiral, re-thickening cloud of the pallid 
  abyss-vapour. It was a terrible, indescribable thing vaster than any subway 
  train—a shapeless congeries of protoplasmic bubbles, faintly self-luminous, 
  and with myriads of temporary eyes forming and unforming as pustules 
  of greenish light all over the tunnel-filling front that bore down upon us, 
  crushing the frantic penguins and slithering over the glistening floor that it 
  and its kind had swept so evilly free of all litter.” 
  -At the Mountains of Madness
  a: 4 s: 4 h: 4
  exTra: Alien, Slow, Tentacles
  speciaL
  aMorphous: Given enough time, a shoggoth can ooze through nearly 
  anything. It also rapidly heals. If not destroyed in one encounter, it will 
  certainly be restored before the next.
  
  -164-
  Creatures of the Wood
  Bats
  a: 0 s: 1 h: 0
  exTra: Swarm
  speciaL
  frenzied: When controlled or frightened, a swarm can become dangerous, 
  capable of inflicting 1 harm per exchange.
  Bear
  a: 1 s: 1 h: 3
  Wolf
  a: 0 s: 0 h: 2
  Wolf, Pack Leader
  a: 1 s: 0 h: 2 
  exTra: Fast
  Wolf, Tainted
  a: 1 s: 1 h: 2 
  exTra: Fast, Stealthy
  speciaL: Has human intelligence
  
  -165-
  Odds and Ends
  Dispensing with Experience
  Characters in tremulus are generally static, but you should reward the 
  players for good play. Whenever a group resolves a mystery or story arc, 
  you should give any surviving characters an advance. Don’t worry about 
  keeping up with experience—simply consider how the story is progressing, 
  and grant them an advance when it feels right and natural to do so.
  Death Is Too Easy
  Certainly, you can easily inflict damage on the characters at nearly any time, 
  using the flimsiest of in-game rationalizations. But that’s not a particularly 
  creative way to approach things. Remember how you are supposed to make 
  the characters’ lives interesting? Death is not especially interesting for the 
  person for whom the Grim Reaper calls. Arbitrary damage diminishes trust 
  with your players and isn’t playing the game straight. It is far better for 
  damage to result from their actions or for them to get brutalized or know 
  the threat of death is near rather as a consequence than just a random whim. 
  In the real world, lightning can strike anyone at any time, and bring 
  the mighty low. But what you are crafting together with your players is a 
  collaborative work of fiction, and leaving such matters of import to sheer 
  happenstance with no intrinsic logic won’t do you or your players any 
  good. The narrative should lead towards a reasonable conclusion based 
  upon the actions of the characters, not random luck. You’re all working 
  towards getting a taste of that scary pie, the payoff, the place where all 
  the schemes and nightmares converge. 
  The Secrets of Rituals
  Casting rituals, rites, and even intoning certain words of power requires 
  Lore. A character with knowledge of a ritual and insufficient Lore may still 
  attempt to perform it, though doing so is likely foolhardy. They must roll 
  (see riTuaLs, riTes, and WhaTnoT), and take an amount of damage 
  equal to the ritual’s power regardless of how many points of Lore they are 
  short. A ritual’s Power equals the amount of Lore needed. All ingredients 
  are destroyed in the process, whether the ritual succeeds or not.
  
  -166-
  Sample Rituals
  Purify Silver
  poWer: 1
  MaTeriaLs: 1 oz. of unrefined silver
  effecT: Purifies (gives silver a mystical tag)
  duraTion: Permanent
  casTing TiMe: 1 hour
  TiMe & pLace: Midnight under a full moon in an open field
  Enchant Weapon
  poWer: 3
  MaTeriaLs: 2 oz. of pure silver
  effecT: +1 harm, AP
  duraTion: Permanent
  casTing TiMe: 2 hours
  TiMe & pLace: Open field, night sky
  Contact Lesser Entity
  poWer: 5
  MaTeriaLs: Symbol of the creature, valuable item or artifact (gold/
  platinum/silver), spilled blood (1 harm) of the caster or a loved one, other 
  uncommon ingredients, and one rare ingredient.
  effecT: The character opens a telepathic link to the entity. While it may 
  provide secret knowledge and insight, it has a corrupting influence if the 
  connection is maintained for a long time (several days).
  duraTion: Varies
  casTing TiMe: 2 hours
  TiMe & pLace: The ritual may be performed in any weird place or in an 
  area favored by the entity type, day or night. 
  
  -167-
  Summon/Dismiss Lesser Entity
  poWer: 7
  MaTeriaLs: Rare ingredients (such as something from the target creature 
  or something the creature likes/is attracted to), fire, and blood sacrifice 
  (animal or other).
  effecT: The creature is brought forth/or sent through a mystical gate that 
  appears as the item is burned within a magic circle (or pentagram or runes 
  or whatever ritualistic symbol you decide).
  duraTion: The creature when summoned will perform one task for the 
  summoner. If it is something like “protect me” (or the like), it will begin 
  to become difficult to control after a fortnight, and the caster must appease 
  it (repeating the ritual, bargaining with it, sacrificing to it, or the like). If 
  dismissed, the creature is gone, unless brought back through by another 
  ritual.
  casTing TiMe: 2 hours
  TiMe & pLace: Must be conducted at a locale favored by the entity in 
  question (such as a graveyard for a ghoul or by the ocean for a deep one) 
  under the cover of night.
  Contact Outer God
  poWer: 10
  MaTeriaLs: Sacred item, rare ingredients, human sacrifice.
  effecT: The character is able to communicate with the god in question.  
  The god may be willing to imbue the character with certain rituals and 
  powers in return for favors or intangibles (such as firstborn or one’s soul). 
  Failure to meet the god’s demands will result in far-reaching and usually 
  terrible consequences.
  duraTion: Varies
  casTing TiMe: 3 hours
  TiMe & pLace: Must be conducted in a locale favored by the god (such as 
  a coastline, mountain, or cavern) beneath a cloak of darkness (usually night, 
  but could be underground).
  
  -168-
  Tips and Tricks
  This section will help you most after you’ve read through the rest of 
  tremulus. It is intended to provide a closer examination of and insight into 
  some of the various inner workings of the game.
  Giving Things Away
  Clues
  When a character opts to find a clue by using the poke around move, 
  it is usually in the early phase of a story, where she is still gathering 
  information. She is preparing, at least, to puzzLe Things ouT, if not 
  hoping to discover some way to advance the story. You should be prepared 
  to have some clues arise over the course of the game, but you don’t need to 
  have them all spelled out. 
  Think about what bit of evidence could be found to help advance 
  the plot of the story. Was a button left behind? A key? A smudge on 
  the window? A bloody footprint in the basement? A strange scale of 
  unknown origin?  If it’s a clue, make it relevant to the story. Is your 
  story about a winged serpent and someone finds a clue? What if it’s a 
  leathery feather tucked into a book? Suddenly this NPC, who previously 
  had nothing to do with the story, is involved on some level. Clues shape 
  and advance the direction of things, allowing the players to have a direct 
  impact on the narrative. Make them count. Clues may be items, but do 
  not have to be, and should be of little, if any, practical use, like a rusted 
  knife or a gun with its barrel twisted.
  
  -169-
  Items
  Characters will often poke around to see what they can find.  They may 
  opt to get an item, rather than a clue. While a clue can be an item, when 
  a character chooses an item, it should never be a clue—the character made 
  her choice for utility over insight.   
  good: A character may opt to have a good item. What good item she finds 
  is up to the Keeper. You can always ask what they were looking for, and if 
  it seems something reasonable to find where they are looking, let them have 
  it. Why not? You’re not working at cross-purposes. You’re telling a story 
  together. Someone looking for a gas can in an old pickup truck? Sure, and 
  it’s even full. Looking for a shotgun in a child’s bedroom is not so likely, 
  but there is a slingshot on the dresser, right next to Johnny’s bag of favorite 
  marbles. When you’re considering what a good item could and should be, 
  look to what’s most helpful to the situation at hand (such as a flashlight 
  after the lights go out) or can be potentially useful, if not right now, then 
  somewhere down the line. In this way, you can foreshadow possible events 
  to the characters. Finding a box of silver ammunition or a set of sharpened 
  stakes communicates two very different things. 
  Minor: Minor items should be those of limited utility, quality, or both. 
  For example, should a player choose a gun, let the character find an old 
  gun with one bullet, or a rusted old shotgun (unreliable). Ammo would 
  be a separate item. Remember? This is a minor choice, so it shouldn’t be 
  anything fantastic. Other things that could be selected could be an oil lamp 
  (low on oil), or even a pitchfork (yes, a pitchfork sounds great, but try 
  carrying one around town or into narrow catacombs). If you’re choosing, 
  you can always ask them what they’d like to find, or what they think they’d 
  find in the bedroom, nightstand, or what-have-you. You can always say no, 
  but if it sounds interesting, why not? A minor item can turn out to be quite 
  useful. Should a player’s resourcefulness turn an otherwise limited thing, 
  such as a kettle, into something helpful, you should reward their creativity 
  and applaud them for contributing to the narrative.
  
  -170-
  Lore: When a character opts to gain Lore, she is telling you several things. 
  She may not know exactly what to ask next, or more likely, she wants to 
  gain the currency needed to power her Lore move. It is up to you how 
  much you tell her, if anything. At the very least, you should provide some 
  contextual, relevant bit of information hinting towards the bigger picture 
  of the story you’re telling. Remember, as always, to be honest with your 
  characters and generous with your answers, but refine those to apply to 
  only one or two of the questions normally found on the list. If you get in 
  the habit of providing too much information, you’ll find your players may 
  always opt to go for Lore, relying on you to answer too many questions.
  riTuaLs: Your characters may decide they need some sort of ritual to 
  defeat a horrible entity threatening to devour the locals, if not the world. It 
  is then they shall likely turn to a library, a study filled with tomes, or some 
  other repository of knowledge to discover some ancient words that can help 
  them in their present predicament. You may allow rituals and spells and all 
  sorts of magic into your game. How much you allow will certainly affect 
  the tone and tenor of the game. You should limit the discovery of rituals 
  to restricted libraries and weird places. If you do allow a study to have a 
  book with rituals in it, then you’re making it weird, and you should note 
  that somewhere. Rituals should require a time, a place, and one or more 
  ingredients in addition to some amount of Lore.  If you’re introducing a 
  ritual, make it relevant to their circumstance. In all likelihood, they are 
  trying to find some sort of bane or counter to whatever they’re dealing with. 
  Make the ritual helpful, but just don’t have it immediately defeat the thing 
  (such as the characters find and learn a Banish Ghosts ritual), unless you 
  decide to shift the focus more on accumulating Lore and the other requisite 
  ingredients, rather than fighting with the ghost itself (which becomes more 
  incidental and peripheral to the story).
  
  -171-
  secreT pLaces and spaces: Characters may decide to find some hidden 
  area or threshold when they poke around. You get to decide what it is. 
  This is another way for them to have a direct impact on the narrative while 
  simultaneously keeping you on your toes. Sometimes, it may be obvious. 
  Characters may be looking at the fence line for a way through. You could 
  tell them they find a torn piece of fence they can squeeze under, if you want 
  to move the story in one direction. Alternatively, you could present them 
  with something else, like a half-buried door to a long abandoned root cellar. 
  In either case, the players know this development is a direct result of their 
  decision to poke around, and thus feel empowered to help drive the 
  narrative forward in new, interesting directions.
  Handling Acts Under Pressure
  When a character rolls a 10+, he succeeds. When a character rolls a 6 or 
  less, he earns a consequence (and you can take a hard move against him, 
  the group, or save it for later). That’s all clear cut. A partial success (7-9 roll) 
  grants you an opportunity to present him with a tough decision that serves 
  to shape the narrative and drive the story forward. 
  Come up with three choices: a worse outcome, an ugly choice, and a hard 
  bargain.
  For example, let’s put you in the role of a bespectacled doctor prowling 
  around a cemetery. You see a creature spring out from behind a tombstone 
  and decide to flee. You acT under pressure and roll an 8.
  The Keeper presents three options:
  Worse ouTcoMe: Take 1 harm and get lost as you flee blindly away.
  ugLy choice: Lose your glasses or take 2 damage as the creature connects.
  hard bargain: You get away, but your loyal NPC companion does not.
  Some players may make their minds up after hearing the first two options, 
  and that’s okay, but you should strive to make each choice a dangerously 
  attractive, bitter pill. If you have difficulty coming up with three choices at 
  first, it gets easier over time, and you can always ask for input from the 
  players to help you out.
  
  -172-
  Conveying Horror and Building Dramatic Tension
  Creating an engaging experience drenched with nocturnes and nightmares 
  should be harrowing only for the characters, not for the Keeper, nor the 
  players. Let’s examine ways to build up the situation through a few simple 
  techniques.
  Breathe Life Into the Ordinary
  Make the people the characters meet real. This was discussed earlier and 
  bears repeating. Don’t just describe someone as “a guy in a butcher shop.” 
  Give him a name. Call him Vincent, have him speak with a Brooklyn 
  accent, smell too much of blood, and let him fancy himself a lady’s man. 
  Or have the local doctor not just be someone to see to get healed. He’s out 
  sometimes. (Make a roLL+Luck to see if he’s around.) And he has a limp 
  and a bad scar across his face where shrapnel caught him in the Great War. 
  Make them people the players will care about, and then put them in harm’s 
  way so that the players will work for their survival. This cannot be stressed 
  enough: if the characters are fighting for the world, make the world worth 
  fighting for.
  Cut Scenes Short
  While you want the players to explore the narrative space, there are times 
  when they are languishing over a meal, or examining the title of every book 
  on the bookshelf. You can give them a gentle nudge or narratively jump in 
  and advance time forward. Using techniques such as, “The sun is setting 
  and everyone else is retiring for the evening, what do you do?” or “You 
  spend several hours poring over the book titles until your eyes are strained 
  and your back aching as you hear Miss Peterson climb the stairs.” There are 
  times to linger and times to move on. Whenever possible, skip the boring 
  bits; if everyone is engaged and having a good time, let the scene wrap 
  up naturally. Your group will develop its own comfortable rhythm over 
  time. Introducing strange elements when scenes run long is a great way to 
  reengage everyone and remind them of the dangers lurking in the darkness.
  
  -173-
  Expanding and Contracting
  There are moments the players may want to gloss over, such as navigating a 
  passageway through a carnivorous hedge maze or exiting a strange, haunted 
  mansion. These are the moments where you should slow time down just 
  a bit. Zero in on the entrance into the maze. Tell them how the vines 
  reach out hungrily for their flesh. Let them hear their cracked leather shoes 
  descend down the stairs, each step creaking resentfully, and how the rustling 
  leaves brushing against the attic windows sound like rainfall. To keep things 
  even more interesting, juxtapose such moments with a rapid acceleration 
  of the pace. While you spend several moments letting them contend with 
  entering the maze, you can rapidly move to the exit, describing how things 
  are resolved depending upon their acT under pressure rolls. In this 
  way, tremulus can easily be used in broad, general strokes as well as narrow, 
  discrete ones.  
  Obfuscate on Occasion
  While you should be generous and truthful with the information the 
  characters learn, you can intimate and obscure in many other ways. Remind 
  them that while you, in your role as the Keeper, are their honest ally, not 
  all the NPCs they meet will have the characters’ best interests at heart, and 
  will likely misdirect and mislead them…or worse. Of course, they can always 
  attempt to read a person if they would like, to attempt to discern what 
  their agenda might be. 
   
  Help: A Double-Edged Sword
  One of the greatest assets the characters have in their fight against dark 
  forces is their ability to assist one another, and once the players realize 
  the power of the Help move, they are likely to use it quite regularly. Too 
  much use of it has its own dilemmas for them, as failed rolls can cause 
  the characters to lose Trust amongst each other or add hard moves for 
  the Keeper. It’s important to remember that if a helper only gets a partial 
  success (7-9), they open themselves up to consequences even if the person 
  they helped succeeds (gets a 10+ on their roll). It can well become a case of 
  ‘no good deed goes unpunished’, as a creature shifts its focus, the ground 
  crumbles way beneath one person as they help another to safe footing, and 
  so on. Separating characters who have grown used to helping one another 
  also serves to heighten the terror and sense of dread for everybody.
  
  -174-
  Less Is More
  Provide only sparse detail when the characters reach an important place, like 
  the old cemetery. Sometimes, you must play the provocateur. Give them 
  the most meager description as a catalyst for their questions. And when 
  they start asking, dribble out tantalizing snippets. Certainly, they can see 
  a figure in the graveyard, but they can’t make out who they are or what 
  they’re doing. Do they get closer? Then they can see it’s a woman kneeling 
  in prayer in front of Old Manley’s tombstone. Then a shadow crosses 
  behind her. What do they do? Get them involved. Let the situation unfurl. 
  Reveal it piece by piece, moment to moment (which is far better and far less 
  forgettable them giving a precise initial description). It will save room for 
  questions and shadows, and that is always a far better thing to do.
  Opposites Repulse
  Go against the grain whenever possible as you present elements of your 
  story. The young girl, nearly fifteen, who stares with hollow, vacant eyes and 
  speaks in a distant, imperious voice is far more disturbing than little Nancy 
  down the lane. A scientist, presumed mad, with a pleasant visage and an 
  equally pleasant demeanor is at odds with expectations as well. Explore the 
  types of weirdness that arise from mundane but odd situations, like a little 
  diner where a hulking brute waits tables sheepishly while the petite, elderly 
  lady buses the tables, glaring threateningly at any who meet her stare. 
  There is a story in that moment, waiting to be told. Or simply changing 
  your presentation of things—dropping into a slow tenor when you ask if 
  they really want to order another glass of tea, or cheerfully describing their 
  descent into the catacombs—can throw the players off-balance…which is 
  right where you want them to be.
  
  -175-
  Use Recurring Motifs
  Think about what the theme of the story is about (as represented by 
  the texture of the thread). Is it “ascent”? Then have things in your story 
  reinforcing this. They don’t have to be subtle. Only you know the theme. 
  Have the football team on track to have its best winning season in six years. 
  Have the old sheriff retire and his deputy promoted. Be as blatant as you 
  like. Have the old church steeple be replaced with a new one, or describe 
  how the town finally has the funds to finish the clock tower located on the 
  square. Even though the players don’t consciously know, in their bones 
  they’ll get a sense of it. Trust me.
  Letting the Hammer Fall
  NPCs should suffer. And die. And not of natural causes. You have to let 
  some blood flow across the pristine streets of your town. Corpses need to 
  twitch on the front lawns, their necks snapped by nasty neighbors and 
  otherworldly menaces. You need to let the characters know that, for all 
  the languid explorations they’ve made through the town’s library and 
  excursions into the catacombs beneath, until they have resolved the mystery 
  and eliminated the pending threats, the stakes are high and people will die, 
  and these people who die aren’t just nameless non-entities. They are people 
  they know, and if you’ve done your job well, care about. Why? You’ve 
  tricked them into caring as you lulled them into a false sense of security. 
  That’s what all these elements have been leading up to. If they get frantic, 
  you know you’ve succeeded as a Keeper.
  
  -176-
  Other Considerations
  Engage the Players
  Have the players do their part in the heavy lifting. Rome wasn’t built 
  in a day, and it wasn’t built by one man. It was built stone by stone, as 
  should your story and the setting in which your story lives. Give the players 
  creative space to contribute to the narrative. Ask them what kinds of places 
  are in the town your stories revolve around. This shouldn’t feel like an 
  interrogation. Involve them naturally as needed. When one person wants 
  to visit the antique shop, ask another one what the owner’s name is, and 
  another the name of the shop and where it’s located.
  Make Maps Like a Madman
  Though you aren’t rolling any dice, you definitely have plenty to do. Sketch 
  out places and spaces as the needs dictate.  With Ebon Eaves, the enclosed 
  playset, as with any other town, you’ll want to give yourself some rough 
  geographical points. Is the town in the mountains? What’s nearby? Give 
  it the lightest of touches. Zoom in and sketch out the town as it unfolds. 
  If the antiquarian owns an antique shop, where is it? Generally, think of 
  an old town in your mind’s eye, and then rough out the centerpiece. For 
  most towns, you can create a town square, and flesh out the buildings on 
  the square as the narrative unfolds. Either decide arbitrarily or recruit your 
  players to help you place the church, the pharmacist, and the general store. 
  They’ll be happy to help. 
  Don’t Fill in All the Blanks
  As with the rest of the design philosophy, you don’t need to craft any more 
  than you need.  The more empty spaces on the map, the more opportunity 
  there is for weirdness to arise in future play sessions.
  
  -177-
  Keep Track of Every Name
  This may sound obvious to most of you, but names are more than just 
  names in a storytelling game. They carry weight and hold power. They 
  are the waitress, the hardware store owner, or the creepy electrician the 
  characters secretly suspect is a cultist. Write these names down. Scribble 
  them on the map. As the characters meet them in the future, let them know 
  who they are. This isn’t a memory game. Put the names out there in the 
  open as they come into play, and remind players who they are if they can’t 
  quite place them. Encourage them to jot down the names as well. Putting 
  them on the edge of your sketched-out map as they are encountered is a 
  great way to keep them in play during a session.
  Have a List Handy or Improvise
  While we’re on the subject of names, it doesn’t hurt to have a prepared list 
  of names to call upon as the situation demands. If you don’t, change around 
  the names of your friends who aren’t playing with you, grab names off of 
  nearby items, or even ask the players to pitch in and help you come up with 
  the name of the traveling snake-oil salesman they just met.
  Getting a Handle on Tags
  Tags are used to make your job easier. You can use them to take moves. 
  You can create new ones as you deem fit. Just use common sense to define 
  them. If they are mundane tags for mundane things in the characters’ 
  possession, let them know. Be generous with them. Even if you have some 
  odd tags, you can let the characters know that as well (with the exception 
  of tags on creatures, until they are revealed or discovered). If anything, 
  knowing the kitchen is weird will disturb them tremendously.
  
