But there is another mirror.
If the Advanced Witches & Warlocks is interested in exploring the witch as an element of a fantasy game in 1986, then the Jackson, IL project is a consideration of how the witch would fit in the modern horror world of 1986.
By the "modern," I don't mean contemporary times. I mean an era of landlines, lockers, cassette tapes, libraries, horror movies at midnight, school rumors, and parents who believe they can keep secrets from teens
These are very different takes on witches.
In the world of AD&D, the witch is always on the edge of the village. By the old road, the swamp, the shrine in ruins, or the sinister forest. In the Jackson, IL setting, she is on the edge of town, near the cemetery, an abandoned structure, the stream, the college, a different neighborhood, or a lonely road.
The map is different, but the location itself is not.
Jackson, IL, is where my imagination has found its new home. This place isn't Salem, nor New Orleans, nor some gothic European village under the full moon, despite my affection for those locations. No, Jackson is in the Midwest. It is a small town in central Illinois. A town with brick school buildings, college halls, county roads, corn fields, old graveyards, tiny churches, pizza shops, book stores, hardware stores, Friday night football games, Friday night dances, and houses where three generations have kept the same secret.
In Jackson, the supernatural does not require thunderous declarations or Latin incantations to reveal itself. Instead, it is rather subtler.
Perhaps it is the teacher who hasn't aged since 1569. Perhaps a door in the library, locked for no apparent reason. Perhaps a statue at the cemetery changing directions at midnight. Perhaps the name of a creek that no one remembers where the name came from. Or perhaps it is the mirror reflecting something other than yourself.
This is the haunting of the Midwest. It is not empty. It is a place filled with ghosts.
Every town in the Midwest has its stories: the house that has never been sold, the road where headlights disappear, the creepy old lady that kids are told not to approach, the rail road tracks where strange things occur, the auditorium in the school where lights flicker even with the power shut off, and the place outside town known only by its ominous name of "the Bad Land."
These are stories that form the Jackson, IL environment. Not simply the background, but the actual foundation on which the Veil between what is "Real" and what is considered "Supernatural" is constructed.
Most people in the town interact with the supernatural indirectly, in fleeting moments. A shadow. A whisper. A dream. A cold sensation down the spine. A name spoken out of nowhere. And they explain it away, because that is what humans do. It is simpler to believe that everything is ordinary than to accept that ancient tales still speak truth.
Teenagers are not good at keeping their thoughts and opinions to