  -178-
  Building Momentum
  While conventional scenarios lend themselves well to pacing, a game where 
  the characters are largely in control of exploration presents its own challenges. 
  The Slow Burn
  tremulus excels at languid pacing, so it isn’t necessary to rush things along. 
  You can reveal bits and pieces of the puzzle as the characters explore the 
  nooks and crannies of various parts of the milieu. Do not be surprised if 
  the players are very satisfied with the intimate nature and slower pacing 
  of things. Events will unfold in a step, as evil trundles ever towards them. 
  Frameworks are there to guide you along.
  The Pressure Cooker
  Hazard tracks are the surest way to keep things moving at a steady clip. 
  You can have some tracks reactive (based upon the characters’ actions), and 
  others that move along regardless (at certain intervals, be it hourly, daily, 
  or in longer cycles). Keeping the events on a compressed track ensures an 
  inexorable end, should the characters dally. And they’ll learn quickly that if 
  they are locked in a haunted house, and someone is dying each hour, the 
  lurking doom will eventually get to them if they don’t make haste.
  Tracks Are Not Compacts
  Your use of tracks is not a contractual arrangement with the characters, 
  but serves to provide narrative drive and energy for your framework. If you 
  want to accelerate your story, this is the place to do it. You were going to 
  have a forest fire on Day Three? Make it Day Two instead. If you’ve run 
  a framework before and you know it takes six hours to work through, you 
  can move it along. Instead of the fire taking place on Day Two, perhaps the 
  characters arrive just before the fire breaks out, or they came to see what 
  was going on because of the fire. The hazards are there to aid and serve you. 
  To be fair, you should not arbitrarily advance tracks to undermine the 
  characters’ progress. You need to give them an opportunity to participate 
  and prevent some of the elements. If the tracks involve things they 
  have no direct knowledge of, don’t feel compelled to let them try to do 
  anything counter to it. For example, if a dam is going to break in five 
  
  -179-
  days, and they don’t know it is leaking, it is fair to have the characters 
  hear about the cracks (which were going to occur on Day Three) if they 
  explored the dam the day before. If they were investigating another part 
  of the mystery, you can present that knowledge about the cracks in the 
  dam or not (via clues or NPCs or the like). You should rarely, if ever, 
  advance a game ending track to the very end, however, without the 
  characters having some sense of it. That’s not fair, and you should strive 
  to play fair. Having them spend all their time trying to prevent a cultist 
  from summoning a creature only to have a meteor flatten everyone is 
  not fair at all. 
  Keeping the Nightmare Alive
  Your characters have come through the first mystery unscathed, or at least 
  with their limbs intact and most of their wits about them. That’s a win for 
  the good guys. Congratulate the players. Celebrate their achievement. You 
  will have time enough to plot against their characters later, as they cherish 
  their (likely rare and brief) victory. 
  Once the first mystery has finished, or even after the first session 
  has been wrapped, soak it all in. Revisit your frameworks. Explore the 
  new characters and places that have inevitably sprung into being. What 
  threads are unresolved? Where do you go next? You can set aside all 
  those characters. You can create a brand new framework. You can build 
  an entirely new town using Ebon Eaves. These are all viable choices. 
  Alternately, you can let the story continue. You can let the town grow 
  organically. You can let their little slice of horror ferment and fester, as 
  their connections with the townsfolk broaden and grow deeper. There are 
  so many more stories to be told in and around things. The frameworks 
  are designed to lead to as many (if not more) questions as answers. 
  Exploring these fascinating fragments can lead to untold hours of rich 
  mystery and endless adventure for those brave souls willing to see what 
  horrors await them. 
  If starting a new mystery, you should likely reset any ongoing bonuses 
  accrued from the previous one. It’s up to you, but it can certainly create 
  a new shroud of the unknown and allows for expansion and different 
  takes on familiar NPCs, and the like.
  
  -180-
  Using Playsets: Ebon Eaves and Beyond
  While playbooks describe the characters who are the actors in the story you 
  create with your friends, a playset is a milieu you can readily drop them 
  into by progressing through sets of questions which serve to define the 
  frameworks of the setting, often forming a “cat’s cradle”: a complex, intricate 
  network of threads with multiple plotlines which may have nothing to do 
  with each other. Experienced Keepers familiar with the nuances of Haiku 
  or improvisational roleplaying should have little difficulty using them on 
  the fly. 
  While ideal for pickup-and-play gaming, playsets benefit from being 
  structured into frameworks. If this is your first foray into storytelling 
  games, you may want to send out the playset questionnaire to your players, 
  or have the group gather around for about five or ten minutes face-to-
  face, maybe after you wrap up another game, and get their decisions 
  right then. Armed with this information, you can use it to work through 
  the framework. Keep in mind, this is not necessary and likely something 
  you’ll not do once you have a few sessions under your belt. If anything, 
  you’ll be energized, as will your group, to put together the playset, select 
  playbooks, and then jump into a game in a surprisingly short amount 
  of time. After you’ve completed the first session, you can then properly 
  formalize the frameworks, adding in hazard tracks, creating creatures 
  and the like. Ultimately, you can run this with no prep whatsoever, or 
  as much as makes you comfortable while leaving questions unanswered.
  
  -181-
  On the Fly
  When you’re just going to wing it, use the ToWn WorksheeT (p. 192). It 
  gives you places to jot down the names of the different sections and a handy 
  place to put the hazards. Let the snippets and the direction the players take 
  guide you. Things will fall into place.
  Masters of Time and Place
  Ebon Eaves can be anywhere at any time. By default, it is roughly set in 
  1920s America. That doesn’t mean it has to be. Some of the descriptors 
  suggest certain places and times. Your players are going to ask where and 
  when this game is taking place, even before you get to the questions, so 
  tell them you’ll all figure that out together, after determining the results. 
  Once you read over the ToWn Lore and LocaL coLor for 
  your town, throw it out to the group and see what they do with it. In three 
  playtests, Ebon Eaves was set in the foothills of West Virginia in 1928, the 
  Inland Empire of Central California in 1923, and on a small island off the 
  Florida Keys in 1933. The players love having a say in where and when the 
  story takes place. After you get that settled, ask the time of year, and even 
  particularize it to the month, date, and day. Your players will love this, and 
  you will too.
  
  -182-
  Structuring Chaos
  After the players make their choices in a playset, you’ll have some data 
  within which to construct the frameworks. This section goes step-by-step 
  through the process of taking the informal structure of the playset and 
  putting it into a more familiar format. Keep in mind, this example is only 
  one possible direction you can take the town creation information—there 
  are bound to be countless others.
  Let’s suppose the players say “yes” to the first three questions for both 
  LocaL coLor and ToWn Lore. This gives us abc and abc with 
  Keeper Info of Lc1 and TL1.
  Group together the information as follows:
  Player-facing
  LocaL coLor
  [abc] a nice, oLd ToWn
  on The surface: Ebon Eaves may have been a destination once upon a 
  time, but its time has passed. No kids walk the streets. The folks are greying 
  and are nice enough in a drug-hazed, dream fugue sort of way – except for 
  the handful whose eyes are sharp and smiles are predatory.
  keeper noTes: Lc1
  ToWn Lore
  [abc] The haunTed TeMpLe aT TWiLighT
  The MysTery: On the outskirts of Ebon Eaves, near the forest, lies The 
  Temple House. It belonged to Jebediah Temple who up and shot his whole 
  family one night before blowing his brains out with a shotgun. Since then, 
  strange lights have been seen in the woods. Some folks claim that you can 
  see the ghosts of Jebediah and his family through the windows of The 
  Temple House just as the sun sets beyond the tree line.
  keeper noTes: TL1
  
  -183-
  Keeper-facing
  LocaL coLor
  [Lc1] a nice, oLd ToWn 
  beneaTh The surface: Ebon Eaves has long succumbed and rotted away 
  due to past dealings with dark entities. It is little more than a dry husk, 
  a corpse. Most folks saunter along blissfully awaiting death, their minds 
  refusing to accept what their forebears did so long ago, selling off their souls 
  for a period of bliss. The resulting offspring of the cursed generation were 
  twisted, mutated things cast aside in the woods. Those who were not already 
  infertile underwent surgical procedures so they could not give birth. The 
  town elders, the most ancient of the lot, seek to bring in fresh blood and 
  strike a new bargain to give themselves a second lease on life.
  hazards
  eLders: The Town Mayor, Jonathan Finch
  Weird: The Creatures in the Woods
  see aLso: invesTigaTor noTes: [abc]
  ToWn Lore
  [TL1] The haunTed TeMpLe aT TWiLighT
  The hidden TruTh: Jebediah Temple was the leader of the Second 
  Church of the Starry Twilight. It was in an old mansion he refashioned for 
  that express purpose. It was said to be on cursed land. The land took its toll. 
  The once pious preacher went mad and took up with the local librarian, 
  much to the dismay of both the townsfolk and his wife, who was pregnant 
  with their fourth child. He began to traffic with dark forces, and this pushed 
  his wife over the edge. When Jebediah’s evil ways were revealed, it was 
  discovered nearly half the town was under his influence, so the remainder 
  took rifle, shotgun, and axe to cleanse the town once and for all. The 
  Temple House has become a place of great power and great evil, soaked in 
  blood and black sorcery.
  hazards
  Landscape: The dark forest, the Temple House
  ToWnies: The surviving remnants of the original cult, hoping to rebuild.
  Weird: Entities drawn to the psychic pain and suffering of the Temple 
  House.
  see aLso: invesTigaTor noTes [abc]
  
  -184-
  Next, list the hazards out separately.
  hazards (LocaL coLor)
  eLders: The Town Mayor, Jonathan Finch
  Weird: The Creatures in the Woods
  HAzArds (TOwN lOrE)
  Landscape: The dark forest, the Temple House
  ToWnies: The surviving remnants of the original cult, hoping to rebuild.
  Weird: Entities drawn to the psychic pain and suffering of the Temple 
  House.
  Take the hazards and create threads.
  Jonathan Finch (the mayor) and the Creatures in the Woods create a 
  simple thread. Looking over the information, we’ll make the Creatures in 
  the Woods the linchpin, and give this thread the texture of “revenge.” We’ll 
  get into more detail in just a bit.
  The dark forest, the Temple House, Cultists, and Entities provides a much 
  more involved thread. Let’s make the Entities the linchpin. There are several 
  different directions this can go, such as “rivalry,” “maturation,” or “ascent.” 
  We’ve got “revenge” going in the other thread, so let’s go with “maturation” 
  to provide some grist for the mill.
  You may note we don’t have subtypes yet. Those are coming. You can select 
  a specific subtype at any time. They are generally obvious in a playset, but 
  you are encouraged to go against the grain as you like. 
  
  -185-
  Assign subtypes.
  Thread a
  Thread b
  The mayor (prophet)
  The dark forest (maze)
  The Creatures in the Woods (outcast)*
  The Temple House (prison)
  Cultists (family)
  Entities (megalomaniac)*
  *the linchpin of the framework
  Now, we can keep these stories separate or mix them together. Let’s make 
  this a proper cat’s cradle, and link the Mayor into both of these threads.
  Thread a
  The mayor used to be a part of the cult, but broke off on his own when 
  he was not selected as the leader. He now believes he is the town’s only 
  salvation. He figures if he can find fresh blood to lift the ancient curse, the 
  townsfolk will then worship him, and he’ll be able to crush the cult. The 
  Creatures in the Woods, on the other hand, want everyone in the town to 
  burn.  
  Thread b
  Some of the cultists live in the catacombs beneath the ruined remains of 
  Temple House. They scare off the locals. A handful of them live and work 
  in Ebon Eaves, and report back periodically.  The dark, twisted entities 
  are seemingly under the control of the cultists, but they have grown more 
  powerful and soon will be able to take control of the cultists. Already, their 
  strength grows, and the forest and the Temple House have started to fall 
  under their control. The entities sense the cultists’ hatred of the mayor, and 
  they seek to seduce him with the promise of power and revenge, using him 
  to help destroy the shackles that bind them to the cultists.
  
  -186-
  Putting it All Together
  FrAmEwOrk A
  The Tragic end: The mayor performs the dark ritual, yet is no match 
  for the Creatures in the Wood that rampage through the town, burning it.
  The unknoWn:  How powerful is the mayor? Does he already know the 
  dark ritual? What exactly are the Creatures in the Woods? What are their 
  powers?
  Lurking eviL: See thread A (earlier)
  darkness groWs: See hazard tracks A (following)
  TheMe: revenge
  HAzArd TrAcks (FrAmEwOrk A)
  The Mayor
  The creaTures in The Woods
  Mayor seen leaving the library.
  Creatures slaughter a deer.
  Mayor orders strange stuff.
  Hunters see the creatures.
  Mayor receives mail order.
  Hunter is killed.
  Mayor enacts ritual.
  Creatures raid a house and kill an 
  innocent.
  Creatures steal an item of power from 
  the mayor.
  Creatures gather en masse to destroy 
  the town.
  
  -187-
  FrAmEwOrk B
  The Tragic end: The Entities, free of their dead masters, control the 
  town through the mayor and the older residents and restore the Temple 
  House to its former glory.
  The unknoWn:  What are the entities? How powerful? 
  Lurking eviL: See thread B (earlier)
  darkness groWs: See hazard tracks B (following)
  TheMe: maturation
  HAzArd TrAcks (FrAmEwOrk B)
  cuLTisTs
  enTiTies
  In casual guise, ordering some building 
  materials.
  Spotted as spectral entities.
  Begin restoring the house.
  Manifest in the woods.
  Restore the house.
  Take over the forest.
  Have a run-in with the mayor.
  Take over the house.
  Take over the mayor.
  You can certainly get into even further depth by placing the triggers for 
  when the different hazards occur. And you should do so as suits your 
  comfort level; the system is such it supports as much or as little as you like. 
  As for the entities and creatures, come up with what works for you from 
  ASHES. Following are a couple of approaches suitable for those who want 
  some guidance.
  
  -188-
  The creaTures in The Woods
  a: 1 s: 1 h:2, exTras: Stealthy 
  speciaL: Telepathy. The creatures can communicate silently with each 
  other when in the woods. 
  enTiTies
  a: 0 s: 2 h: 1, exTras: Invulnerable to Mundane, Stealthy, Weakness 
  to Magic
  speciaL: Possession. An entity can possess a corrupt and/or weakened 
  mind (those with 3 or more shock). It may only try once per target per day. 
  A vulnerable target must acT under pressure to resist. 
  on a 10+, they resist.
  on a 7-9, they are possessed.
   
  
  -189-
  Ebon Eaves
  a creepy little town to call your own
  
  -190-
  EBON EAVES
  A CREEPY LITTLE TOWN TO CALL YOUR OWN
  You have been lured to the town of Ebon Eaves. Fragments of fact and 
  fancy have painted a picture of the old town in your mind’s eye.
  WhaT you Think To be reaL about the town and its people:
  Are the locals friendly?  
   
   
   
  A 
   
  Do they exhibit strange behavior? 
   
   
  B 
  Is it an old community?  
   
   
   
  C
  Does the town have a tragic past? 
   
   
  D 
  Are there any secret societies?  
   
   
  E
  Are the landmark buildings in disrepair?  
   
  F
  Is the economy in decline? 
   
   
   
  G
  You MusT ansWer yes to three and onLy three. 
  joT doWn or circLe yes ansWers.
  WhaT Weirdness you’ve heard about the town:
  Have strange lights been seen in the area? 
   
   
  A 
  Is there a history of ghost sightings? 
   
   
   
  B 
  Has an incident of mass murder ever occurred here? 
   
  C 
  Have there ever been reports of flying creatures?  
   
  D 
  Have there ever been rumors of dark rituals?  
   
  E 
  Is there a history of madness amongst the townsfolk?  
  F 
  Are there any old ruins or buildings in or about the town? 
  G 
  You MusT ansWer yes to three and onLy three. 
  joT doWn or circLe yes ansWers.
  
  -191-
  OPEN or SECRET?
  open: Answer these questions collectively. Decide amongst yourselves 
  what is True. This gives the characters a better sense of what they are 
  getting into. This is recommended for quick pick up play, con games, and 
  groups of two or fewer players. Those unfamiliar with the game are best 
  going this route as well.
  secreT: A little more time consuming, though quite rewarding, is for 
  the Keeper to have each player answer the questions independently (on a 
  questionnaire or scrap piece of paper), tally the results, and determine the 
  end results by majority rule. This works best in groups of three to five.
  reMeMber: How you answer these questions is going to shape 
  your experience within the sTory you will creaTe with the 
  Keeper.
  for The keeper
  The player choices generate two aLpha codes you use to reference the 
  invesTigaTor noTes. At the end of each invesTigaTor 
  noTe, there is a LocaL coLor (Lc) or ToWn Lore (TL) 
  key which references a corresponding entry in the matching keeper 
  noTes section. A handy ToWn WorksheeT (found on the 
  following page) makes it easy to keep track of everything.
  an even pLaying fieLd
  By default, the characters should all be new to the area or returning after a 
  very long absence. This ensures that everyone is experiencing the strangeness 
  of Ebon Eaves together for the first time, and no one has a particular 
  advantage (real or percieved) over another. That being said, if you choose to 
  allow some characters to be already embedded in the community, proceed 
  with caution.
  
  -192-
  Ebon Eaves 
  ToWn WorksheeT
  Local Color
  Town Lore
  naMe
  naMe
  invesTigaTor
   
  invesTigaTor
   
  keeper
   
  keeper
   
  Hazards
  Hazards
  eLders
  eLders
  ToWnies
  ToWnies
  Landscape
  Landscape
  dooM
  dooM
  Weird
  Weird
  
  -193-
  Local Color (Investigator Notes)
  [abc] A Nice Old Town
  on The surface: Ebon Eaves may have been a destination once upon 
  a time, but that time has passed. No kids walk the streets. The folks are 
  greying and are nice enough in a drug-hazed, dream fugue sort of way – 
  except for the handful whose eyes are sharp and smiles are predatory.
  keeper noTes: Lc1
  [abd] A Lovely Place to Visit
  on The surface: Ebon Eaves is a thriving coastal town full of eccentrics. 
  It has distanced itself from its dark past and is on the threshold of becoming 
  a tourist destination. The coats of paint on most buildings are fresh and 
  whitewashed, like the smiles of the locals.
  keeper noTes: Lc2
  [abe] Signs of the Elders
  on The surface: While nice enough, most of the locals are consumed 
  with spending their time in various intimate activities. There is one club for 
  the women, another for the men, and even one for the children. The crime 
  rate is low. Most outsiders avoid the place, as the streets seem too quiet, 
  too empty.
  keeper noTes: Lc3
  [abf] Faded Glory
  on The surface: Ebon Eaves, a simple mining town located in the 
  foothills, gets by. The folks have long since resigned themselves to their 
  lot in life, and rather than be melancholy, embrace their free time with 
  excessive carousing and strange pursuits. As such, general upkeep of the 
  town itself has gone by the wayside. The people dance while their world 
  crumbles away.
  keeper noTes: Lc4
  
  -194-
  [abg] On Borrowed Time
  on The surface: The highway bypass put a nail in the coffin of Ebon 
  Eaves. No longer on a main thoroughfare, its hot springs are not enough 
  of a draw to get people to visit. Those who come to town are treated like 
  royalty. The rooms are cheap. The food is plentiful and piping hot. A visitor 
  can put on five pounds easily over the course of the weekend or with a slice 
  of Daisy’s homemade pie. 
  keeper noTes: Lc5
  [acd] Battle Scarred
  on The surface: Ebon Eaves is a quaint cottage community located about 
  an hour’s drive from the nearest city. About fifty years ago, Hermann’s 
  Chemical Factory exploded, and the fire spread to most of the town. It 
  burned for three days. No one could save the souls trapped inside. Nowadays, 
  there are strict fire laws and a mammoth fire station. A local brewery stands 
  where the factory once did.
  keeper noTes: Lc6
  [ace] The Enclave
  on The surface: After the last war, Ebon Eaves retreated in on itself. It 
  lost a lot of sons and more than a few daughters. Now, it wishes merely 
  to be left alone. There are several secret orders which have sprouted up 
  over the years. Most have fallen off, with the notable exceptions of The 
  Fraternal Lodge of Life and Liberty and The Darkling Sky.
  keeper noTes: Lc7
  [acf] A Study in Antebellum
  on The surface: Not much has changed in Ebon Eaves since the Civil 
  War. The Winslett family still owns the general store and pretty much runs 
  things. Folks go off to college, and they come back. Less attention is given 
  to maintaining the buildings. Vines weave in and out of the cracks in the 
  sidewalks and masonry, threatening to bury everything in a thick layer of 
  green.
  keeper noTes: Lc8
  
  -195-
  [acg] Southern Rustic
  on The surface: The world outside hurries by, and the folks of Ebon 
  Eaves couldn’t care less. They have festivals and fairs and are largely regarded 
  as a fun weekend destination with a community headed up by Buddy and 
  Juniper Wisdom, owners of Wisdom Farms. Despite this, the Caldecott 
  Casino up the road—the latest encroachment of competition—has been 
  pulling away the revenue stream. The folks know the town will assuredly 
  die a quiet death, but are too set in their ways to change.
  keeper noTes: Lc9
  [ade] Frayed Knots
  on The surface: About twenty years ago, Jessica Wayne was hung for 
  killing her parents. Folks largely put it in the past, until her younger sister 
  went crazy a few years later. Both sisters had a strange tattoo on their wrists. 
  No one could make heads or tails out of them. Soon after, the powers that 
  be figured there must be something in the water and built the asylum about 
  three miles outside of town. 
  keeper noTes: Lc10
  [adf] Grim Prospects 
  on The surface: Ebon Eaves used to be a nice little place until Mayor 
  Manning took over. He came in from the big city with his silver tongue and 
  slick ways about thirty-five years ago. That’s when the crops shriveled up. 
  Farmer Johnson tried to run against him. He and his family died in a house 
  fire. Since then, Manning’s run unopposed. The folks are friendly enough 
  until you realize those smiles are like the cheap plaster on the courthouse 
  steps, cracked and worn.
  keeper noTes: Lc11
  
  -196-
  [adg] Rose Colored Glasses
  on The surface: Ebon Eaves has seen better days, yet the inhabitants 
  trudge ever onward. Yellow Fever hit the thriving community in the 1890s 
  and since then, folks have never been the same. Their spirits are broken. 
  They are polite, warm, and surprisingly intimate with strangers. Their lust 
  for life is largely gone, though they speak of better days ahead in hollow 
  tones. 
  keeper noTes: Lc12
  [aef] Baker’s Dozen
  on The surface: Ebon Eaves is a quaint, bustling, community which saw 
  its heyday twenty or so odd years ago. That was when McKenzie Baker, a 
  dark, swarthy man, moved into town and remodeled the old Windsor Place, 
  where he began holding decadent, extravagant parties. Heavily into the 
  occult, he formed a lodge known as the Silver Circlet and selected a dozen 
  acolytes from the locals to serve him. After his passing last year, the Silver 
  Circlet has disbanded, and Windsor Place sits crumbling on the hilltop 
  overlooking the town.
  keeper noTes: Lc13
  [aeg] Circling the Drain
  on The surface: Ebon Eaves is a town of secrets, a town of shadows. 
  The people are friendly to a fault, yet they gather privately in the fields on 
  certain nights. It seems every month or so, another business closes down, 
  and another family moves out of town. A third of the houses stand vacant 
  and boarded up, and there is little hope of relief in the days ahead. Forester 
  Stern, an investor from the big city, thinks he can turn things around.
  keeper noTes: Lc14
  
  -197-
  [afg] Dens of Decay
  on The surface: Ebon Eaves is a small town known for its decadence 
  and extreme hedonism. They say anything is available there for a price. 
  Drugs, death, companionship, and other exotic desires can be fulfilled. It 
  is virtually lawless, unless you count Regal Dearth, the man who runs The 
  Lazy Susan, a small jazz club with lavish opium dens in the back. 
  keeper noTes: Lc15
  [bcd] Ground Down and Spit Back Up
  on The surface:  Ebon Eaves is a little known enclave located far off 
  the beaten track. About fifty years ago, a lot of folks underwent secret 
  government experiments. It made national headlines about five years ago, 
  though the details of exactly what was done remain a mystery. In light of 
  world events, the news faded rapidly. The residents settled for an undisclosed 
  amount, but few have to work, though many carry on as they always have.
  keeper noTes: Lc16
  [bce] Keepers of the Silver Flame
  on The surface: Ebon Eaves is a town of dark shadows and perpetual 
  twilight. Nestled in a deep valley amidst high mountains, direct sunlight 
  never strikes the community. The people are quiet and pale, regarding 
  outsiders with suspicion and distrust. Dominating the town square is the 
  Order of the Silver Flame, an ancient lodge peculiar to the locals, situated 
  directly across from the town hall. 
  keeper noTes: Lc17
  [bcf] Better Things to Do
  on The surface: Once upon a time, Ebon Eaves was involved 
  in government projects and was nicknamed “The Brain Trust”. The 
  administration discarded them once their work was complete and left them 
  to their own devices. The town is an oddity. It is in a sad state of disrepair, 
  with many of the stores on Main Street boarded up and vacant. There is one 
  boarding house open to the few travelers who pass through. 
  keeper noTes: Lc18
  
  -198-
  [bcg] Leave Us Be
  on The surface: No one goes to Ebon Eaves anymore. Even the town 
  sign warns “It’s Not for Outsiders”. The roads have long been overgrown 
  and the place has been ignored by the county. Up until about five years ago, 
  a truck would go to the nearest town to bring back supplies. No more. The 
  town sits on Windham’s Cove, an old inlet, and is otherwise surrounded by 
  old growth forest.
  keeper noTes: Lc19
  [bde] The Raid and the Rapture
  on The surface: During the Prohibition Era, Ebon Eaves became an 
  ideal transport center for whiskey coming down from Canada. Rival gangs 
  moved in from New York and a blood bath ensued, which threatened to 
  destroy the town until the rise of the Silver Saints.  These vigilantes serve 
  The Church of the Seventh Star. Since then, the locals have become bible-
  thumping, god-fearing folks who believe in the word of Pastor Ezekiel 
  O’Sullivan, the Church’s militant leader.
  keeper noTes: Lc20
  [bdf] Shadow of the Orphanage
  on The surface: Open Arms Orphanage once stood upon the hillside 
  overlooking Ebon Eaves, a testimony to its progressive thinking and caring 
  nature. Now, the half-burned, crumbling ruin is a reminder of that fateful 
  day when Eloise McElroy went mad and tried to burn the place down. 
  Open Arms stands untouched; the lock rusted to the gate for over seventy-
  five years. 
  keeper noTes: Lc21
  
  -199-
  [bdg] The Hanging Tree
  on The surface: Ebon Eaves sprang up first as a tent community about 
  ten miles down the road from the big city. It was close enough for folks 
  to gather around the big old oak and hustle for whatever crumbs the city 
  folk were offering—usually back-breaking work for little more than watery 
  soup and two bits. Then the city folk came without cause and started the 
  hangings. Over ten men hanged, causing the branches on the old oak to 
  creak under their weight. The rest of the town folk never forgot that over 
  the years. The oak overlooks Memorial Park on the northern edge of the 
  town. The people have been suspicious of outsiders ever since, which has 
  cast a pall over its otherwise pastoral splendor.
  keeper noTes: Lc22
   
  [bef] The Raven’s Roost
  on The surface: Beyond the lights of the suburban sprawl lies the seaside 
  community of Ebon Eaves. Once the haven of pirates and their kin, it is a 
  small, tightly knit community that has been growing in the last decade. The 
  urban renewal has focused on new construction, creating dissent amongst 
  older members of the community. Jack Fenwick of Fenwick Manufacturing 
  heads up Rook House, a private men’s club, while his far younger wife, 
  Madeline, oversees Twine, Rook House’s sister society.
  keeper noTes: Lc23
  [beg] The Keepers of the Dead
  on The surface: Ebon Eaves is little more than a giant mausoleum, 
  catering to a strange clientele of folks fascinated with death and its trappings. 
  Labeled the Suicide Capital of the South, it is nestled deep in the swamps 
  and hidden by cypress trees and Spanish moss. Franklin Funerary offers 
  rooms for rent above its funeral parlor and viewing areas. Some visitors 
  claim to hear strange chanting and drums at night. The locals advise it is 
  dangerous to go wandering off into the darkness and leave it at that.
  keeper noTes: Lc24
  
  -200-
  [bfg] Seclusion
  on The surface: The town of Ebon Eaves is little more than a rough 
  center where the rural community gathers when not working their fields 
  or hunting the old growth forest which surrounds them to the north and 
  west. There used to be a bridge to Coffin Mills, but it burned down about 
  twenty years ago and was never rebuilt. Those who work at the small factory 
  generally only come home on the weekends, using the portage ferry to 
  cross the deep, fast waters of the Cavanaugh Wash. Its landmark research 
  hospital, Daniel T. Justice Memorial, brings a regular influx of the sick 
  hoping for a reprieve from death. This is rarely the case.
  keeper noTes: Lc25
  [cde] The Penitent
  on The surface: Ebon Eaves sits smack dab in the center of a dry 
  county—the only place grandfathered in when the laws were changed 
  about thirty years ago. As such, it gets a mishmash of drifters and drinkers 
  and unsavory types. Add to the fact it is situated beneath a mental health 
  facility to the north (about five miles up the road) and a penitentiary to the 
  southwest, and one can only wonder about the things the locals have seen. 
  The bar, aptly named The Oasis, is small but surprisingly roomy and rarely 
  crowded. There is a small rattling window air conditioning unit, two pool 
  tables, a small bar, and three tables along the opposite wall. Dexter Tree, the 
  chief bartender, doesn’t truck with any trouble. A pass-through window cut 
  into the back wall allows for folks who live in the poorer district of town to 
  buy beer directly without ever setting foot inside.
  keeper noTes: Lc26
  
  -201-
  [cdf] Paradise Lost
  on The surface: Ebon Eaves was once an exclusive island paradise, with 
  only about fifty homes. The residents were all devoted to boating, having 
  copious amounts of leisure time. Taken in by a smooth-talking con man 
  and their own greed, they lost their shirts, and were forced to open their 
  arms to outsiders. The place looks like the run-down resort that it is. Marble 
  fountains are cracked and falling apart. There is a makeshift town hall in 
  what the Meriwethers used to call their home. Bernadette’s Boarding House 
  is home to many who come to enjoy the fine fishing and pleasant clime. 
  The old folks are begrudgingly beholden to the new folks, and are habitually 
  passive-aggressive.
  keeper noTes: Lc27
  [cdg] The Collapse
  on The surface: Some say Ebon Eaves was never prosperous. Most folks 
  claim it was a gambling den and Lincoln himself slept in the Bent Spoon 
  Lodge just up the road a ways. Even the oldest of the old can’t remember 
  a time when living was more than hand-to-mouth. The oldest citizens in 
  town say their parents told them things were good when the Richmond 
  Mines were still open, though no one knows why it ever closed or why the 
  Richmonds refuse to reopen it.
  keeper noTes: Lc28
  [cef] Rust
  on The surface:  The factory town of Ebon Eaves sits in the heart of 
  a manufacturing region and is one cog of a very large and dysfunctional 
  machine. The folks care little about the outside world and even less about 
  general appearances. They work long hours and spend their precious 
  free time in worship at The Black, a monolithic basalt building, which is 
  surprisingly well-maintained.
  keeper noTes: Lc29
  
  -202-
  [ceg] Lost Promises
  on The surface: The citizens of Ebon Eaves had never known anything 
  other than prosperity until the passing of Reverend Bartholomew Green. 
  Now they suffer unknown blights and misery on a staggering scale. Crime 
  has risen. Violence has grown more pervasive. Crops refuse to grow. Animals 
  miscarry and cows give sour milk. The folks seek another to lead the lost 
  flock and restore them to the proper path.
  keeper noTes: Lc30
  [cfg] An Emptiness Resides
  on The surface:  Ebon Eaves used to be a college town until twenty 
  years ago, in 1904, when the college relocated to the city up the road a 
  stretch. Now the sprawling campus is overgrown and abandoned. Ebon 
  Eaves used to be a lot of things. Now it’s little more than lost shadows and 
  empty dreams. There is an overgrown racetrack where no horse has set foot 
  in a decade. Even the statue of the founder, Edward Black, stands slightly 
  crooked in the town square, a side effect of the earthquake of ’04. Most 
  of the local residents comprise parts of the Falcon Faculty. Old Professor 
  Eddie, a historian half off his rocker, can still be found puttering around the 
  Wright College grounds, mumbling to himself.
  keeper noTes: Lc31
  [def] End of an Era
  on The surface: In its heyday, Ebon Eaves was a prominent destination 
  among the jet-set. Nestled in a private cove along the coast, it boasted a 
  lavish yacht club and a vineyard that is still known for its reds and clarets. 
  An indiscretion between a producer and a local girl made national headlines 
  and cast the town in a negative light. The power of the press, guided by 
  Hollywood, versus an angry father protecting his family resulted in the town 
  being blacklisted. With the loss of revenue, the yacht club closed down, 
  and only the quality of its wines has enabled the town to survive. Fishing 
  is a popular pastime, and some tourists are interested enough in a celebrity 
  experience to give Ebon Eaves the hope of a brighter future.
  keeper noTes: Lc32
  
  -203-
  [deg] The Widening Gyre 
  on The surface: Ebon Eaves is where dreams go to die. Located in the 
  suburbs of the city, it provides a reasonable commute for those who can 
  no longer afford the bright lights, but refuse to give up quite yet. Aspiring 
  writers, actors, and comedians have made Ebon Eaves their new home. The 
  older folks are a dour lot who walked the same path as the younger and 
  don’t wish to be reminded of their failures. They keep largely to themselves, 
  spending a lot of time in the Granville Mansion doing god-knows-what. It 
  has largely become a community of transients, and once the founders finally 
  die off or move away, the younger generation relying upon them will have 
  no choice but to find another cottage town to cling to.
  keeper noTes: Lc33
  [dfg] Disintegration
  on The surface: In ten years, if that long, Ebon Eaves will be no more. 
  In twenty, it is doubtful anyone will even remember its name. That’s a 
  good thing, for the land has been cursed, the people victims of a tragic 
  and sorrowful string of circumstances dating back to its beginnings. It was 
  settled twice. The first time, the people disappeared akin to the same events 
  surrounding Roanoke. The land is deceptively beautiful, but in its tranquility 
  lies untold danger. The nearby mines have collapsed three times, killing 
  more than a hundred men through the years. Over a dozen men have been 
  struck by lightning in the past fifty years. Children wander into the woods 
  and are never seen again. Tranquil Manor, the small asylum, is full-to-
  brimming with locals driven mad. Few visitors come, save for thrill seekers 
  and salesmen new to the area. Few locals have the will to leave, fearing the 
  bad luck will follow them wherever they go. 
  keeper noTes: Lc34
  
  -204-
  [efg] Black Well’s Lullaby
  on The surface: The town of Ebon Eaves lies upon worthless land, 
  ruined by the discovery of oil and the recklessness of man. Once, there 
  was a fine lake nearby, Lake Wells, famous for fishing and recreation. 
  Many a local depended upon it, if not for their living, then certainly for 
  their cupboards. The Freelander Lodge took issue when Slake Refineries set 
  up shop on its shores and began processing the huge oil deposits found 
  beneath Brennan Keys’ homestead. Fearful the lake would be polluted, the 
  refinery was repeatedly vandalized in an effort to drive the corporation out. 
  Edmund Slake eventually got tired of fighting them and closed the plant 
  down. Abandoned and untended, the worst happened—pipes rusted and oil 
  seeped into the land and the water. The once beautiful lake, now called Black 
  Wells, is a stagnant swamp of muck and mire.  The Lodged denied any 
  wrongdoing on their part and even had Keys held accountable—the little 
  wealth he had was paid to the city in damages for his part in the dealings 
  with city folk. Most tourists come to see the place where Jack Reynolds, a 
  folksinger, got his inspiration for Black Well’s Lullaby, a melancholy song 
  about lost love.  
  keeper noTes: Lc35
  
  -205-
  Local Color (Keeper Notes)
  [Lc1] A Nice, Old Town 
  beneaTh The surface: Ebon Eaves has long succumbed and rotted away 
  due to past dealings with dark entities. It is little more than a dry husk, 
  a corpse. Most folks saunter along blissfully awaiting death, their minds 
  refusing to accept what their forebears did so long ago, selling off their 
  souls for a period of bliss. The resulting offspring of the cursed generation 
  were twisted, mutated things, cast aside in the woods. Those who were not 
  already infertile underwent surgical procedures so they could not give birth. 
  The town elders, the most ancient of the lot, seek to bring in fresh blood 
  and strike a new bargain to give themselves a second lease on life. 
  Hazards
  eLders: The Town Mayor, Jonathan Finch
  Weird: The creatures in the woods
  see aLso: invesTigaTor noTes: [abc]
  [Lc2] A Lovely Place to Visit
  beneaTh The surface: Ebon Eaves is wrapped in mysteries tied deeply 
  into its town lore and guards its secrets carefully.  Sheriff Parks does what 
  he can to keep things hush-hush and is aided in his efforts by Amanda 
  Clementine, the elderly librarian. Tommy Magellan is a city-slicker real 
  estate agent who is interested in constructing resort homes in the area. 
  The investigators’ arrival triggers the awakening of a long dormant, dark 
  presence.
  Hazards
  eLders: Sheriff Parks, Amanda Clementine
  Weird: The Dark Presence
  see aLso: invesTigaTor noTes: [abd]
  
  -206-
  [Lc3] Signs of the Elders
  beneaTh The surface: While The Cigar Club and The Student Union 
  are simple social groups for the men and children respectively, the ladies of 
  The Washburn Society have long been protectors against the dark, unnatural 
  forces plaguing Ebon Eaves. 
  Hazards
  eLders: The Washburn ladies
  ToWnies: The children
  see aLso: invesTigaTor noTes: [abe]
  [Lc4] Faded Glory
  beneaTh The surface: Everyone knows the Granville Mines located in 
  the Lonely Hills are a deathtrap. The thing is, there aren’t a lot of options in 
  Ebon Eaves, so people drink heavily to forget their troubles. The mayor is 
  greedy and brooding, and drinks as much as anyone else. These are simple 
  folk; no one’s looking for change.
  Hazards
  eLders: Mayor Wallace Hink
  ToWnies: The miners
  Landscape: Granville Mines, The foothills 
  see aLso: invesTigaTor noTes: [abf]
  [Lc5] On Borrowed Time
  beneaTh The surface: Ebon Eaves is a cozy little town which is showing 
  great signs of wear. The folks are desperate. An ancient evil lurks in the 
  foothills. An evil with which the settlers long ago made a pact. Now, the 
  sacrifices have slowed. People have been disappearing. The Starry Twilight 
  Church, a group of fanatic cultists run by Daisy McGee, seeks to restore the 
  status quo with the creature, and has made more dark promises. They treat 
  outsiders like royalty before fattening them up, drugging them, and turning 
  them over to the thing in the hills.
  Hazards
  eLders: Daisy McGee
  ToWnies: Daisy’s diners
  Weird: Thing in the hills
   see aLso: invesTigaTor noTes: [abg]
  
  -207-
  [Lc6] Battle Scarred
  beneaTh The surface: Amanda Hermann was involved in mysticism 
  and the occult in her youth. She and her friends played with rituals and 
  rites in the basement of the chemical building and inadvertently summoned 
  a fire vampire. In exchange for sacrificing the factory, she was gifted with 
  great powers. No one speaks of her walking out of the fire while everyone 
  else died. Some of the elders witnessed the fire vampire feasting upon those 
  trying to escape. Those folks tend to drink heavily. Amanda Hermann, now 
  62, still looks youthful and is shunned by the community at large.
  Hazards
  eLders: Amanda Hermann
  ToWnies: Firemen 
  Landscape: The Blessing Brewery
  see aLso: invesTigaTor noTes: [acd]
  [Lc7] The Enclave
  beneaTh The surface: Ebon Eaves is an old farm community, dating 
  back to the early 1700’s. Once nicknamed Patriot’s Point, the town’s outlook 
  changed after The Great War. This attitudinal shift is largely attributed to 
  Deacon Justice Jones, a pacifist who promotes peace and is the founder 
  of The Fraternal Order of Life and Liberty. The Darkling Sky is a loosely 
  organized militia formed in response to Jones’ preaching. There have been 
  several small eruptions of violence between the two groups, and it is only a 
  matter of time before someone goes too far.
  Hazards
  eLders: Deacon Justice Jones
  ToWnies: The Darkling Sky
  see aLso: invesTigaTor noTes: [ace]
  
  -208-
  [Lc8] A Study in Antebellum
  beneaTh The surface: Aside from the rundown town square, Ebon 
  Eaves hasn’t changed much since its founding. It is a quaint community, 
  founded in courtesy and tradition and unaccustomed to change. For example, 
  The Winslett Family, nice folks, still hold their private rituals off in the old 
  growth forests every full moon without fail. Visitors are told to watch out 
  for wildlife if they decide to go hunting or hiking, for no one knows what 
  they might run across.
  Hazards
  eLders: The Winslett Family
  Landscape: The Dark Woods
  see aLso: invesTigaTor noTes: [acf]
  [Lc9] Southern Rustic
  beneaTh The surface: Ebon Eaves held a certain appeal to the city 
  folk, who often looked at it as a relaxing getaway. With the introduction 
  of the casino into the area, the town has put an even greater emphasis on 
  wholesome family fun. People wonder why the Wisdoms don’t raise more 
  of a fuss, but neither Buddy nor Juniper want a spotlight turned on their 
  “son”, Kidney, whom they keep locked away in the basement. Kidney is 
  not quite right in the head and has been kept out of asylums only by the 
  Wisdom’s close community ties. Aside from the family, only the retired 
  medical doctor, Joshua Brothers, and the town sheriff, Van Hearst, know 
  about him and his condition.
  Hazards
  eLders: Buddy and Juniper Wisdom
  Landscape: Wisdom Farms
  Weird: Kidney, an unholy offspring
  see aLso: invesTigaTor noTes: [acg]
  
  -209-
  [Lc10] Frayed Knots
  beneaTh The surface: Jessica Wayne and her younger sister Gossamer 
  were the pride and joy of Ebon Eaves. They were candy stripers at the 
  hospital. They did charity work. They went on long hikes together. Then 
  something happened in the woods. Something that drove Jessica mad 
  enough to kill her parents. Gossamer, fifteen at the time, was taken in by 
  the Seven Sons Nondenominational Church (SSNC). She was quiet and 
  withdrawn. Yet she came home from doing errands one day when she was 
  eighteen, the same age at which her sister killed their parents, and crucified 
  the pastor. She was committed to Weeping Angel Asylum, and her screams 
  sometimes seem to echo through the woods and carry across the town on a 
  quiet day. Many businesses have closed, and foot traffic has all but dried up 
  with such shocking and terrifying reminders of the tragedy of the Waynes.
  Hazards
  Landscape: Weeping Angel Asylum, The Forest
  Weird: Gossamer Wayne, thirty-five
  see aLso: invesTigaTor noTes [ade]
  [Lc11] Grim Prospects
  beneaTh The surface: Mayor Pendleton “Pen” Manning is a dark priest 
  for a death cult. Ebon Eaves was given to him in a vision by his master. 
  Now, he prepares for the day when the stars align and his god shall wreak 
  ruin upon the earth. He has recruited a select coterie of locals into his 
  service. The rest of the people are meek and fearful, lest they meet the same 
  mysterious fate as any who have spoken against him or his harsh justice.
  Hazards
  eLders: Mayor Manning
  Landscape: Corrupted farmland
  see aLso: invesTigaTor noTes [adf]
  
  -210-
  [Lc12] Rose Colored Glasses
  beneaTh The surface: It wasn’t the Yellow Fever that hit Ebon Eaves. It 
  was something far, far worse. They were struck with a gypsy curse, a curse 
  destined to repeat every twenty-five years until they can find a way to end 
  it. No one knows what Geoffrey Malmouth and his rowdy men did to the 
  gypsies after they drove them into the old ruins in the woods.  Old stories 
  say they came back quiet and bloody. The townsfolk think they can atone 
  by being nice to visitors. Things are never quite that easy.
  Hazards
  Weird: The Curse
  Landscape: The broken tower in the woods
  see aLso: invesTigaTor noTes [adg]
  [Lc13] Baker’s Dozen
  beneaTh The surface: Old McKenzie Baker may have died, but his 
  followers brought him back in a less than pristine condition. He is confined 
  to a refrigerated room in the sub-basement of his manor, though he wanders 
  about from time to time. The Dozen, led by Tabitha O’Flaherty, the most 
  charismatic of the lot, attempt dark experiments to restore him to his former 
  glory.  They have closed the mansion down from its extravagant days to 
  where it is now—a mad laboratory littered with relics of the occult.
  Hazards
  eLders: Tabitha O’Flaherty
  ToWnies: The Dozen
  Weird: McKenzie Baker
  Landscape: The Windsor Place
  see aLso: invesTigaTor noTes [adg]
  
  -211-
  [Lc14] Circling the Drain
  beneaTh The surface: The people are simple folk who have long held 
  campfire parties as a way to blow off some steam. They don’t invite outsiders, 
  as they generally let their hair down, drink heavily, and engage in other 
  activities a bit beyond the norm, be it self-mutilation as performance art or 
  more rampant displays of exhibitionism. Forester Stern, positioned as the 
  town’s savior, is actually an occult priest who hopes to use their heightened 
  emotional energies to fuel some rituals.  He has met with little to no success. 
  He keeps the town alive, just barely.
  Hazards
  dooM: Manifesting emotional maelstrom
  Landscape: The stone circles in the fields
  Weird: Forester Stern
  see aLso: invesTigaTor noTes [aeg]
  [Lc15] Dens of Decay
  beneaTh The surface: Regal Dearth went to the Dreamlands once when 
  he was a child. Since that fateful day, he’s tried nearly everything to get back 
  there. He grew up in Ebon Eaves and believes the land has power. In a bit 
  of irony, he bought Marcy’s drugstore (where he had his first Dreamlands 
  experience), bulldozed it, and constructed The Lazy Susan in its place. His 
  mad quest to enter the Dreamlands at any cost has caused the very fabric 
  between the real and the imagined to collapse a bit, as the Otherness bleeds 
  into the nooks and crannies of the town.
  Hazards
  eLders: Regal Dearth
  dooM: The Otherness
  Landscape: The Lazy Susan
  see aLso: invesTigaTor noTes [afg]
  
  -212-
  [Lc16] Ground Down and Spit Back Up
  beneaTh The surface: The elders of Ebon Eaves decided to sell their 
  poor to the government for testing. The poor had nothing to do with this 
  decision. A separate water supply carried various chemicals and toxins into 
  their drinking and shower water. A small fraction of them survived, usually 
  the women. The experiments also accelerated the gestation cycle and increase 
  dfertility. The offspring were often stillborn. Others had weak immune 
  systems and died young, though a few escaped to the abandoned coal mines. 
  Taylor Rain and her twin brother, Maximilian, were the only ones to not 
  only survive, but prosper. They went to law school, uncovered the truth, 
  and sued the government in a class action lawsuit. Never married, the pair 
  lives in a mansion in the center of town, administering the settlement funds. 
  Their widowed mother, Quince Rain, lives in a boarding house and never 
  speaks to them.
  Hazards
  eLders: Taylor and Maximilian Rain
  Landscape: Abandoned coal mines
  Weird: Quince Rain
  see aLso: invesTigaTor noTes [bcd]
  [Lc17] Keepers of the Silver Flame
  beneaTh The surface: Ebon Eaves is located in Shadow Vale. An old 
  factory town, it is largely self-sufficient, selling its goods to the nearby 
  city, while the handful of farmers supply enough fresh produce for the 
  community. The original founders were Masons who lost their charter 
  during the Civil War, when they broke with tradition by allowing women 
  to become members. Reformed as The Order of the Silver Flame, it is a 
  charitable organization charged with looking after the poorer members of 
  the region, while also protecting the town’s dark secrets.
  Hazards
  ToWnies: The Order of the Silver Flame members
  Landscape: The Valley
  see aLso: invesTigaTor noTes [bce]
  
  -213-
  [Lc18] Better Things to Do
  beneaTh The surface: The residents of Ebon Eaves were more than 
  happy to be freed from working on military applications and have turned 
  to more esoteric applications of the scientific method. Maybe a dozen are 
  left of the original group, and all but three putter around harmlessly. Triage, 
  the consortium formed by the remaining three, is still trying to perfect 
  teleportation, with mixed results—they have lost test subjects and brought 
  strange things through. Failed experiments are thrown in the Dump, a 
  deep, seemingly bottomless chasm in the woods north of town. Every once 
  in a while something crawls up out of the sludge and wreaks havoc, and is 
  clinically considered part of the price of progress.
  Hazards
  eLders: The Triage
  Landscape: The Dump
  Weird: Sludge creatures
  see aLso: invesTigaTor noTes [bcf]
  [Lc19] Leave Us Be
  beneaTh The surface: Ebon Eaves is dying a quiet death. And its 
  residents are fine with that, as most of them are mad. Weeping Angels 
  Asylum was the scene of an uprising six years ago, and it grew dark and 
  bloody. Inmates escaped. Shots were fired. A consensus was reached. 
  Weeping Angels is now entirely voluntary, and inmates come and go as 
  they will. Most are largely harmless. The town subsists chiefly on beets and 
  fish, with the occasional bit of wild game. Tristan Woods, known as the 
  Alderman, keeps things together and encourages the xenophobic behavior. 
  The town has reestablished its ties to the Deep Ones living off the coast.
  Hazards
  eLders: Tristan Woods
  ToWnies: The mental cases
  Weird: Deep ones
  see aLso: invesTigaTor noTes [bcg]
  
  -214-
  [Lc20] The Raid and the Rapture
  beneaTh The surface: It wasn’t the gangs that almost tore Ebon 
  Eaves apart; it was the evil in their hearts that awakened The Beast. Pastor 
  O’Sullivan used to fight monsters and founded The Church of the Seventh 
  Star. He trained his followers to fight back the rising tide of darkness. While 
  they managed to succeed, the Beast got into their blood and twisted them. 
  O’Sullivan is barely able to contain his wrath and sees sin everywhere he 
  turns. His followers, the Silver Saints, are little better than thugs, abusing 
  their bit of power. The Beast already stirs in its sleep. Should it awaken, 
  things will certainly grow far more sanguine.     
  Hazards
  eLders: Pastor Ezekiel O’Sullivan
  dooM: The Beast awakening
  Landscape: Church of the Seventh Star
  ToWnies: The Silver Saints
  see aLso: invesTigaTor noTes [bde]
  [Lc21] Shadow of the Orphanage
  beneaTh The surface: Ebon Eaves never recovered from McElroy’s 
  madness. Her sin seeped into the soil. Over a hundred children died when 
  she burned Open Arms Orphanage. She had been infected by a brain 
  burrower that made her view children as evil. Although she died in the fire, 
  the brain burrower is still alive, trapped within the ruins, feasting upon the 
  tormented souls still trapped with it and waiting for someone to stumble 
  upon it once more.
  Hazards
  dooM: The brain burrower
  Landscape: Open Arms Orphanage
  Weird: Ghost orphans
  see aLso: invesTigaTor noTes [bdf]
  
  -215-
  [Lc22] The Hanging Tree
  beneaTh The surface: Ebon Eaves doesn’t care much for outsiders. 
  Considering them a necessary evil, the locals are close-mouthed and quiet 
  with strangers, preferring their own company. The hangings in the past 
  were due to the involvement of some of the townsfolk with a strange cult 
  connected to the town lore. The cult has survived, going deep underground, 
  and it carries on their traditions of bleeding the fields and other pagan 
  fertility rites.
  Hazards
  ToWnies: Shadow cultists
  Landscape: Memorial Park
  Weird: The Hanging Tree
  see aLso: invesTigaTor noTes [bdg]
  [Lc23] The Raven’s Roost
  beneaTh The surface: Ebon Eaves is undergoing a transformation. 
  Under the secret direction of Madeline Fenwick, the older parts of town are 
  being excavated under the auspices of improving the community. In truth, 
  the Fenwicks are looking for something, a long-forgotten relic of untold 
  power which, unbeknownst to any, lies beneath Fenwick Manufacturing 
  itself. 
  Hazards
  eLders: Madeline Rook, occultist
  Landscape: Fenwick Manufacturing
  ToWnies: Rook House and Twine members
  see aLso: invesTigaTor noTes [bef]
  
  -216-
  [Lc24] The Keepers of the Dead
  beneaTh The surface: Ebon Eaves is known as Creepsville to folks in 
  the neighboring townships. The only traffic it gets is from those tourists with 
  a deep interest in the macabre and a growing number of alienists intrigued 
  by this strange obsession with the dead. A lot of folks die off in the swamps, 
  and it’s chalked up to suicide. Franklin Funerary does a booming business. 
  Mitchell Hemsworth, the present owner of the funeral home, is wheelchair-
  bound. His daughter, Amanda, handles the day-to-day operations and is the 
  high priestess of the local death cult.
  Hazards
  eLders: Amanda Hemsworth
  Landscape: The Swamps
  see aLso: invesTigaTor noTes [beg]
  [Lc25] Seclusion
  beneaTh The surface: Ebon Eaves was once home to a small private 
  university until it went belly up and was bought by private investors. It 
  became the Daniel T. Justice Memorial Hospital. Malcolm Coffin, who runs 
  the family-owned Coffin Mills, funneled money through his cousins to buy 
  the property. Daniel T. Justice was a renowned scientist who was heavily 
  involved in life-extending research, and headed the science department of 
  Calhoun University until he died from the result of his experiments. A 
  branch of the hospital—off limits to all but staff—continues his work, often 
  using patients to further its research. Malcolm Coffin has tuberculosis and 
  doesn’t want to die. Justice, a revenant, haunts the halls and wants his dark 
  research discontinued. 
  Hazards
  eLders: Malcolm Coffin
  ToWnies: Mills factory workers
  Landscape:  Coffin Mills
  Weird: Daniel T. Justice (revenant)
  see aLso: invesTigaTor noTes [bfg]
  
  -217-
  [Lc26] The Penitent
  beneaTh The surface: In 1898, the folks of Wainscott County decided 
  to give up the sins of alcohol. This raised the ire of Ebon Eaves, as they 
  grew corn and trafficked in sour-mash. With the economy of Ebon Eaves on 
  the verge of collapse, Theodore Tree came ambling into town. Part snake-
  oil salesman and all silver tongue, he managed to persuade the city folk to 
  turn a blind eye towards Ebon Eaves. In return, the townsfolk gave him 
  ownership of The Oasis, free and clear. Today, his grandson runs the place, 
  while Teddy spends his days reading occult treatises and his nights trying 
  to persuade otherworldly entities to cure his cancer. He is in the beginning 
  stages of recruiting certain locals to his cause.
  Hazards
  eLders: Theodore Tree
  dooM: Teddy’s Pact
  see aLso: invesTigaTor noTes [cde]
  [Lc27] Paradise Lost
  beneaTh The surface: Located just off the Florida panhandle, Ebon 
  Eaves is nestled on a sprawling island that is largely overgrown ruins at 
  this point. Sometimes folks come from the mainland to take advantage 
  of the cheap rooms and see how the wealthy used to live in the once-
  exclusive community. When the elite owners of the island lost their shirts, 
  many threw themselves off Huntsman’s Reef. Mayor Justin White lives in 
  a crumbling mansion atop a hill in the center of town. It also serves as the 
  court house and town hall. People think he’s a bit off, and they’re right.
  Hazards
  eLders: Mayor Justin White
  ToWnies: The old folk, collectively known as the Broken
  Landscape: Huntsman’s Reef
  see aLso: invesTigaTor noTes [cdf]
  
  -218-
  [Lc28] The Collapse
  beneaTh The surface: In the early 1800’s, Ebon Eaves was a wildly 
  raucous coal mining town. Percival Richmond, then mayor and chief 
  claimant to the largest stake in the area, discovered silver in the Richmond 
  Mines. Jesse, his brother, was a mean and nasty good-for-nothing who 
  murdered his brother, married his widow, and ran the men ragged digging 
  for the precious ore. No more silver was found, and the surveyor realized 
  Percy salted the mine. Refusing to believe his brother of capable of such 
  a thing, Jesse had the men dig deeper, where they uncovered an ancient, 
  subterranean city and woke something up. One man, Frank Jacobs, got out 
  alive and blew up the mines, trapping the darkness within. Jesse saw the 
  man hanged and, harrowed by the experience, lived a humble life ever after. 
  No one ever bothered to read the diaries or reports. Ansel Richmond, recent 
  inheritor of the family estate, hopes to get the mines going and revitalize 
  the town once more.
  Hazards
  eLders: Ansel Richmond
  Landscape: Richmond Mines
  dooM: The Lurkers beneath
  see aLso: invesTigaTor noTes [cdg]
  [Lc29] Rust
  beneaTh The surface: The folks of Ebon Eaves embraced all that 
  technology had to offer until it took over their lives. Now, they are servants 
  of the machine, mere slaves to science. And then the machine began to 
  disintegrate. The Black is a small group of Luddites who secretly suspect the 
  machines are up to something and live simply. As it stands, an entity has 
  established a presence beneath the earth, where the toxic runoff pools and 
  turns the grass grey.
  Hazards
  ToWnies: Slaves of the machine
  Landscape: Toxic pools
  see aLso: invesTigaTor noTes [cef]
  
  -219-
  [Lc30] Lost Promises
  beneaTh The surface: Reverend Bartholomew Green was two hundred 
  years old. He protected the town through his knowledge of what he 
  called “the craft”, but told the townsfolk was “old time religion”. Now, 
  the Darkness no longer is paid its tributes, and the town is panicking. No 
  one knew his secrets. That is, until his nephew, David Dobbins, found the 
  cache of leather-bound journals in Green’s cellar. Dobbins is leading the 
  hunt to find someone to replace the Reverend, yet even he doesn’t know 
  the full story—the means of appeasement are not found in any book in his 
  collection, though resurrection rituals are.
  Hazards
  eLders: David Dobbins
  dooM: The Darkness
  see aLso: invesTigaTor noTes [ceg]
  
  -220-
  [Lc31] An Emptiness Resides
  beneaTh The surface: Wright College was the cornerstone of the 
  community, having been founded in 1827, and it produced a fair number 
  of lawyers, politicians, and scientists. It took a more esoteric turn in 1898, 
  when Professor Oswald Edwards was hired as its Dean. He focused more on 
  the humanities and liberal studies and brought in faculty from Miskatonic 
  University during the course of his supervision. Many of them, it turned 
  out, had left Miskatonic under clouds of suspicion for their bizarre behavior 
  and beliefs. Edwards wanted to pierce the veil between life and death. In 
  October of 1903, with the help of his faculty, he nearly did. Even then, 
  his occult activities left a taint upon the town. Miranda Sanders, then a 
  student, witnessed Edwards performing strange rituals and her family had 
  enough clout to see the school shut down. They were unable to precisely 
  pin anything other than misconduct on any of the faculty and, in order 
  to keep things quiet, paid them for their silence. This largely bankrupted 
  the town, which now is heaving its dying breaths. Old Professor Eddie, as 
  Edwards is now known, putters around, faking his madness and plotting to 
  take revenge upon the lot of them—he was so close to learning the secrets 
  which lay beyond.
  Hazards
  eLders: Old Professor Eddie
  Landscape: Wright College, The Derby
  see aLso: invesTigaTor noTes [cfg]
  
  -221-
  [Lc32] End of an Era
  beneaTh The surface: Ebon Eaves could’ve been another Nantucket, 
  but fate dealt it a bad hand, as did some indiscreet Hollywood producers. 
  Now, no one goes there, at least not publicly. In addition to the Ebon 
  Vinery, there is a secluded and remote manor for those wishing to indulge 
  in their wilder fantasies. No one outside of the Pitch family knows what is 
  used to make the grapes grow so rich and distinctly robust. Tiffany Miller, 
  the victimized girl, took the money she got in an out-of-court settlement 
  and established a discreet brothel. Few locals are aware of The Silk Rope, 
  Tiffany’s place, as it caters to the rich and anonymous. Her father, the chief 
  alderman, is a hopeless drug addict, who manages to conceal his own dark 
  habits.
  Hazards
  eLders: Tiffany Miller
  Landscape: Ebon Vinery
  see aLso: invesTigaTor noTes [def]
  [Lc33] The Widening Gyre
  beneaTh The surface: With all the desperation in the air, it was only 
  a matter of time before it manifested into something. And it did, twenty-
  seven years ago. There was a mass suicide. People have largely forgotten 
  it. Most of those living in town at the time have left. New souls, every bit 
  as tarnished and frantic, have taken their place and placate the creature’s 
  hunger. For there is, beneath it all, a dark creature growing bloated from 
  its decade’s long feast, and now it craves flesh. Granville Mansion is where 
  the Bloated has gathered its followers to bring it fresh dead while it gains 
  strength.
  Hazards
  Landscape: Granville Mansion
  ToWnies: Bloated cultists
  Weird: The Bloated
  see aLso: invesTigaTor noTes [deg]
  
  -222-
  [Lc34] Disintegration
  beneaTh The surface: Ebon Eaves is disappearing bit by bit. The land 
  is reclaiming what it gave up so unwillingly so many years ago. Within 
  Tranquil Manor lies the only one who sees the problem clearly, a local 
  girl, Jennifer Blackwell. She has irregular periods of lucidity, but they are 
  mistaken for her frequent delusions. She knows there is a darkness waiting 
  just beyond the veil to consume everything. Jennifer calls it the Sinkhole. 
  She knows the only way to save the town is to unravel its mysteries before 
  it’s too late.
  Hazards
  eLders: Jennifer Blackwell
  dooM: The Sinkhole
  see aLso: invesTigaTor noTes [dfg]
  [Lc35] Black Well’s Lullaby
  beneaTh The surface: Ebon Eaves was a pure place of power unlike 
  any other the world. Alan Seemly, as a loyal priest of the Outer Forces, 
  knew it fell upon him to desecrate it. Only then, he was certain, could the 
  Master come into the world. He prayed for a sign, and oil was discovered. 
  He infiltrated The Freelander Lodge, a small social fraternity, and twisted 
  them to his ends, using them to close the Refinery. Next, he went with his 
  son and destroyed the pipes, losing his son in the process. When his lodge 
  brethren learned of his actions, he was cast out, though they vowed to keep 
  his secret, feeling the loss of his kin was penance enough. He cared not. 
  He resumed his dark studies and was near to bringing his masters through, 
  when the song, Black Well’s Lullaby, was released. It reminded folks of how 
  things used to be, reminded them of the land’s purity, and Rose Hill sprung 
  up, the only sign of fresh life along lake’s shoreline in years. Now Alan plans 
  and waits for an opportunity to destroy it and the town once and for all.
  Hazards
  eLders: Alan Seemly
  Landscape: Black Wells
  see aLso: invesTigaTor noTes [efg]
  
  -223-
  Town Lore (Investigator Notes)
  [abc] The Haunted Temple at Twilight
  The MysTery: On the outskirts of Ebon Eaves, near the forest, lies The 
  Temple House. It belonged to Jebediah Temple who up and shot his whole 
  family one night before blowing his brains out with a shotgun. Since then, 
  strange lights have been seen in the woods. Some folks claim that you can 
  see the ghosts of Jebediah and his family through the windows of The 
  Temple House just as the sun sets beyond the tree line.
  keeper noTes: TL1
  [abd] The Observatory of Oswald Brood
  The MysTery: An excessive number of shooting stars have been spotted 
  in the skies around Ebon Eaves over the last forty years. So many in fact that 
  amateur astronomer, Oswald Brood, had an observatory constructed two 
  years ago.  He has reported seeing strange insect-like creatures in the night 
  skies. Everyone thinks he’s mad and gives him and his estate wide berth. 
  Only a few folks have mentioned the Reaper, a ghost said to be a harbinger 
  of death, who appears on moonless nights.  They claim the Reaper must be 
  somehow related to all of this.
  keeper noTes: TL2
  [abe] The Slab in the Woods
  The MysTery: Streaks of multicolored lights appear several times a year 
  over the cornfields west of Ebon Eaves. Folks believe they are nothing more 
  than an atmospheric anomaly and don’t pay them much heed. Yet, they 
  stay indoors when the lights are seen and lock their shutters tight. Somehow 
  or other, for the past dozen years, after the lights appear victims are found 
  upon the massive old slab located in Wheeler’s Field with their entrails 
  scattered around it.
  keeper noTes: TL3
  
  -224-
  [abf] The Long Shadow of Lancaster Heights
  The MysTery: Forty years ago, Scott Lancaster built a tower in the foothills 
  north of Ebon Eaves where he’d conduct strange experiments well into the 
  night and sometimes until sunrise. The place became known as Lancaster 
  Heights, and one night a thunderous boom awoke all across the town. Folks 
  ran to see what happened at his estate and found it completely devoid of 
  any living thing, though the structure and the surrounding landscape was 
  unharmed. Mysterious men came in and boarded the place up.  It has sat 
  abandoned ever since. On some nights, folks see ball lightning rolling across 
  the town, and claim they hear the faint, tormented screams of a man.
  keeper noTes: TL4
  [abg] The Burned Out Asylum
  The MysTery: Travesty Wells was the only daughter of Herbert and 
  Virginia Wells, and following in her father’s footsteps, had a fascination 
  with science and engineering. She built a device that killed her parents. 
  Some say it was an accident, others intentional. All agreed she needed to be 
  placed in the Periwinkle Retreat and Wellness Center. Three weeks later, 
  the place inexplicably burned down, save Travesty’s room. Identifying the 
  corpses took three years, and sources say her body was never recovered. The 
  place was rebuilt a few years later. The memorial wing has an abundance 
  of suicides.
  keeper noTes: TL5
  [acd] The Crater Rock Comet 
  The MysTery: A meteor hit the center of town seventy-five years ago, 
  creating Crater Rock, a tourist attraction. Ten years later, Jacob Manning 
  became known as the Crater Rock Cannibal when he was arrested for 
  killing and butchering twenty-four of his neighbors in a single night. He 
  told folks the angels told him to do it. He hanged himself in his jail cell over 
  the weekend before he was arraigned. 
  keeper noTes: TL6
  
  -225-
  [ace] Home, Sweet Home
  The MysTery: The Harbor House, the most beautiful residence in Ebon 
  Eaves, has been on and off the market a dozen times in as many years, ever 
  since the Sterling Massacre. People say the lights flicked off and on of their 
  own accord, and that’s even before Randal Sterling, the famed architect who 
  designed and oversaw its construction, slaughtered his whole family and 
  was found chewing on his own entrails while mumbling to himself in Latin.
  keeper noTes: TL7
  [acf] Darkly Dreaming
  The MysTery: They say that bad streaks run in cycles in Ebon Eaves, 
  whether they are the lightning storms, the quakes, or the fits of madness 
  which seem to strike the inhabitants. It doesn’t matter if they’ve lived in 
  the area their whole life or not, as in the case of Malcolm Richards, who 
  moved into town the night before he slaughtered twenty parishioners. By 
  the way, he was going to be the new preacher. The madness seems to strike 
  every dozen years, give or take, so it is due at any time. Richards, the only 
  madman caught alive, resides in the asylum and babbles about doing God’s 
  will.
  keeper noTes: TL8
  [acg] The Bronze Sundial
  The MysTery: Archer Lewis, of the acclaimed 1904 Lewis-Locke 
  expedition, discovered a most curious sundial in South America, one 
  undoubtedly of Greek origin. He donated it to his hometown, where it 
  has been prominently displayed on the courthouse steps since 1917. Thrice 
  people have been killed on the steps. In 1918, a judge tripped and impaled 
  himself on it. Three years later, in 1921, a woman knifed her husband, 
  and he collapsed upon it. More recently, in 1924, Alexander Moore killed 
  five people, one each night for five nights, before being apprehended. Each 
  morning, their heads here found placed before the sundial, as if offered in 
  sacrifice.
  keeper noTes: TL9
  
  -226-
  [ade] Dark Matters
  The MysTery: Twenty years ago, Sterling Labs went bankrupt. It was 
  a small research center owned by Professor Wyatt Whitcombe and his 
  wife, Laura. She couldn’t keep things going after he ran off. Some folks 
  claimed she killed him, but no one could ever prove anything. Last year, 
  Wyatt returned looking haggard and pale, but with enough funding to get 
  things going again. Since his arrival, strange things have been happening—
  livestock has gone missing, on some nights an otherworldly green nimbus 
  around Sterling Labs can be seen, and the graveyard has been robbed with 
  disturbing frequency.
  keeper noTes: TL10
  [adf] Beyond the Stars
  The MysTery:  Howell Industries launched their first rocket on the 
  flats outside of Ebon Eaves three years ago. Since then, things have gotten 
  mighty strange. Falling debris became common. Odd bits of rock and old 
  coins would fall out of the sky every so often. This was chalked up to the 
  increase in storm activity. A year to the day after the first launch, a small 
  meteor disintegrated over the town, cascading a strange mist into the air. 
  No one reported any ill effects. The debris stopped as suddenly as it began, 
  but the storms became lightning storms and folks began spotting giant 
  bats around Carver’s Caves. Two months ago came the laughing sickness. 
  People are suing Howell Industries and there is presently an injunction 
  preventing them from doing additional testing.
  keeper noTes: TL11
  [adg] Ichabod’s Tomb
  The MysTery: While everyone knows Ebon Eaves used to be located a 
  little further west, until recently most didn’t know the old town had been 
  swallowed up by a sinkhole caused by an earthquake in 1792. Michal Ichabod, 
  the town founder, was a brilliant recluse, tradesman and tinkerer, but he 
  vanished along with most of the occupants in the disaster. Archaeologists 
  from Miskatonic University—with permission from the Governor himself—
  have begun excavating the buried remains as part of their “Restore America” 
  project.  They also hope to scientifically explain the reddish-white glowing 
  spheres which are infrequently seen in the area.
  keeper noTes: TL12
  
  -227-
  [aef] Colors Out of Space
  The MysTery:  Kendrick McDaniel had a farmstead just down the 
  old trail north of town near the ridgeline, which went belly up when he 
  overworked the land. At least that’s what the locals say. And the same folks 
  say the financial stress drove him plum mad. Some saw lights—all sorts 
  of colors—descend on his place one night. When they investigated, the 
  place was found abandoned, as though Kendrick and his kin had never 
  been there. Except his truck was still there—running—with the keys in 
  the ignition. Where he burned leaves in an old pit there was something 
  burning, could’ve been a man, or a goat, or some unholy combination of the 
  two. It moved. The sheriff made certain it quit moving. Since then, people 
  steer clear of the place, and don’t mention the McDaniel name too much.
  keeper noTes: TL13
  [aeg] The Broken Circle
  The MysTery:  On the edges of Ebon Eaves, near the poor section of 
  town, stand the remnants of the Grant Mansion. It was a great structure, 
  built in the 1800’s. Grant was a slave trader and his home was destroyed by 
  the townsfolk after the Civil War. At least part of it was…the inner chamber, 
  known now as the Vault, was made of heavy, strange stones imported 
  from overseas.  When it couldn’t be burned, people figured nature would 
  eventually claim it, and let it be. On some nights, people report seeing fog 
  roll out of the Vault and flee. This is generally within a few days of others 
  reporting an abundance of shooting stars in the night skies.
  keeper noTes: TL14
  
  -228-
  [afg] Hell’s Bells
  The MysTery: Long ago, Indians took their mad to a spot known as 
  Four Winds to be purified. Some would come back enlightened. Most were 
  never seen again. The Indians claimed it was a spot of great power. When 
  settlers took over the territory, the Indians warned them of the dangers. The 
  townsfolk didn’t heed them and built the First Presbyterian Church on the 
  spot. During construction, seven people died. Undeterred, the church was 
  completed three months later. It burned down within a week of completion, 
  leaving the stone structure gutted. The fire melted stained glass windows, 
  yet the bell survived and rang continuously throughout the blaze, as if by 
  an unseen hand. The town was relocated two miles to the south, where it 
  stands today. On clear evenings, people claim to see flickering lights as if the 
  church is again on fire, and the bell rings out.  Most say if you are outside 
  when the bell rings, you’ll go mad. 
  keeper noTes: TL15
  [bcd] Galileo’s Blade
  The MysTery:  Twenty-five years ago, the singular copy of Galileo’s 
  Blade—a scientific find—was stolen from the Barkley Museum of Natural 
  History in broad daylight. People only remember that because two weeks 
  later the J.K. Barkley First National Bank was robbed and fifteen people 
  were slaughtered. Since then, both the bank and museum are claimed to 
  be haunted. Visitors have reported seeing the ghost of the White Lady in 
  the museum stacks, lost and lonely. The night watchman, Teddy, claims to 
  have seen at least three different ghosts in the bank while patrolling, and a 
  strange one in the night sky on more than one occasion.
  keeper noTes: TL16
  [bce] Foggy Hills
  The MysTery: Forty years ago, give or take, Andrew Sanderson convinced 
  seventy-five folks to kill themselves up on the ridgeline folks call Foggy 
  Hills. No one knows how he did it. No one wants to. His body was never 
  found. Late at night, people claim his ghost haunts Foggy Hills, looking for 
  more victims. The locals won’t set foot up there, claiming something in the 
  land changed that night. Children are told to behave or Foggy Drew will 
  come for them too.
  keeper noTes: TL17
  
  -229-
  [bcf] Fool’s Gold
  The MysTery: A hundred years ago, a wagon train carrying gold and 
  its armed escort disappeared somewhere close to where Ebon Eaves stands 
  today. No one knows exactly where. The locals generally don’t pay it much 
  mind, but every so often someone gets swept up in a gold fever, sells all 
  their goods, and goes off into the hills trying to find the treasure. No one 
  ever comes back. Since the most recent outbreak, people keep an eye out for 
  folks showing The Signs, and have to physically restrain them from going. 
  Sometimes the fever passes, sometimes they swallow their own tongues 
  and suffocate. Water and soil samples indicate nothing abnormal, though 
  Blake’s Pharmacy does a booming business in therapeutic aids. Folks still 
  drift through hoping to strike it rich by finding the lost gold.
  keeper noTes: TL18
  [bcg] Beecham Cemetery
  The MysTery:  Sue Franklin was found digging up her baby girl’s corpse 
  in the cemetery fourteen years ago. The groundskeeper had seen people do 
  strange things before and carried her to Sister Carrie’s Home for Wayward 
  Souls. Sue was found the next morning in a bloody mass of bones and 
  body parts, cradling a head in her arms, and singing a soft lullaby.  She had 
  killed five indigents. Her husband’s body was found with a cavity in his 
  chest—evidently, his heart had been ripped out up on Pershing Point. Sue 
  was hanged for murder after the jury deliberated for less than five minutes.
  keeper noTes: TL19
  
  -230-
  [bde] The Midnight Marshes
  The MysTery: Some folks claim the marshes on the fringes of town 
  kind of sprang up overnight about forty years ago. Geologists figure it was 
  some underground cave that overflowed or seeped through the topsoil after 
  scratching its way up through the earth. The trees are inexplicable. They 
  grew up dark and thick and fast, shrouding out the daylight. That’s when 
  someone or another gave it its name. Wise folks don’t go in. Swarthy 
  vagrants do, from time to time. People have seen the dead walking in there 
  and heard strange chanting in some foreign language, so it’s best to avoid it 
  altogether. A few curious locals claim a monstrous flying horse has driven 
  them away. When they sober up, they disclaim ever seeing any such thing.
  keeper noTes: TL20
  [bdf] The Night Terrors
  The MysTery: A month ago, people—young and old alike—began 
  sleepwalking in Ebon Eaves. It started around the time someone vandalized 
  the statue of Carol Young that was erected in 1909.  The sleepwalking 
  started with maybe a handful of folks, but has grown to around twenty 
  or so. This happened once before—in the late 1800s—and it ended with 
  bloodshed and madness. Certainly, people were not carried off into the 
  night sky as some of the locals claim. 
  keeper noTes: TL21
  [bdg] The Curious Cave Drawings
  The MysTery:  There is an ancient cavern system beneath Apocalypse 
  Peak, the small mountain standing alone to the west amongst the hills. 
  Amateur spelunkers discovered a new tunnel system and found within some 
  curious cave drawings, a small stone encampment, hiking equipment at least 
  a hundred years old, and fragments of bone. When they attempted to take 
  a picture, they claim their camera was thrown out of their hands, and they 
  fled in terror. They say bats swarmed them, and they barely made it out 
  alive. This could be an amazing find, or more likely, a mere flight of fancy 
  concocted by some college kids looking for some attention.
  keeper noTes: TL22
  
  -231-
  [bef] The Cornucopia
  The MysTery:  Ebon Eaves has the richest soil in the land, and some folks 
  say they owe it all to Peter Ellis, a horticulturist and local legend. Things 
  grow surprisingly quick and hardy—even things that shouldn’t grow, given 
  the general clime. Sensitive banana, lemon and olive trees grow just as well 
  as more standard crops. Ellis claims one simple philosophy, “Look after 
  nature, and it’ll look after you.” Some of the locals find him charming, but 
  somehow unsettling.  A rare few claim to have spotted the spirits of their 
  loved ones beckoning them to Druid Hill, a small rise with an olive grove 
  at its top.
  Keeper Notes: TL23
  [beg] Illumination
  The MysTery: The old parts of Ebon Eaves are fashioned in a very 
  classical Greek tradition. The Manley Manor stands apart. It seems to be 
  far older and sits cozily but abandoned on the far edge of town near a dairy 
  farm owned by Mayor Thad Wilson. Johnny, Thad’s youngest son, has 
  claimed to have seen the spirit of old Manley moving through the house in 
  the dead of night. No one paid him any mind until the house’s lights began 
  flickering on and off three weeks ago, even though the power was cut off 
  long ago. People now give the place a wide berth.
  keeper noTes: TL24
  [bfg] Doom
  The MysTery: The Ashford family has always been known for two 
  things: wealth beyond measure and a history of madness in the family line. 
  Angela Ashford, a mere twenty-two and last of the line, has returned home 
  to put her father to rest and restore the estate according to his last wishes. 
  Already, she has the town in an uproar, and the sole boarding house is filled 
  to capacity. After one night in Ashford Manor, she was found wandering 
  half-naked in the streets, bleeding and in a stupor, mumbling the words…”It 
  can’t be.” To keep away reporters, Mayor Castwick’s family has taken in the 
  poor girl, and her personal physician is already in attendance. Work on the 
  home has been temporarily suspended.   
  keeper noTes: TL25
  
  -232-
  [cde] Maker’s Mark
  The MysTery: The livestock have been going missing around Ebon Eaves 
  for years, and whenever it happens the townsfolk get in an uproar. Everyone 
  except Tucker Thompson, who is able to demand more for his produce 
  and is growing rich from everyone else’s continued misfortune. The local 
  authorities investigated him long ago, and just chalk it up to his good luck 
  and everyone else’s bad luck. Early this spring, Shelly Caldwell claimed 
  to have seen an enormous thing—bigger than a man—swoop down and 
  swallow one of her cows. She described it as leathery-winged snake thing. 
  Neighbors hearing her screams rushed out and found her in hysterics. 
  Though it was a windless night, they noted the nearby branches and leaves 
  were shaking. No one can make head or tail of the incident.
  keeper noTes: TL26
  [cdf] Hatchet Man
  The MysTery: William Laws, Billy to his friends, chopped up five of 
  them with an axe at the end of a poker game. Skip Peterson, an ex-wrestler, 
  managed to subdue him before he could become victim number six. Billy’s 
  eyes were glazed over and he was foaming at the mouth. Peterson noted a 
  bite mark on his friend’s arm that wasn’t there before he went outside to 
  get some fresh air and stretch his legs. Billy was found dead later that night, 
  hanging from the ceiling. That was fifteen years ago. Since then, there have 
  been two more similar incidents, roughly five years apart. People are fearful 
  the Hatchet Man will strike again.
  keeper noTes: TL27
  
  -233-
  [cdg] Dissonance
  The MysTery:  Porter Labs went bankrupt over twenty years ago after 
  their sonic experiments resulted in the entire community going stark raving 
  mad. The militia was called in and forced to subdue the locals, using lethal 
  force in some cases. During the incident, the Labs exploded, and some of the 
  soldiers claimed to see at least one, if not two, men fly out of the wreckage. 
  They later recanted these statements as a trick of the light or an afterimage 
  from the experience. Most of the citizens recovered, though madness and 
  stunted growth have occurred among a handful of the populace. The 
  government came in, went through the wreckage, and left with a truck bed 
  loaded down with crates marked TOP SECRET.
  keeper noTes: TL28
  [cef] In the Blood
  The MysTery: Lorraine Raslo is the first woman in the state to be 
  convicted of mass murder. She killed her husband, Stanley, her brother-in-
  law, Mark, and her three children. She even calmly turned herself in, saying 
  she was doing God’s Will, and the world was a better place without them. 
  She carried herself well until the day of her sentencing when Jack, Stanley’s 
  youngest brother, entered the court room. Lorraine screamed and lunged 
  at him, saying “He said you were dead. I have to finish God’s work! Stop 
  him!!!” Currently, she resides in the State Mental Asylum, and is the subject 
  of many articles and papers. Jack Raslo has become quite popular since he 
  returned home, and it is no rumor he has his eyes set on the mayor’s seat.
  keeper noTes: TL29
  [ceg] Cryptic
  The MysTery:  In the forest just north of town lies Ashwake Fields, where 
  the folks who died of Yellow Fever in 1878 lie buried. At least that’s what 
  the Government was told. An overgrown, broken monument rests atop the 
  site. No one living knows what it says. Most locals give it a wide berth, and 
  teenagers are often dared to go out there on moonless nights. Most won’t 
  go. The few who do venture within the forest depths claim the monument 
  whispers to them, and they won’t ever go back out that way again.
  keeper noTes: TL30
  
  -234-
  [cfg] The Railyard
  The MysTery:  Ebon Eaves used to be a mainline distribution center until 
  Madman Magilligan—self-proclaimed “King of the Hobos”— killed the 
  conductor and caused the train to derail, killing seven other hobos and the 
  conductor’s wife. The resulting explosion created a strange gas cloud which 
  rolled through the town. The fires burned for three days. A dozen more 
  folks died of respiratory failure in the subsequent week.. Horribly burned, 
  Magilligan managed to pull through and was electrocuted two months later 
  in the state capital. The Railyard is now largely abandoned, the new track 
  going north of the town. A few folks have committed suicide in the past 
  month, after claiming to see the ghost of the Madman coming for them. 
  keeper noTes: TL31
  [def] Give and Take 
  The MysTery:  Brandon O’Connell was the favored son of Ebon Eaves, 
  so when he said he saw something strange on Topper’s Hill, folks believed 
  him. His claim, however, far exceeded credulity. He said he saw three devils 
  dancing while Old Man Hammer played his fiddle. Folks didn’t like Old 
  Man Hammer anyway. They lynched him then and there. (People later 
  claimed mass hysteria and it was largely swept under the rug.) As he was 
  hanging, Old Man Hammer laughed and told them they’d be sorry. They 
  were. Brandon O’Connell’s political future was tarnished, and he had to 
  settle for the mayorship instead of the Governor’s seat. For the townsfolk, 
  it was worse. On the first night of a full moon, madness causes someone 
  to disappear.
  keeper noTes: TL32
  
  -235-
  [deg] Tempest 
  The MysTery: Rolling thunders echo across the wild lands around Ebon 
  Eaves, and there is no lightning. In the raining skies, people see pale, 
  amorphous horrors, and then they blink, and the lightning crashes upon 
  them. They say it’s a trick of the wide open skies, yet huddle in their homes 
  whenever one of the strange storms descends upon them, threatening to 
  wash the land away for good. The storms seem to center around Tristan 
  Chapel, a long abandoned church located on the corner of Main Street.
  keeper noTes: TL33
  [dfg] The Passage of Time
  The MysTery: The Old Clock in the center of town is known as Jake’s 
  Fall. It’s where Jake Cantor plunged to his death at half past seven in the 
  morning. The clock stopped the moment he hit the ground. Anyone who 
  has tried to repair it has jumped from the clock tower to their doom within 
  a fortnight. The clock never stays fixed. 
  keeper noTes: TL34
  [efg] The Black Grove
  The MysTery:  Before the Church of Inner Starlight became popular in 
  town, it was viewed as a cult. Now the good Pastor Brown speaks before a 
  full crowd every Saturday morning, preaching the evils of the Black Grove 
  and how it is a metaphor for a corrupt heart. The Black Grove is an 
  expansive clearing in a copse of oaks east of town. Within it stands a circle 
  of seven reddish-black cut stones of unusual origin, each about 3-4 feet tall. 
  He says some of the town has not embraced the church and seeks to find 
  solace elsewhere. Usually, someone goes into hysterics and Pastor Brown 
  saves them with his faith. Pastor Brown is a faith healer and folks from the 
  city come to him with the sick, the crippled, and the old, with hope and 
  donations aplenty. He is said to be able to do all, except make the blind see.
  keeper noTes: TL35
  
  -236-
  Town Lore (Keeper Notes)
  [TL1] The Haunted Temple at Twilight
  The hidden TruTh: Jebediah Temple was the leader of the Second 
  Church of the Starry Twilight. It was in an old mansion he refashioned for 
  that express purpose. It was said to be on cursed land. The land took its toll. 
  The once pious preacher went mad and took up with the local librarian, 
  much to the dismay of both the townsfolk and his wife, who was pregnant 
  with their fourth child. He began to traffic with dark forces, and this pushed 
  his wife over the edge. When Jebediah’s evil ways were revealed, it was 
  discovered nearly half the town was under his influence, so the remainder 
  took rifle, shotgun, and axe to cleanse the town once and for all. The 
  Temple House has become a place of great power and great evil, soaked in 
  blood and black sorcery.
  Hazards
  Landscape: The dark forest, the Temple House
  ToWnies: The surviving remnants of the original cult, hoping to rebuild
  Weird: Entities drawn to the psychic pain and suffering of the Temple 
  House
  see aLso: invesTigaTor noTes [abc]
  [TL2] The Observatory of Oswald Brood
  The hidden TruTh:  Oswald Brood is the illegitimate son of local 
  wealthy landowner, Michael Phipps. While Oswald grew up in the big 
  city, he knows someone here is his father and intends to find out whom. 
  He sunk all his money into the Observatory project, also getting funding 
  from the state, but has no results he dares share—the establishment would 
  certainly find him mad. He witnessed an incursion of Mi-Go descend in 
  the vicinity of Breaker’s Point, a mountainous region to the south. This has 
  awakened the ghost of Jackie Winston, better known as the Reaper, who 
  harbors an old grudge with the Phipps line.
  Hazards
  eLders: Michael Phipps
  Landscape:  Breaker’s Point
  dooM: Mi-go 
  Weird: The Reaper
  see aLso: invesTigaTor noTes [abd]
  
  -237-
  [TL3] The Slab in the Woods
  The hidden TruTh:  Within the community, there is a secret coven 
  which adheres to regular, ritualistic sacrifice to their dark lord and master, 
  an entity which feeds upon the soul as it leaves the body. The cult calls 
  it the Wendigo. The cult was founded by Taylor Blaine, the butcher who 
  moved to town sixteen years ago. The Wendigo spared his life along with 
  his daughter’s when their truck broke down near the cornfield. Blaine’s 
  bloodline served the Wendigo ages ago, and it reawakened when he found 
  his way back to Ebon Eaves. As a councilman, Taylor has recruited a 
  number of folk to his cause, chiefly the corrupt souls filling the prison, who 
  are often used for the regular sacrifices.
  Hazards
  eLders: Taylor Blaine
  Landscape: The Cornfield, The Slab
  ToWnies: Cultists
  Weird:  The Wendigo
  see aLso: invesTigaTor noTes [abe]
  [TL4] The Long Shadow of Lancaster Heights
  The hidden TruTh:  Scott Lancaster was once a young assistant to 
  Nikolai Tesla. It was there he experienced his first vision of what lay beyond 
  and was touched with an ecstasy unlike any man had felt before.  Cast 
  out for tampering with his master’s devices, he moved to Ebon Eaves. As 
  his obsession grew, he built the tower and soon reached into the spaces 
  beyond, staying longer and longer, until his pet cat got tangled in the 
  current, scattering Lancaster to the winds. From time to time, he is able to 
  manifest enough energy to take over a body, and it is then he attempts to 
  restore himself. People who are possessed think they are going mad or were 
  touched by god, often waking up with cuts and scratches, lost time, and a 
  feeling of utter bliss.
  Hazards
  Landscape: Lancaster Heights 
  ToWnies: The altered folks who have been touched 
  dooM: The glowing sphere
  Weird: The Possessed
  see aLso: invesTigaTor noTes [abf]
  
  -238-
  [TL5] The Burned Out Asylum
  The hidden TruTh: Travesty Wells is a mad genius. Had she used her 
  abilities for good, she would have been lauded and world-renowned. As it 
  turned out, she was pure evil from birth. Her parents gave her experimental 
  drugs to suppress her darker desires, which worked for a while before 
  amplifying her dormant psychic powers, manifesting all her fury and rage 
  into fire and brimstone. Drained, she was taken in and kept sedated. But 
  again, her body shrugged off the drugs and she let the place burn. Quite 
  mad, she has withdrawn into the forgotten cave system beneath the town 
  and has been stealing parts to build her earthquake machine to destroy it. 
  The memorial wing of the Asylum, where the chapel is located, is where the 
  victims’ ghosts are trapped, lusting to kill Travesty, whispering in the dark 
  their plans, driving some patients (usually the most sane) over the brink.
  Hazards
  eLders: Roger Perish (Asylum Director), Travesty Wells
  dooM: The Earthquake Machine
  Landscape: Periwinkle Retreat and Wellness Center
  Weird: Ghosts of the damned
  see aLso: invesTigaTor noTes [abg]
  [TL6] The Crater Rock Comet
  The hidden TruTh: What hit the town wasn’t a meteor; it was a 
  damaged alien craft. The creature inside, an Elder Thing, spent ten years 
  working its way out. Jacob Manning was unfortunate enough to see it. It 
  reached inside his mind and commanded him to make sure no one knew 
  about it. Fearful of the thing, his mind snapped, and he slew his neighbors, 
  afraid they could reach into his mind too. He was found feasting on their 
  brains, though that news never came out. Judge Thresher, a descendant 
  of Manning, doesn’t like people poking around in the town’s business. 
  The Elder Thing wants to repair its craft, now deep in the limestone caves 
  beneath the town, and return to the stars.
  Hazards
  Landscape: Crater Rock, the Limestone Caves
  Weird: The Elder Thing
  see aLso: invesTigaTor noTes [acd]
  
  -239-
  [TL7] Home, Sweet Home
  The hidden TruTh: Randall Sterling was drawn back home after 
  achieving riches and fame. He bought up some old properties to build his 
  dream home for his family. One of those parcels of land was a Beggars’ 
  Graveyard years before. He had the tombstones tilled into the earth, and 
  built over it. This disrupted the rest of Connolly Macklin, once a minor 
  servant of some dark god. Randall began having strange dreams, as Connolly 
  tried pulling him into the Dreamlands. Sterling began reading up on the 
  occult and contacted Macklin’s god, who taught Randall what he believed 
  would be a cleansing ritual. In fact, it allowed Connolly to possess Randall 
  fully. Connolly slew the family and sought further help from his god, which, 
  reveling in the misery, left him to his own devices.  Now Connolly Macklin, 
  in Randall Sterling’s body, rots in a padded cell in Bertrand “Bitter End” 
  Asylum, praying for release.
  Hazards
  Landscape: The Harbor House, Bertrand “Bitter End” Asylum
  dooM: The Answered Prayer
  Weird: Connolly Macklin
  see aLso: invesTigaTor noTes [ace]
  [TL8] Darkly Dreaming
  The hidden TruTh: Ebon Eaves is situated near a dimensional gateway 
  located in the deep interior of Hartley Forests. It is regularly used by an array 
  of malevolent entities crossing into this plane. They have such great power 
  that their psychic energies manifest in myriad, random ways, both mental 
  and physical. Only the purest of heart are disturbed. Malcolm Richards, now 
  quite sane, has only vague recollections of what he did, seeing it as though 
  “he was detached from his body, looking down and watching someone 
  control him”. He is corrupted though, and any strain could cause him to 
  snap once more. The entities are once again making their migration.
  Hazards
  eLders: Reverend Malcolm Richards
  Landscape: Hartley Forests
  dooM:  The Bad Streak
  see aLso: invesTigaTor noTes [acf]
  
  -240-
  [TL9] The Bronze Sundial
  The hidden TruTh: Archer Lewis is a fraud. He never adventured further 
  than the big city, where he drank and gambled all his funding away in a 
  few months. He slunk back into Ebon Eaves, where he told his grandfather 
  about his failure. His grandfather told him he lost an old, strange, sundial 
  in Black Reach in his youth. Hoping for a trophy to conceal his failure, 
  Archer roamed the hills and valleys of Black Reach for days before spotting 
  the landmark he was looking for—a leafless tree which looked like a hand. 
  He dug and found the sundial in a few hours. He concocted a story about 
  his adventurers, tales he got largely from books, and donated the sundial. 
  He fears the cursed relic he brought into the town, but fears the discovery 
  of his failure and deception even more.
  Hazards
  eLders: Archer Lewis
  Landscape: Black Reach Vale (around the Hand Tree)
  Weird: The Sundial
  see aLso: invesTigaTor noTes [acg]
  
  -241-
  [TL10] Dark Matters
  The hidden TruTh:Sterling Labs was established by the military to 
  identify some practical applications of stolen Tesla technology, with a 
  particular emphasis on translocation. Professor Wyatt Whitcombe, a brilliant 
  physicist, set up shop in his wife’s hometown of Ebon Eaves. Laura is of an 
  old, tainted bloodline; they are worshippers of dark powers. She combined 
  her husband’s science with her occult knowledge to achieve their goals, 
  but the technology failed, and he was pulled through a dimensional vortex 
  where he was lost in the Dreamlands, living with ghouls for two decades. 
  Though now returned, he is not the same man. He has not only a taste 
  for dead flesh; he depends upon it for survival. And he must drink fresh 
  blood. Laura has hired several unseemly men to rob graves to sustain Wyatt 
  while they seek out a path to his salvation. He has turned to science and 
  the portals. She has returned to the ways of her forefathers and has begun 
  calling upon dark entities to save him at any cost.
  Hazards
  eLders: Professor Wyatt Whitcombe, Laura Whitcombe
  Landscape: Sterling Labs
  dooM: The answer to Laura’s prayers
  see aLso: invesTigaTor noTes [ade]
  
  -242-
  [TL11] Beyond the Stars
  The hidden TruTh: Entities beyond earth felt it hubris for humanity 
  to reach into the stars. In return, they seeded the target area with rare 
  minerals (which they use for sustenance) while they planned their mission. 
  This caused temporal disruptions in the skies, and items out of time began 
  to fall over Ebon Eaves. Once phase one was complete, the alien entities (a 
  bat-like, hostile race called Nightgaunts), came through and landed in the 
  hilly region south of the town. Having established a colony deep within 
  Carver’s Caves, they now prepare to systematically and surreptitiously 
  eliminate all the scientists associated with the project, destroy their research, 
  and the town itself, if need be. The Nightgaunts have a weaponized nerve 
  gas that is usually instantly fatal to their enemies. Human physiology reacts 
  differently—endorphin levels continue to escalate uncontrollably until the 
  body exhausts itself through laughter, or the brain literally cooks itself.
  Hazards
  dooM: Eliminate the scientists
  Landscape: Carver’s Caves
  Weird: Nightgaunts 
  see aLso: invesTigaTor noTes [ace]
  [TL12] Ichabod’s Tomb
  The hidden TruTh: The archaeologists have been sent to find an old 
  relic buried somewhere within the depths of the tomb. They are secretive 
  and distrusting of anyone outside of their circle. One of them is corrupt and 
  plans to betray the others. The entire team wishes to keep the townsfolk 
  ignorant. A fire vampire—an alien extra-dimensional entity—is drawn to 
  the power of the item. The relic is an infernal device created by the mad 
  genius, Michal Ichabod, who was an immigrant from a small, European 
  town.
  Hazards
  eLders: Professor Smythe 
  dooM: The Betrayal
  Landscape: The Dig
  Weird: The Archaeological team, Fire vampire
  see aLso: invesTigaTor noTes [adg]
  
  -243-
  [TL13] Colors Out of Space
  The hidden TruTh:The McDaniel family was abducted—plucked out 
  of time and space by malevolent forces—and Kendrick was sent back to 
  create a portal to grant the evil entities free entry. He botched the ritual 
  and released some ancient forest god from its shackles. It blessed him with 
  transformation and Kendrick went quite mad, set himself on fire, and cast 
  himself into the pit. The Ancient made its way to the Pale Woods and 
  intends to extend the forest to the ends of the earth, returning the land and 
  the creatures to their ancient primal forms along the way. 
  Hazards
  dooM: The Primal Forest restored
  Landscape: The Old Pit, The Pale Woods
  Weird: The Ancient
  see aLso: invesTigaTor noTes [aef]
  [TL14] The Broken Circle
  The hidden TruTh: Charles Grant was pure evil. While he traded 
  slaves during the day, at night he partook of dark debaucheries in his 
  inner chamber. He drank blood. He called upon great mystical forces. They 
  granted him eternal life for as long as he held the townsfolk’s favor or, 
  barring that, never left his estate. He agreed. Fate is a fickle mistress at 
  best, and the town decried him for his ways during the Civil War. He ran 
  into the Vault and locked it, now he is little more than a stark-raving mad 
  husk of a man. His descendants have quietly moved back into the area, and 
  seek to restore the family name and fortune. They are looking for a certain 
  journal believed to be locked in the impregnable vault of their ancestor.
  Hazards
  eLders: Winston Lewis, Amanda Lewis
  dooM: Opening the vault
  Weird: Charles Grant
  see aLso: invesTigaTor noTes [aeg]
  
  -244-
  [TL15] Hell’s Bells
  The hidden TruTh:  An ancient force was drawn to this region ages 
  ago and trapped by a powerful shaman. It cannot leave the area, nor can 
  it physically manifest. Yet it can control the weak-minded and the mad. 
  It drove a local to burn down the church, and the man was hung for his 
  crime. The old gallows still stands, crumbling near the burned out church, 
  yet strangely, it has not rotted away after all these years. Those who see 
  flickering lights are actually seeing the spirit as it tries to possess them. The 
  poor and downtrodden are its greatest targets, and it possesses them to 
  wreak havoc upon the locals whenever possible.
  Hazards
  Landscape: The Old Gallows, the Bell tower
  dooM: The Madness
  Weird: Ancient Spirit
  see aLso: invesTigaTor noTes [afg]
  [TL16] Galileo’s Blade
  The hidden TruTh: Emily Baker was studying her late father’s journals 
  while cleaning up the estate for sale. Drawn to his writing, she read about 
  his travels in other planes of existence with great interest. It was then she 
  found the rare copy of Galileo’s Blade, penned by the genius himself. text, 
  she read about his travels in other planes of existence with great interest. In 
  the book were detailed accounts of how to give one’s mind an edge to slice 
  through the veils of reality. She tried it and fell through, without knowing 
  how to return. Before she disappeared completely, she saw the book arrive 
  at the library, and appears from time to time looking for it. J.K. Barkley, 
  banker and bibliophile, still appears spry and youthful. He stole the book 
  and put it in his collection. The watchman has seen ghosts in the bank, 
  spirits trapped due to the disruption caused by Emily, but they are harmless. 
  Teddy has seen nothing unusual in the night sky—just a bad case of nerves 
  and cheap moonshine.
  Hazards
  Landscape: The Baker Estate
  Weird: The White Lady
  see aLso: invesTigaTor noTes [bcd]
  
  -245-
  [TL17] The Foggy Hills
  The hidden TruTh: Andrew Sanderson was possessed by the spirit of a 
  far older man, a sorcerer named Jeremiah Wake, while hunting along Foggy 
  Hills. Back in Andrew’s day, one could bag a covey of quail, or find a buck 
  scouting out if one was lucky. Jeremiah Wake was a town founder who 
  was burned for witchcraft and vowed vengeance upon those responsible. 
  With his dark magic, he got his revenge, yet it cost him dearly. The mortal 
  vessel was lost in the process, and Jeremiah was trapped in limbo. Now he 
  lies weak and dormant, waiting for another vessel to ensorcel, so he can 
  continue his bloody work. Andrew’s spirit actively haunts the area, warning 
  folks away from meeting the fate that found him.
  Hazards
  Landscape: Foggy Hills
  dooM: Jeremiah Wake
  Weird: Foggy Drew 
  see aLso: invesTigaTor noTes [bce]
  [TL18] Fool’s Gold
  The hidden TruTh:  The soldiers weren’t transporting gold at all—not 
  much anyway—instead they had in their possession an ancient relic of 
  great power they were ordered to bury in the badlands. They never made it. 
  They were ambushed by Indians and the container spilled open, destroying 
  every last person present, save a soldier chaplain who managed to bury it 
  at the cost of his own soul. Now he haunts the hills as a ghost, able to do 
  little more than manifest enough to warn folks off.  Unaware of his own 
  appearance, he often drives many of them to run off into the ravine. The 
  relic is large, heavy, and made of strange metals. It is a device crafted by 
  alien intelligence and is presently dormant. 
  Hazards
  Landscape: The Pass
  dooM: The Relic
  Weird: Ghost chaplain
  see aLso: invesTigaTor noTes [bcf]
  
  -246-
  [TL19] Beecham Cemetery
  The hidden TruTh: Sue and her husband lost their child to the 
  whooping cough. Grief makes people do strange things. They made a deal 
  with Old Skitters to bring her back. The crazy old wild man taught them a 
  ritual that required blood sacrifice. Sue performed it on Pershing Point, an 
  ancient stone monolith dating from long before the town’s founding. She 
  wept as she ate her husband’s heart on the way to the graveyard. It drove 
  her completely mad, and she killed those trying to restrain her. Geoffrey 
  Keats found the child alive when he went to replace her in the grave. He 
  gave the child to the Parker family, who couldn’t have any kids of their 
  own. They have all kept the secret, but Molly, now fourteen, is strangely 
  disturbed, with a gaunt, hollow look to her eyes.
  Hazards
  eLders: Patrick and Esmeralda Parker
  Landscape: Pershing Point
  Weird: Molly Parker
  see aLso: invesTigaTor noTes [bcg]
  [TL20] The Midnight Marshes
  The hidden TruTh:Trudy Periwinkle was a witch, plain and simple. 
  She consorted with agencies who gave her the Sight. Still, it didn’t keep her 
  from being burned. She promised a blight to fall upon the land and that 
  she’d return to exact vengeance upon their descendants, six times removed. 
  True to her word, the blight has come to Ebon Eaves. And the vagrants are 
  her followers, answering the call of their dark mistress and seeking to bring 
  her back. Already her star-steed, a Byakhee, flies the perimeter, unafraid to 
  drive off the locals. 
  Hazards
  Landscape: Midnight Marshes
  dooM: Trudy Periwinkle
  Weird: Byakhee
  see aLso: invesTigaTor noTes [bde]
  
  -247-
  [TL21] The Night Terrors
  The hidden TruTh: The Nightgaunts have finally overcome their 
  strange prison deep beneath the Carol Young monument and are once 
  more free to roam the night skies. Carol Young was a great outdoorsman, 
  mayor, and hunter of the weird. The Nightgaunts must feed upon madness 
  to regain their strength, and have combined their psychic energies to drive 
  the townsfolk of Ebon Eaves insane. Once the townsfolk turn upon each 
  other—exhibited first as sleepwalking, then rising paranoia, and eventual 
  homicidal behavior—the Nightgaunts will sweep in for the feast. The broken 
  bits of their prison can be fashioned to fight them. Their lair is in a cave in 
  the high reaches of Cloudripper Mountain.
  Hazards
  dooM: The Madness
  Landscape: Cloudripper Mountain
  Weird: The Nightgaunts
  see aLso: invesTigaTor noTes [bdf]
  [TL22] The Curious Cave Drawings
  The hidden TruTh: Todd Williams, his brother Chad, and their cousin, 
  Brad Caster, did indeed rediscover some ancient cave drawings and the 
  campsite of the unfortunate explorers who located it a century before. The 
  original team hunted down a shapeshifter, and rather than let it escape, 
  collapsed the tunnel to trap it with them. It yet lives. It killed Chad, and the 
  other two, traumatized, blocked the incident from their minds. The creature 
  wants to work its way into a position of power and turn the town towards 
  its own oblique purposes. When it was loose long ago, it was called the 
  Night Flyer. It was bolder and ravaged the plains without peer. The cave 
  drawings depict it in its monstrous flying form.
  Hazards
  Landscape:  The Caverns
  dooM: Taking power
  Weird: The Shapeshifter
  see aLso: invesTigaTor noTes [bdg]
  
  -248-
  [TL23] The Cornucopia
  The hidden TruTh: Ebon Eaves is secretly controlled by a nature cult 
  under the direction of Peter Ellis. He is the reincarnated spirit of the original 
  High Druid, who returns every other generation. The nature cult practices 
  sacrificial rites to the Beast of a Thousand Young in return for its prosperity. 
  He conducts regular rituals with the Woodsmen, a select coterie of loyal 
  followers.
  Hazards
  eLders: Peter Ellis, Sherriff Cooke
  ToWnies: The Woodsman
  Weird: The Spirits
  see aLso: invesTigaTor noTes [bef]
  [TL24] Illumination
  The hidden TruTh: Clark Lewis is the town electrician and last surviving 
  member of a very old cult. He hopes to resurrect the cult by performing 
  certain rituals away from prying eyes, and has chosen the Manley Manor for 
  his secret work. Manley, a tight-lipped mentor, taught Clark enough so he 
  could be brought back. Lewis has plans of his own, and has brought Manley 
  back as a slave to teach him. The boy, Johnny, did indeed spot Manley, 
  and Lewis is trying to turn that to his advantage by playing up the haunted 
  house angle. He has been overly successful in that regard, as it has drawn 
  a few gawkers from the nearby city. He now confines Manley to the cellar 
  when he is not about.
  Hazards
  eLders: Clark Lewis
  Landscape: The Manley Manor
  Weird: Pope Manley
  see aLso: invesTigaTor noTes [beg]
  
  -249-
  [TL25] Doom
  The hidden TruTh: Reginald Ashford was a vain man filled with hubris. 
  He thought he could outwit the curse placed upon the line—no male would 
  live past fifty nor would a woman keep her sanity beyond forty. He traveled 
  the world to consult with seers and sages, and learned how to die and come 
  back. Doctor Keating administered the lethal dosage into Reginald’s veins 
  and assisted his passing and transport to the ancestral estate. For the final 
  part of the ritual, Doctor Keating had to drug Angela, the heiress to the 
  Ashford Estate, with strange, exotic drugs and drip her fresh blood into his 
  mouth to restore her ancestor. Reginald is alive again, though weak and 
  arthritic. Angela is unsure of what’s going on, and is certain she’s losing 
  her mind.
  Hazards
  eLders: Doctor Keating
  dooM: The Ashford Curse
  Weird: Reginald Ashford
  see aLso: invesTigaTor noTes [bfg]
  [TL26] Maker’s Mark
  The hidden TruTh: Ruth Maker is in love with Tucker Thompson, but 
  he regards her as only the butcher’s wife. She heard him complaining about 
  how he was near to the poorhouse and thought she’d change his luck with 
  a charm handed down to her from her grandmother, who was known as 
  the crazy old herb lady. She attached the charm to his brand and cast the 
  spell. Tucker caught her in his barn bleeding, and yelled at her to get out. 
  Undeterred, she knows once she works up the nerve to tell him what she 
  did for him, they will find happiness. Anything he owns, whether branded 
  or not, is under the protection of the spell until the charm is removed. 
  The spell was not meant to be maintained so long—the creature grows in 
  strength and shall soon hunger for more than the flesh of beasts.
  Hazards
  Weird: Ruth Maker
  dooM: The Winged Snake unbound
  see aLso: invesTigaTor noTes [cde]
  
  -250-
  [TL27] Hatchet Man
  The hidden TruTh: A Mi-Go experiment is loose in the environs of 
  Ebon Eaves. It was a genetically engineered creation designed to sow madness 
  into its victims via its saliva. Originally developed to fight the Nightgaunts—
  enemies of the Mi-Go—this one has acquired a taste for human flesh. 
  However, once it feeds it goes into a long torpor. If an infected human bit 
  another, the contagion would spread. So far, that hasn’t happened, but it’s 
  only a matter of time, if its nest isn’t located and the creature put down. 
  Hazards
  dooM: The Feeding
  Weird: The Mi-Go experiment
  see aLso: invesTigaTor noTes [cdf]
  [TL28] Dissonance
  The hidden TruTh: Porter Labs was a privately held company looking 
  into military applications of weaponized sound. The research was directed by 
  Professor Harold Porter, a brilliant physicist, who was directly tapped for the 
  project. Despite his brilliance, he could not resolve the complex equations, 
  or more accurately, was not able to build machines to the fine tolerances 
  needed to proceed with his work. Lamenting this while drinking heavily one 
  night at Patrick’s Grill in the next county, Marvin White, an engineering 
  student, overheard him and suggested some techniques. He quickly became 
  Porter’s protégé. Marvin had brilliant insights and was able to hand lathe all 
  the parts. The resultant device wavered into some strange frequencies that 
  triggered spontaneous evolution in both Porter and White. They were able 
  to actually escape the fate of the Labs. Some of the townsfolk, those with 
  the highest intelligence, were slightly altered as well. They have children 
  thought to be crazy, but who perceive reality on an entirely different plane. 
  Porter and White feel responsible for what they have wrought, fight their 
  monstrous urges, and strive to restore themselves and the town.
  Hazards
  Landscape: Porter Labs
  dooM: Porter and White’s loss of humanity
  Weird: The Evolved
  see aLso: invesTigaTor noTes [cdg]
  
  -251-
  [TL29] In the Blood
  The hidden TruTh: Lorraine Raslo discovered her husband’s journal 
  and believed he was insane, until she saw him transform. In the journal, he 
  detailed how he is of a line of serpent-men dating back to pre-history, and 
  when his sons come of age, he will pass on the family secret. She thought 
  she killed the last of them, as Stanley’s parents had passed away, and Jack 
  was presumed dead. When Jack showed up, she appeared to be quite crazy, 
  but knows the evil in him. Jack felt the pull to return home when his 
  siblings passed. He had been studying with his kin in Africa and is known 
  as a flamboyant explorer. Now, he seeks to run for mayor, and uses his 
  powers to aid him in his goals.
  Hazards
  eLders: Jack Raslo
  ToWnies: Raslo supporters
  see aLso: invesTigaTor noTes [cef]
  [TL30] Cryptic
  The hidden TruTh: Ashwake Fields was on hallowed ground until 
  a group of cultists started the Living Flame Church there in 1864. The 
  monument was erected by Ezekiel Stubbs when he burned the church to 
  the ground in 1878. He knew magic and salted the earth so the dead would 
  not rise again, for they had been pulled from the loamy soil once before. 
  His wards have broken. Darkness has awakened. And it is only a matter of 
  time before the sleeping beasts, the long buried cultists, rise once more. The 
  teenagers they have touched become unwitting puppets, serving their dead 
  masters in the dream realms.
  Hazards
  Landscape: Ashwake Fields
  Weird: Altered teenagers
  see aLso: invesTigaTor noTes [ceg]
  
  -252-
  [TL31] The Railyard
  The hidden TruTh: Madman Magilligan slept in the fertilizer car 
  and was exposed to the strange chemicals therein, which caused him to 
  hallucinate. When he got out of the car, he knew something was wrong. He 
  told the conductor, who told him he knew the intent of the chemicals, and 
  Magilligan killed him. The conductor’s wife knocked Magilligan out before 
  he could stop the train, and she drove it full speed into the Railyard. She 
  and her husband were willing servants of a dark god who was using them, 
  along with Jansen Chemicals, to treat the soil so it might nourish the Mi-Go 
  and expand their colony. Reddish-green grass has begun to sprout in the 
  Railyard and if it spreads to the farmlands, it will likely fulfill the original 
  plan enough to make the dark god happy.
  Hazards
  Landscape:  The Railyard
  dooM: The Blood Grass
  see aLso: invesTigaTor noTes [cfg]
  [TL32] 
  The hidden TruTh: Old Man Hammer knew a touch of dark magic; 
  just enough to appease the winged things which liked to toy with the town. 
  He enchanted them with his mastery of the fiddle and they let the town be. 
  After his murder, the creatures have reverted to their old ways, and resumed 
  their torture of the townsfolk with a fresh glee, taking one victim each full 
  moon. They may soon grow tired of this game. They intentionally spare 
  the Mayor, a truly good man, knowing each strike against the town gnaws 
  upon his soul.
  Hazards
  Landscape: Hammer Hilltop
  dooM: The creatures strike
  see aLso: invesTigaTor noTes [def]
  
  -253-
  [TL33] Tempest 
  The hidden TruTh: A storm cult resides within the old community. 
  They seek to call the lightning eaters from the sky and harness their power, 
  but are too weak for this at present. The best they can manage is to call the 
  strange creatures for a few moments. Recently, Tiffany Blaine, a beautiful 
  young widow, moved into the community and brought with her the promise 
  of power. She is being carefully recruited by the Storm Lord, Franklin Wills, 
  to serve as their conduit. If Tiffany joins, untold power may await the cult. 
  Franklin Wills owns Tristan Chapel and has been making idle promises 
  to renovate it for the past seven years. Since the county court clerk, Percy 
  Fredericks, is in his inner circle, he has little to fear from the Mayor’s Office.
  Hazards
  eLders: Franklin Wills, Percy Fredericks
  Landscape: Tristan Chapel
  dooM: The recruitment of Tiffany Blaine
  Weird: Lightning Eaters
  see aLso: invesTigaTor noTes [deg]
  [TL34] The Passage of Time
  The hidden TruTh: A crippled thing was seen flying into the clock 
  tower forty years ago. When Jake Cantor spotted it and went up to free it, 
  the injured Nightgaunt struck him. He staggered back and fell to his death. 
  Most folks don’t remember what happened that morning, except Spinster 
  Belle, his former fiancée, who works in the library and keeps largely to 
  herself. She saw the thing, but no one believes her, feeling she’s still lost 
  in grief. Perhaps she is. The only way to stop the curse is to clear the 
  nightgaunt from the clock tower where it still resides.
  Hazards
  Landscape: The Old Clock
  Weird: Nightgaunt
  see aLso: invesTigaTor noTes [dfg]
  
  -254-
  [TL35] The Black Grove
  The hidden TruTh: Pastor Brown is a former cult member and no 
  longer practices dark sorceries. Or so he thinks. He uses his magic to heal 
  people, but in truth he possesses a split-personality and at night he takes 
  on the robes of the Crimson Master, rails against Pastor Brown and the 
  Church of Inner Starlight, and worships Nyarlathotep. No one knows his 
  secret, as he wears a mask as the Crimson Master.  The Pastor is a fervent 
  ally for the characters. 
  Hazards
  ToWnies: The cultists
  dooM: The Crimson Master achieving dominance, Pastor Brown expanding 
  his church
  Weird:  The Black Grove
  see aLso: invesTigaTor noTes [efg]
  
  -255-
  Parting Words
  Creating Custom Playsets
  There will come a time when you will want to create your own playset. 
  While not for the faint of heart, it can be very rewarding. You need to 
  have at least two sets of questions you want to ask. One should be largely 
  concerned with the environmental factors and geography of the place. The 
  other should deal predominately with the weirdness that swirls all around 
  the place. In Ebon Eaves, there are seven questions concerning local color, 
  and seven dealing with the town lore, all of them saturated with varying 
  degrees of weirdness. 
  These questions then create distinct subsets you use to derive the 
  combinations. What is particularly novel is the interplay and friction, the 
  connections formed when you combine these two subsets together. Be 
  prepared to do a lot of work. For Ebon Eaves, with unique combinations 
  of three formed from a set of seven questions, there are thirty-five 
  permutations. Double that, since there are two sets of questions, and 
  you’re up to 70 blurbs you’ll need to write. And double that again, 
  since you’re creating information which is both player-facing and Keeper-
  facing. This takes the total up to 140 blurbs you’re writing. And you want 
  each of them to be unique, working in conjunction with any of the other 
  choices. And you need to add hazards into each of them. 
  On the flip side, once you’re done, there are a lot of combinations. 
  Ebon Eaves, the enclosed playset, has 1,250 possible combinations. And by 
  formalizing these into frameworks and adding textures, the number goes 
  up even higher (there are fourteen different textures, so you could have 
  up to 17,500 different experiences of Ebon Eaves with what’s included). 
  This doesn’t take into account what each person will bring to the game 
  and their playbooks, and how that will affect the game.
  
  -256-
  Creating Custom Playbooks
  Without a doubt, you or your crew will want to create your own playbooks 
  at some point. You will rend your hair and gnash your teeth over the fact 
  there is not a ________ included, or that somebody wants to play a 
  ____ (since they always play a ____  in “these types of games”). Or you 
  will want to take more ownership of the game or might have a particular 
  angle you want to explore, e.g., you want all the players to play professors 
  at a university, and you want to create more discrete playbooks. Which is 
  totally fine. 
  Here are a few things to keep in mind when rolling your own 
  playbooks.
  1. Ensure niche protection. Is this playbook overlapping with another 
  playbook’s “cool thing” (see below)? If so, consider either eliminating the 
  other playbook from your roster, or see how you can make this one more 
  unique in conception. 
  2. Make certain all the initial attributes add up to +3 (the default for starting 
  characters). If someone has a Reason +2, Passion +1, Might +1, then Luck 
  -1 would balance them out (and Affinity would be a 0). Look at the existing 
  playbooks for guidelines. 
  3. Think of the “cool thing” that will set the character apart from others. 
  Jot it down. A lot of the moves are about substitution, breaking an existing 
  rule, expanding an existing move, taking an existing move into another 
  space, or providing some type of location move (such as the antiquarian’s 
  shop, which does really great stuff, but within a limited scope). All of the 
  playbooks have five moves to choose from, and each person gets to pick 
  two. Consider different builds that could arise from the playbook, and see if 
  they hit a sweet array of various archetypes. You can make playbooks with 
  an essential move given (such as with The Alienist and The Doctor), but 
  these should be kept to a minimum.
  
  -257-
  4. Determine the look. Picture in your mind’s eye the different ways the 
  character could look. It is doubtful the Alienist is hulking, or the Detective 
  clean-cut. Provide an interesting spectrum of choice.
  5. Determine their gear. What stuff would this character have normally? If 
  there are some really cool items they may have, then consider adding them 
  to the list of stuff they can choose from. Only character types that have 
  brushed up against weird stuff on a regular basis should be able to choose 
  +1 Lore right at the start.
  6. Consider the Lore move. This is the thing which should bind all the 
  various permutations of an archetype together. For example, the Detective 
  has deducTive reasoning. I doubt there’ll be much argument about 
  that being central to various types of detectives. Choose something which 
  other characters cannot do. Make it something special. Consider how easy 
  it will be for that character to gain Lore. (Do they have any move which 
  aids them in the collection of clues or puzzling things out?) If not, consider 
  giving their Lore move a bit more punch. If so, give them something which 
  may be of more limited scope. Again, see existing playbooks for ideas.
  7. Don’t overthink it, especially for a one-off. If you at least follow the net 
  +3 rule, things generally won’t go too wrong for you. Should a character be 
  unreasonably powerful, you’ll either notice it quickly or a helpful player will 
  point this out straightaway.
  
  -258-
  Kickstarter Credits
  We had initially planned on listing the backers in the front of the book, but 
  we had to reevaluate where to appropriately place them since there were so 
  many, well over 1,500 folks backed it. What with multiple copies purchased 
  by some folks, the actual number of folks getting terrified exceeds 2,000. Now, 
  without further ado, we proudly present our backers. The names are listed 
  alphabetically by first name and are grouped by pledge level. Some folks chose 
  to remain anonymous and just supported our project. We thank one and all! 
  Crazy Cultists
  Candice Hunter
  Christopher Frawley
  Ed Possing
  John Post
  Scott Acker
  Stellar Scholars
  Brandon
  Jesse R Davis
  John Rogers
  johnnyx
  Lord Mhor
  Michael Smith
  Michael Wight
  Nan Braun
  Scott Alden
  thaumaturgan
  Renowned Retailers
  Roland Bahr (Sphärenmeisters Spiele)
  Jodi and Clint Black (Beautiful Brains Books & Games) 
  Angie Blackmon (Dragon’s Lair Comics & Fantasy)
  Sean Buckley (Leisure Games)
  Jim Crocker (Modern Myths) 
  Erik Hall (Titan Games & Comics) 
  Angel May (Guardian Games)
  
  -259-
  Insane Investigators
  ack, Adam Everman. aeonicals, Aleksandr Yermakov, Alessandro Pietro , 
  Saullo, Alexander B., Alexander Zock, Andre Parrish, Andrew Robertson, 
  Andrew Walker, Benjamin Jacobs, Benjamin Van Sickle, Bill Walsh, Brad 
  Bell, Bradley Heywood, Brian Allred, Bryan Haakensen, C., Candice Bailey,
  Castiel, Cat Gardiner, Chris Collins, Chris Gunning, Christian Leonhard,
  Christopher Menezes, Cousin Artaud, Dan Luxenberg, Dane Ralston-Bryce,
  Dave Olson, David Dostaler, David Lai, David Laine, Denis Chistyakov, 
  Derek, Derick Rodriguez, Don, Donald Welsh, Doug Keester, Doug Seipel,
  dysjunct, Emiliano Marchetti, Eric, Eric Avedissian, eric priehs, FelTK, 
  Fulton, Gary Riley, Grand Cipher of ∞, Glen Green, Glenn, HanoverFiste,
  Harry, Herman Duyker, Hubnutzen, iivari Lappalainen, James Patterson, 
  Jeremy, John Bobek, John Drinkwater, John Marron, Johnathan Tan, Josh 
  Rensch, Judy Oxford, Karl Okerholm, Kassidy Helfant, Kirk Foote, Kyle 
  Miller, Lee Eeles, Liam Routt, Loki, Lumacca, M. Sean Molley, Mark Argent,
  Matt Leitzen, Matthew Coverdale, Matthew H. Lipparelli, Matthew Wasiak,
  Michael Bowman, Michael Mock, Nate Miller, NexAdruin, obeysthewind,
  Owlglass, Patrice Mermoud, Rafael Adan Martinez, Randall Orndorff, 
  Randall Padilla Barrantes, Rick Neal, Rob_K, Robert Freeborn, Robert 
  Mallaby, Ronny Heinz, Russell Hoyle, Russell Litzkow, Sam Wong, Samael 
  the Butterdragon, Sapper Joe, Schadrach, scifantasy, Scott Aikens, scott kehl,
  Scott McGougan, sean, Sebastian Stranahan, Shane Hensley, Simon Ward,
  Sleet, Steve Donohue, Steve Dulson, Steven Sandmeier, Stewart Robertson,
  Sunjumper, supervexi, Thefancydudecakes, Thomas Munro, Tim Partridge, 
  Tony Lee, Travis Stout, Tristan Goss, Tyson B. Cram, walterhisownself, 
  William Hensley, wolpaladin, and xander.
  
  -260-
  Mythos Minded
  Aaron McConnell, Aaron Roudabush, Adam Caverly, Adam Crossingham, 
  Adam Drew, Adam Rajski, Adam Tuck, adamsmith, Adrian Price, Al 
  Billings, Albert Baird, Alejandro Stratta, AllegraIntegra, AlopexPalefox, 
  Amanda Kirk, anderland, Andrew, Andrew Barrett-Venn, Andrew Chang, 
  Andrew Cristina, Andrew G. Smith, Andrew Laliberte, Andy Collier, Anon 
  K. Adderlan, Anthony Perrett, Antoine Boegli, Arc Dream Publishing, Artur 
  Jeziorski, Ashley G., Atarun, Axel Eble, Ben Quant, Ben Steinberg, Bill 
  Stilson, Brad Osborne, Brad Walter, Brady Chin, Brendan Robert McCann,
  Brett Easterbrook, Brian Huizingh, Brian Lavelle, Brian Peters, Bruce 
  Broecker, Bruce Turner, Bryan Dean, Capellan, CardiacKangaroo, Carl Bou 
  Mansour, Carl Hickman, Chad, Charles Boulware, Chris Andrews, Chris 
  Hartman, Chris J Hahn, Chris Jones, Chris Jordan, Chris Robinson, Chris 
  Snyder, Chris Sylvis, Chris Tavares, Christian Nord, christopher barrett, 
  Christopher Bird, Christopher Coulter, Christopher Eberhard, Christopher 
  Smith, CJ Brazee, Claes Gerleman, Cory Grant, Crystal Skelton, Curt Meyer,
  D. Noland, D.J. Cole, DamnedEyez, Daniel Elenius, Daniel Ley, Daniel 
  Robichaud, Danny Montgomery, Darin DuMez, darren benford-brown, 
  Daryl Walters, David Bresson, David Brittain, David Lanier, David Walker,
  Davideogame, Dean Engelhardt, Derek Guder, Derek Johnson, Derek Smyk,
  Descendingform, DivNull Productions, Dominic Mooney, Doug Bolden, 
  DPR, Draco, dreamer, Dusdan Garver, Dylan Clayton, Eddie, Edoz, Edward 
  Bonthron, Edward Pallis, Eon Fontes, Eric Nolan, Eric Schild, Erik Grunsten,
  Erin, Father Wendigo, Felix Girke, Filthy Monkey, Frankie, Fred Carter, 
  Freddy C. Dixon, Ghislain Morel, Glenn Seiler, Greg, Greg Davis, Greg 
  Silberman, Gus Golden, Ian M., Identityflux, InaVegt, INCyr, Jack Gulick,
  James Ramey, James Van Horn, Jason Christopher Faught, Jason Lee Miller, 
  Jason Saldana, Jason Wilsey, Jay Lee, Jean, Jean Ha, Jeff Eshbaugh, Jeff 
  Scifert, Jeremy, Jeremy Caldwell, Jeremy Kostiew, Jeremy Scott, Jey, Jez 
  Gray, Jim Burzelic, Jim Lesniak, Jimmie Bise Jr, Jimmy Plamondon, JLucania
  Jody Kline, Joel, Johannes Forster, John Mahaffy, John Scheib, John 
  Thomasovich, John Vines, Johnathan L Bingham, Jonathan Northquist, 
  José Manuel Viegas, Josh, Josh Bazin, Josh Flint, Joshua D. Meadows, Joshua 
  David Bailey, Joshua Haney, Joshua Lee, Julien St-Laurent, Justin, Justin 
  Barkley, Justin Drew, Justin Lee, Kanane Jones, Karl Barbosa, karl deckard,
  
  -261-
  Karl Walldorf, kaser, Kenneth Sargent, Kevin Byrne, Kevin C. Wong, 
  kevin hazslip, Kevin Petker, Kreignbuster, Kyle Gagnon, Kyle Pinches, 
  Larry Hollis, Lauri Hirvonen, Lee Langston, lindaweygant, Livia von Sucro, 
  Longspeak, Lorrraine, lovelydwarf, Marco Andre Mezzasalma, Marco 
  Mensen, Margaret Norris, Mark Harrop, Mark Shocklee, Marshall Gatten, 
  Matt Hoadley, Matt M McElroy, Matthew, Matthew Klein, Matthew 
  Matheny, Matthew Sanderson. Matthew Strachan, Matthias Weeks, Mia 
  Sizemore, Micah Neveu, Michael “Stargazer” Wolf, Michael Eringsmark. 
  Michael J. Raymond, Michael MacNeil,  Michael Richards,  Michael 
  Swadling,  Michelle Getty, Miguel Maria Duran, Mike Hamann, Mike 
  Laidlaw, Mirko Mazzi, Mitchell Lavoie, Mitchell Olson, Morgan Weeks, 
  Morten Greis Petersen, N. Ohnesorge, Nadia Cerezo, Nat Lanza, Nathan 
  ‘Noofy’ Roberts, Neal Dalton, Neal Tanner, Neil C Ford, Nimish Shah, 
  Nimrod Jones, Norman Shih, Oliver Granger, Oliver Lind, Omer Ahmed, 
  Patrick Hartley, Patrick Wheeler, Patty Wong, Paul Bachleda
  Paul Echeverri, Paul Sudlow, Paul Tomes, Paull Patterson, Pavel Ojeda, 
  Pedro Ziviani, Philip Eisner, Pieter Kreyns, Rachel E. Kooy, Randy James 
  Walker, Raphael Päbst, Rebecca Marie Hazel Lamb, Renato Retz, RF Percy
  Ricardo Martinez, Richard J. Pratt, Richard M Mathis, Richard Simmons, 
  Richard ‘Vidiian’ Greene, Rob Malo, Robert Allen Strickland III, Robert 
  J. Noble, Robert P. V. Davis, Rod MacPherson, Ron Searcy, Roo Wetzel, 
  Rune B Reinås, Rune Petersen, Ryan Cleven, Ryan Percival, Ryan S., Sage 
  LaTorra. Sam Hulett, Sam Shockey, Samwise Crider, Schild Scott Bieser, 
  Scott C. Anderson, Scott Denson, Scott Stokes, Scott Underwood, Scott 
  Woodard, Sergio Silvio Herrera Gea, Shannon R. Bell, Shawn D. Hilton, 
  Sigurd Løberg, Steph Turner, Stephen Gregory Terrones, Stephen Joseph 
  Ellis, Steve Dempsey, Steve Hinck, Steven Morris, Steven Sweeney, Stirling
  Stuart McDermid, Svend Andersen, Taylor “The Snarky Avenger” Kent,
  Taylor Jordan Bodiford, Terry A. McKelvey, Thomas Dahmen, Thomas 
  Nicol. Tim Jensen and Willow Palecek, Timo Polterock, Tod S, Todd 
  Estabrook, Tom McLain. Tony Reyes, Topher McCarty, Tore Halvorsen
  Tracy Barnett, TRC - Taastrup Roleplaying Club, Trentin C Bergeron, 
  Vincent Baker, Vincent Ecuyer, vogliadicone, Warshadow, Wesley Dau, 
  Whit Mattson, Wightbred, Will Edgington, Will Monte, William Grothkopp
  Wythe Marschall, Zachary Wright, Zack Bowman, and Zane Graves. 
  
  -262-
  Proud Professors
  Acritarche, Adelaide Simonson, Alan Scott, Alexander Williams, Alison 
  Edmunds, Anarchangel, Anne-Sylvie Betsch, Anthony Emiliani, Benjamin 
  Mialot, Bob Cahill, Bob Hanks, Bob Munsil, Brendan G Conway, Caelin
  Chad, Chad, Charles Paradis, chearns, Chris Wiegand, Christopher Beck, 
  Daniel Laloggia, David Jarvis/Gun Metal Games, David LeRose, Duncan 
  Ellis, Ed Kowalczewski, emosquid, Eric Lytle, Evan, fantomas, FlWiPig,
  Frazier, gabrielluna23, Gary Pennington, George Sedgwick, Grimzag, Ian,
  Innicas, Jason Bean, Jason Eiben, Jay Moore, Jeffrey Russell, Jennifer Dulock,
  Jeremy, Jesse Thacker, John Corey, John Thomas Mahany, Jonathan Bristow
  Jonathan Korman, Jonathan Steele, Joshua W. Pittman, Katherine Terban,
  Kevin Atkinson, Kevin Lemke, Kevin Martin, Kevin Mayz, Lee Newman, 
  Lisa Padol, Ludanto, Luke Reeves, Mal, Mantle, Maria Ey. Luihn, Mark 
  Francis, Mark Giebler, Matt Canale, Matthew Broome, Matthew Edwards,
  Matthew Zymet, Michael Crowley, Michael Hill, Michael Ostrokol, Michael 
  Welker, Mike Sands, Mikel Matthews, Morgan R Hatfield, Moto42, Nick 
  Johnson, Nick Novitski, PemrichT, Peter Enstrom, Rob Hall, Rocha, Ronnie 
  Emory II, Ruth, Shawn Koch, Skip Intro, Stappi, Steve Suttar, Suzanne 
  Rosin, TG Mills, Tollymain, Tom Dobie, Vazanar, Will Karlin, William 
  Howard, and William Palmer, 
  
  -263-
  Determined Dilletantes
  Aaron Friesen, Aaron Paul, Adam Boisvert, Adam Flynn, Adam Hake, 
  Adam Koebel, Adrian George, Alan De Smet, Alan Schwing, Alex Altman,
  Alex Kriss, Alister Blake, Alpharalpha, alywin, anarch, AndreasDavour, 
  Andrew Lee, Andrew Morton, Andrew Muttersbach, Andrew Schubert, 
  Andy Hopp, Andy Leighton, Andy Prime, Angelo Pileggi, anonymous1453,
  Antoine Fournier, asurber, Austin Stanley, Belabor, Ben McClellan, Benjamin 
  Rogers, Benoit Devost, Blake Harrison, Bo Saxon, Bob Smith, Bobby Cortez, 
  Bobby Jennings, bobrunnicles, Brad Davies, Brandon Franklin, Brandon 
  Gagne, Brent Scott, Brian Allen, Brian Artiaco, Brian Auxier, Brian Cooksey,
  Brian Fitzpatrick, Brian Kelsay, Brian S. Holt, Brian VanNatta, Brogan 
  Zumwalt, Byron, c, Cam Banks, Carson Hill, cascade jug, Cassandra Matteis,
  Cedric Ferrand, Cgeist7, Chad Maue, Charles Charles, Chip & Katie, Chris 
  Bain, Chris Fletcher, Chris Fuchs, Chris Rickard, Chris Slazinski, Christian 
  Eilers, Christian Lindke, Christopher Grau, Christopher “The Secret DM “ 
  Mennell, Christopher Smith Adair, Claes, Clarissa, Colin, Contesse, Craig 
  Curtis, Craig Judd, Craig Maupin, Craig McRoberts, Cullen Gilchrist, 
  Curtis Hay, D., damiana scott, Daniel, Daniele Di Rubbo, Danielle, Darrell,
  Darren Miguez, Dave Rezak, Dave Weinstein, David Empey, David Gallo,
  David Hines, David Huang, David Nixon, David Zimmerman, Declan 
  Feeney, Dennis Matheson, Derek Lettman, DK, Donald Gardner, Doug 
  Atkinson, Doug Blakeslee, Dr. Cthulhu, Drew, drew craker, drompot23, 
  Duley Crabbe, Dylan Bias, Dylan Boates, Ed Coss, edchuk, Eddi & James, 
  Edward Damon, Eeshwar Rajagopalan, ElderSigned, Eli Baskir, Elizabeth 
  Eldridge, William Gerke, Enedino Fernandez, Eric Coates, Eric Franklin, 
  Eric Ponvelle, Eric Vogl, Erik Amundsen, Eternal Artificer Crux, the Mad 
  Captive, Eugene Kormiltsev, Fearlight Games, Felipe Ferreira, Ferrett 
  Steinmetz, Flavio Mortarino, Francesco Gerecitano, Francisco Blanca, Fritz,
  Fünhaver Industries, Funge, Gabriel Pesek, Gary Anastasio, gcfellin, Gerry 
  Saracco. Gggarth Firesnake, Gilbert Isla, Giorgos Giannoutsos, Glazius, 
  Gnome7, Gray Tanner, Greg Beard, Gulix, Hank Raab, Hugh Ashman, Ian 
  Fabry, Ian McVicker, Ian SerVaas, Irven Keppen, J. J., J_Rude, Jack Kessler
  Jacob Carpenter, Jacob Trewe, Jake Ivey, Jake Moore, Jakob Pape, James A. 
  English, James Gabrielsen, James Myers, James Niemira, James Schrecengost,
  JamisonThing, Jar, Jason Brown, Jason Corley, jason mcguire, Jason Mical, 
  
  -264-
  Jason Pitre, Jason Wayne Keesey, Jay, Jay Little. jdadams1. Jeff Brissette. 
  Jeff Lucarelli, Jeff Robison, Jeff Stolarcyk, Jeffrey Edgar, Jennifer Fuss, 
  Jennifer Gould, Jens Alfke, Jeremy Friesen, Jeremy Puckett, Jerry V, Jessica, 
  Jim DelRosso, Jim Sweeney, jim wuerfel, Jimi Thaule, Joe Beason, Joe 
  Christensen, Joe Kavanagh, Johan Nilsson, John, John Adamus, John Addis,
  John Bogart, John Davis, John Dominguez, John Harper, John Kaminar, John 
  Mehrholz, John Moran, John Paul Ashenfelter, John Wilson, Jon Edwards, 
  Jonathan, Jonathan Cliffen, Jonathan Grimm, Jonathan Jordan, Jonathan 
  Walton, Jordan Raymond-Robidoux, José Manuel Palacios Rodrigo, Josh,
  Josh Albritton, Josh Thomson, Joshua, Joshua Chewning, Joshua Dee, 
  Joshua Heffner, Joshua Kaufmann, Judd, Justin Beeh, Justin Smith, Kamal 
  Khashoggi, Karl Stjernberg, Kathleen K, Kayne Newell, Keith Stetson, Kelly 
  Van Campen, Ken Collins, Kevin Billman, Kevin Denehy, Kevin Galloway.
  Kevin Kulp, Kevin Wennerstrøm, KFC, Kiel Cross, KingFrog368, Kurt, 
  Kurt Ellison, Kyle Johnson, lance williams, Larry, Lars Ericson, Lars 
  Mølgård, Nielsen, Leanne Janette, Levi Whitney, Liam Murray, Lior Wehrli, 
  Lloyd Moore, Lydian Coda, Magnus Carlstrom, mandubian, Marc Majcher, 
  Marcus Burggraf, Mark, Mark Delsing, Mark DiPasquale, Mark Levad, 
  Mark Malone, Mark Margraf, Mark Morrison, Mark Nau, Mark Sautman,
  Mark Solino, Mark Thompson, Mark Watson, Marshall Miller, Martin 
  Ralya, Mathew Irizarry, Matt Clark, Matt Clay, Matt Evans, Matt Fannin,
  matt greenfelder, Matt Holland, Matt Honeyball, Matt Landis, Matt Logan,
  Matt Penniman, Matt Shoemaker, Matt Strickling, Matt Wester, Matthew 
  Dowis, Matthew McFarland, Matthew Nielsen, Matthew Sullivan-Barrett,
  Max Hervieux, Mendel, Michael Bisanz, Michael Busuttil, Michael Downey,
  Michael Haggett, Michael Harnish, Michael Johnson, Michael Ramsey,
  Michael Sprague, Michael Tree, Mike, Mike Bogan, Mikhail Gordin, Miles 
  Nerini, Mischa Wolfinger, Moe Lane, Moe Tousignant, Mook, Morgan 
  Dodge, Motipha, natb, Nathan Black, Nathan Reed, Nathan Riddell, 
  Nick Brooke, Nicolas Brian, Notting Hill Games, Paige Speed Catotti, 
  palmereldritch, paolo, Parker Watts, Pat Harrigan, Patrick, Patrick, Paulo 
  M Djordjevic, paydirt76, Peter Aronson, Peter Reynolds, Petter Wäss, Phil 
  Garrad, Philip Burge, Philippe, Pierre Noel, R. Patrick Taggesell, Radek 
  Drozdalski, Rando Wiltschek, Raven Daegmorgan, Ray, Raymond D. 
  Arrastia, Rebecca Kirsch, Reed, Renee Knipe, Richard Feather, Richard 
  
  -265-
  Klose, Richard Woodward, Rick Harrelson, ringmaster, Rishi, Rob Starobin,
  Robbie Romero, robdeobald, Robert Carnel, Robert Ferguson, Robert 
  Jackson, Robert Martinez, robert reay, Robert Reidburn, Robert Slaughter,
  Rod Spellman, Roderick Edwards, Roger Eberhart, Rom, Ron Blessing, Ron 
  Vargas,, Ronnie Roberts, Russell Laymance, Ryan Denison, Ryan P., Ryan 
  Woodroof, SageNytell, sammakesgames, Sandor, Sara, Sara Mitchell, Scott,
  Scott Johnson, Seán Harnett, Sean M Dunstan, Sean Richmond, Sechin 
  Tower, Seth, Seth Ben-Ezra, Shawn McCarthy, Shelton Windham, Simon,
  stephane adamiak, Steve Burnett, Steven Robert, stoichkov13, Stras Acimovic,
  Surfmonkey01, synthapse, Temmogen Fifth Horseman, Teo Tayobobayo, 
  Tim Kelly, Tim Rodriguez, Todd VanDerWerff, Tom Mathews, Tommy 
  Brownell, Tony Calidonna, tophatv20, Travis Mueller, trublunite, twharbert,
  Victor Kuo, Victor Wyatt, vigilare, Wade Nelson, waits in graves, William 
  (Bill) Reger, William Harrison, William Mark Woodhouse, wraith808, 
  Yragael, Z.W. Garth, and Zachary Sylvain.
  
  -266-
  Anxious Antiquarians
  _3Jane, 365ZED, Ackinty, Adam, Adam Cardoza, Adam Coleman
  Adam Robichaud, Adrian, Adrian Sprysak, AkiV, Alan Friesen, Alan Twigg, 
  Aleksi Suutarinen, Alex Dingle, Alex Nguyen, Alex Strang, Alex W, AlexH, 
  Alistair, Allan Goodall, Alyea Sandovar, Amanda, Anders Olsen, Andre 
  Monserrat, Andrea De Gregorio, Andrea Sansone, Andreas Melhorn, 
  Andrew Blake, Andrew Byers, Andrew Gatlin, Andrew Hovanec, Andrew S
  Andrew Tressler, Andrew Watson, Andy. Andy Welsh, Anne Scott, Annie 
  Zhao, Anthony Dickey, Anthony Parent, Aram Glick, Aron Peterfy, Barac 
  Baker Wiley, Barry, Bastian Dornauf, bayleaf, Ben W Bell, Benjamin 
  Blanding, Benjamin Lipken, BeZurKur, Black Dwarf, Bleakster, Bob Gorski,
  Brad Kik, Brad Robins, Brand, Breon Halling, Brian Brazil, Brian Engard,
  Brian S, brianponline, Bruce Curd, Bruce Wehrle, Bryant Durrell, Caleb 
  Osborn, Cameron Nemeth, Carlos Pestana, Catherine Hariton, cesareborgia,
  chapel, Charles, Charles Starr, Charlie D, Chema Pamundi, Chong Sim 
  Chung, Chris, Chris, Chris Barney, Chris Daniels, Chris Edwards, Chris 
  Hughes. Chris Jahn, Chris Lazenbatt, Chris Lobban, Chris Salter, Chris 
  Whetstone, Christophe Nicolier, Christopher Baerman, Christopher Church,
  Christopher Irvine, Christopher M. Sniezak, Christopher Malone, Christopher 
  Paul, Chuck Horne, Colinaut, Collin M. Trail, Connor Cornelius Cooke,
  countercheck, Craig, Craig Bishell, Craig Rolfes, Criss Walker, Cthulhu,
  Dain Lybarger, Damian Guardia, Damian Ng, Damon Dorsey, Dan Hall,
  Dan Perrine, Dan Roe, Dana Richmond, Daniel, Daniel, Daniel Figuereo,
  Daniel Kraemer, Daniel Ravipinto, Daniele Ruggeri, Darren Hill, Daryl 
  Putman, Dave Chalker, Dave Newell, David, David Annandale, David B,
  David Bagdan, David Barrena, David Eugene Durrett Jr., David Farnell, 
  David GIlbert, David Hallett, David Hoover, David J Prokopetz, David 
  Mihola, Deirdre Calvaneso, Dennis Bakriges, Dennis Schmolk, Devon 
  Apple, Dillon Mills, Drew Wendorf, DrewSouth, Dropbear, DualPistoleiro,
  Eduardo, eibaan, Eimantas Gervickas, Elizabeth Rosenblatt, Elliot, Emma 
  Marlow, Eoal, Eoin Hurrell, Eric, Eric Chon, Eric Magnuson, Esa 
  Kankaanpää, Evan Jaramillo, evil bibu, EvilNorton, EWhitten, Fealoro, 
  Felan Parker, Florian Wassermann, francois6po, Frent, Gareth DeWalt, 
  Garry Bravo, Gary Rumain, Gavin Inglis, Gene, Geoff Skellams, Geoffrey 
  Gilmore, George Langlands, George Tucker, Gerolf Nikolay, Gianadda
  
  -267-
  Gilbert Podell-Blume, Giles Thompson, gilles, GingerMan. Gino Moretto, 
  goatdaddy, gos_jim, Grant Chen, grbox2001, Greg, Greg Hartman, Greg 
  Krywusha, Greg Rogers, Gregory Stanyer, Greyhunter, Guy Shalev, Hans 
  Stokke, Harry Nelson, Hideo Kuze, Ian Borchardt, Ian Fagan, Ian V., 
  IndustrialRobot, Inigo, InyutheBeatIs, Ivan Dervisevic, J Carter, JackFractal,
  Jacob Peek, Jake Kuska, Jamas Enright, James Galloway, James Heath, James 
  Iles, Jan Willem Marck, Jan-Paul Koopmann, Jared Anderson, Jarek Curtis,
  Jason, Jason Frey, Jason Smith, JAvier Perez Garcia, Jay Shaffstall, jbrownd
  Jean-Olivier Ferrer, Jeff, Jeff Girard, Jeff Healy, Jeff Powers, Jennifer Court,
  Jennifer L Smith, Jens Niros, Jeremy Fridy, Jeromy French, Jessica Hammer,
  Jim Miller, Jim Ryan. Jim_Hague, João Mariano, Joe Sallitt, Joel A. Adkins,
  Joerg Sterner, John Armstrong, John Connor, John Doran, John Fiala,
  John Griffin, John M. Portley, John Munro, John Schuhr, jon h, Jon 
  Rosebaugh, Jonathan Cook, Jonathan Cruz, Jonathan Jones, Jonathon Dyer, 
  Jorge Idarraga Lazaro, Jose Espinoza, joseph, Josh Street, Joshua Owen, 
  Juan Felipe Castillo, Justin, Justin Evans, Justo Diaz, Kaja Rainbow, Kalem, 
  Kanoan Sherwood, Kapcon Rpg Convention, Katherine Majewski, KBrown, 
  Keary Birch, Keith Mageau, KEK7go - Obsidian Order, Kerry Harrison,
  KESIPYC, Kevin John, Kevin Ohannessian, Kit Power, klawzie, Konrad 
  Gula, Kornel, Kyle Burckhard, Kyle Moss, Kymberlie R. McGuire, Kyron 
  Jeno, Lachlan Fraser, Lacy Jae, Laura Baldwin, lbstouder, Lee Alley, Lee-
  Anne, Leo Breebaart, Leonard Wild, Leonardo Prunk, Leslie Furlong, 
  lessonz, Lester Smith, Liam Bourret-Nyffeler, Liangcai, Lifestealer, Link 
  Hughes, Loki Carbis, Luca Beltrami, Luca Dutto, Luke, Lyfdel, Maladyn, 
  Manu Marron, Manuel Doria, Marcus Bone, Marcus Frowerk, Marcus 
  Sherwin, Mark Blaise Pankhurst, Mark Diaz Truman, Mark Jones, Mark 
  Kilfoil, Mark Murphree, Mark N. Ziff, Markus Raab, Markus Widmer, 
  Martin Dickson, Martin Kutschker, Matt Fuller, Matt Hildebrand, Matt 
  Maranda, Matt Wetherbee, Matthew, Matthew Brinker, Matthew Couch, 
  Matthew Freeman, Matthew Karabache, Matthew Schultz, Maurizio 
  Paoluzi, Max Kaehn, mcv, Md. Muazzam B. Sham Khiruddin, Megan, 
  Melanie Fennah, Michael, Michael Border, Michael Carscadden, Michael 
  Hintz, Michael Humphreys, Michael Llaneza, Michael Pleier, Michael 
  Reese, Michael Ruschena, Michael Schumann, Michael W. Mattei, Michael 
  Zenke, Michal Klosowski, Mikael Andersson, Mike Browne, Mike Davey, 
  
  -268-
  Mikhail Bonch-Osmolovskiy, Mikko Karttunen, Miles Matton, Minder, 
  Mo Holkar, Mokari, Momosnyx, Morgan, Mr.Float, Mrmistofales, Mykel 
  McCarthy, Myles Corcoran, Nathan Olmstead, Nathan Rockwood, Nels 
  Anderson, neongrey, Nichole. Nick Clift, Nick Gittins, Nick H., Nick 
  Poulimas, Nick the Lemming, Nick Townsend, Nicole Mezzasalma, Nigel 
  Lee, Nyogtha, Okas Leinert, Olli Sikstus, Ollie Gross, Olof Eriksson, 
  Owen Anderson, Owen Thompson, Pat Gamblin, Patrice Hédé, Patrick 
  Daily, Patrick Jedamzik, Paul Jones, Paul Newsham, Pedro Luiz, Peter 
  Andreas Wium Olesen, Peter Griffith, Peter Hawkins, Peter Winter, 
  Phil Vecchione, Phillip Bailey, Pierre Blanchet, PiHalbe, Pseudolife, 
  Psychonix, Rafe Ball, Ralf Achenbach, Random64, Randy Mosiondz, 
  Ravenlight, razamataz, Remo Disconzi Filho, RevGra, Richard, Richard 
  Hirsch, Richard McLean, Richard Squire, Rick, Rinckeg Kendirdal, Rob 
  Donoghue, Rob Short, Robert Bersano, Robert Biddle, Robert Summerill, 
  Robert Wieland, Roberto Micheri, Robin D. Laws, Rolf Laun, Ross 
  Robertson, Roxy M., Rudy Basso, Ruqiyah, Russell Rutherford, Ryan 
  Gigliotti, Ryan Leahy, Ryan Macklin, Saladdin, scionofnyarlathotep, Scott 
  Abernethy, Scott Boehmer, Scott Dorward, Scott Havens, Sean Bouchard, 
  Seb R, Seth Witucki, Shane Charleson, Shane Knysh, Shane Mclean, 
  Shawn De Arment, Sheila Davis, Sid Wood, Silerias, Silvio Carella, simon, 
  Simon Hibbs, Skyler Payne, solarom, Squid and Crow, Stefan Einarson, 
  Stefano Liggeri, Stephan Pipenhagen, Stephen Cheney, Stephen Egolf, 
  Stephen Kilpatrick, Stephen Thomson, Steve. Steve, Steve Mumford, Steve 
  S, Stew Wilson, Susan Davis, T. Riches, Tablesaw, Tara Imbery, Tasha 
  Robinson, Teemu Haila, The Roach, TheBoyd, Theo, Thomas Siemens, 
  Tim Ellis, tomofdarkness, Tony Love, townsendator, Tracy Baker, Travis 
  Bryant, Travis Scott, Twila Price, Tyler Lanser, Valerio, vendemiaire, 
  Warren Merrifield, William Dovan, William Miller, William Stenross, 
  Xaak, Xavier Aubuchon-Mendoza, xguitian, xiavn, Yong Siong Oon, Yuri 
  Zahn, zachol, Zane Smith, Zed Lopez, and Zedd Pavic.
  
  -269-
  Index
  Actual Play Examples  
   
   
   
  84
  Advancement  
   
   
   
   
  48
  Affinity – see Attributes  
   
   
   
  –
  ASHES – see Creatures  
   
   
   
  –
  ASH Scale 
   
   
   
   
   
  156 
  Attributes 
   
   
   
   
   
  8
   
  Primary  
   
   
   
   
  8
   
  Affinity  
   
   
   
   
  8
   
  Luck  
   
   
   
   
  8
   
  Might  
   
   
   
   
  8
   
  Passion  
   
   
   
   
  8
   
  Reason  
   
   
   
   
  8
  Secondary 
   
   
   
   
   
  8
   
  Lore  
   
   
   
   
  8
   
  Trust  
   
   
   
   
  8
   
  Wealth  
   
   
   
   
  8
  Buying Goods  
   
   
   
   
  47
  Character Creation 
   
   
   
   
  14
   
  Intersecting Lives 
   
   
   
  16
  Charged Situation 
   
   
   
   
  9
  Clues – see Tips and Tricks 
   
   
   
  –
  Combat, Narrative 
   
   
   
   
  25
  Conditions – see Damage Track Table  
   
  –
  Consequences  
   
   
   
   
  24
  Creatures 
   
   
   
   
   
  155
   
  ASHES  
   
   
   
   
  156
   
  ASH Scale 
   
   
   
   
  156
   
  Damage Track  
   
   
   
  160
   
  Lovecraftian Creatures  
   
   
  161
   
   
  Deep Ones 
   
   
   
  161
   
   
  Ghouls  
   
   
   
  162
   
   
  Mi-go  
   
   
   
  162
   
   
  Nightgaunts 
   
   
   
  163
   
   
  Shoggoth 
   
   
   
  164
   
  Other  
   
   
   
   
  164
   
   
  Bats 
   
   
   
   
  164
   
   
  Bear  
   
   
   
  164
   
   
  Wolf  
   
   
   
  164
   
   
  
  -270-
   
  Extras  
   
   
   
   
  157
   
  Special  
   
   
   
   
  159
   
  Tags 
   
   
   
   
   
  157
  Damage 
   
   
   
   
   
   
  Harm  
   
   
   
   
  26
   
  Shock  
   
   
   
   
  117
   
  Suffering 
   
   
   
   
  29
  Damage Track Table  
   
   
   
  28
  Dark Insight  
   
   
   
   
  9
  Death  
   
   
   
   
   
  15
  Ebon Eaves (Playset)  
   
   
   
  189
  Local Color (Investigator Notes) 
   
   
  193
  Local Color (Keeper Notes)  
   
   
  205
  Questionnaire  
   
   
   
   
  190
   
  Town Lore (Investigator Notes) 
   
  223
   
  Town Lore (Keeper Notes) 
   
   
  236
  Town Worksheet 
   
   
   
   
  192
  Equipment 
   
   
   
   
   
  44
  Examples of Play 
   
   
   
   
  84
  Experience 
   
   
   
   
   
  165
  Frameworks 
   
   
   
   
   
  147
   
  Creating 
   
   
   
   
  147
   
  Formalizing 
   
   
   
   
  151
   
  Hazard Tracks  
   
   
   
  153
   
  Linchpin 
   
   
   
   
  147
   
  Texture 
   
   
   
   
  147
   
   
  Textures List  
   
   
  148
   
  Threads 
   
   
   
   
  149
  Gear – see Equipment  
   
   
   
  –
  Haggling 
   
   
   
   
   
  47
  Harm – see Damage  
   
   
   
  –
  Harm Scale 
   
   
   
   
   
  26
  Hazards 
   
   
   
   
   
  119
   
  Doom  
   
   
   
   
  124
   
   
  Doom Moves  
   
   
  144
   
  Elders  
   
   
   
   
  120
   
   
  Elders Moves  
   
   
  127
   
  Landscape 
   
   
   
   
  122
   
   
  Landscape Moves 
   
   
  135
  
  -271-
  Townies 
   
   
   
   
   
  121
  Townies Moves 
   
   
   
   
  131
   
  Weird  
   
   
   
   
  123
   
   
  Weird Moves  
   
   
  138
  Hazard Tracks – see Frameworks 
   
   
  –
  Help 
   
   
   
   
   
   
  11, 173
  Hold   
   
   
   
   
   
  9
  Items – see Tips and Tricks 
   
   
   
  –
  Keeper  
   
   
   
   
   
  9
  Maxims 
   
   
   
   
   
  101
   
  Agenda 
   
   
   
   
  101
   
  Execution 
   
   
   
   
  101
   
  Principles 
   
   
   
   
  101
  Preparation 
   
   
   
   
   
  94
   
  Using a Framework 
   
   
   
  97
   
  Using a Playset 
   
   
   
  95
   
  Starting from Scratch  
   
   
  98
  Keeper Moves  
   
   
   
   
  106
  General 
   
   
   
   
   
  110
  Hard  
   
   
   
   
   
  109
  Hazard  
   
   
   
   
   
  125
   
  Situational 
   
   
   
   
  114
   
  Spending Hold 
   
   
   
  107
  Lexicon 
   
   
   
   
   
  9
  Linchpin – see Frameworks  
   
   
  Looming Mystery 
   
   
   
   
  99
  Lore – see Attributes  
   
   
   
  –
  Luck – see Attributes  
   
   
   
  –
  
  -272-
  Maps  
   
   
   
   
   
  176
  Mental Disorders 
   
   
   
   
  35
  Mental Health  
   
   
   
   
  32
  Might – see Attributes  
   
   
   
  –
  Moves  
   
   
   
   
   
  10
   
  Basic  
   
   
   
   
  10
   
   
  Act Under Pressure 
   
   
  20
   
   
  Convince 
   
   
   
  20
   
   
  Help/Hinder  
   
   
  21
   
   
  Poke Around  
   
   
  21
   
   
  Puzzle Things Out 
   
   
  22
   
   
  Read a Person  
   
   
  23
   
   
  Resort to Violence 
   
   
  23
   
   
  Threaten 
   
   
   
  24
   
  Keeper – see Keeper Moves 
   
   
  –
   
  Lore 
   
   
   
   
   
  10
   
  Special  
   
   
   
   
  10
  Names  
   
   
   
   
   
  14, 172, 177
  NPCs
   
  Damage Track  
   
   
   
  160
  Passion – See Attributes 
   
   
   
  –
   
  Physical Debilities 
   
   
   
  34
  Physical Wellness 
   
   
   
   
  31
  Playbooks 
   
   
   
   
   
  49
   
  Alienist 
   
   
   
   
  50
   
  Antiquarian 
   
   
   
   
  53
   
  Author  
   
   
   
   
  56
   
  Detective 
   
   
   
   
  59
   
  Devout  
   
   
   
   
  62
   
  Dilettante 
   
   
   
   
  65
   
  Doctor  
   
   
   
   
  68
   
  Heir 
   
   
   
   
   
  71
   
  Journalist 
   
   
   
   
  74
   
  Professor 
   
   
   
   
  77
   
  Salesman 
   
   
   
   
  80
  Playsets - see also Ebon Eaves
   
  Example of Playsets in action  
   
  182
  
  -273-
  Range Tags 
   
   
   
   
   
  43
  Reason – see Attributes 
   
   
   
  –
  Rites 
   
   
   
   
   
   
  40
  Rituals  
   
   
   
   
   
  40, 165
  Rules  
   
   
   
   
   
  18
  Shock – See Damage  
   
   
   
  –
  Shock Scale 
   
   
   
   
   
  28
  Tags 
   
   
   
   
   
   
  42
  Texture – see Frameworks 
   
   
   
  –
  Threads – see Frameworks 
   
   
   
  –
  Tips and Tricks  
   
   
   
   
  168
  Building Momentum  
   
   
   
  178
  Clues  
   
   
   
   
   
  168
  Conveying Horror 
   
   
   
   
  172
   
  Handling Acts Under Pressure 
   
  171
  Help 
   
   
   
   
   
   
  173
  Items  
   
   
   
   
   
  169
   
  Good  
   
   
   
   
  169
   
  Minor  
   
   
   
   
  169
  Lore 
   
   
   
   
   
   
  170
  Rituals  
   
   
   
   
   
  170
  Using Playsets  
   
   
   
   
  180
  Trust – see Attributes  
   
   
   
  –
  Variations of Play 
   
   
   
   
  33
  Wealth – see also Attributes  
   
   
  44
  Wealth Scale  
   
   
   
   
  46
  
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SOURCE: textdata/thevault/Tremulus (PbtA)/Tremulus.pdf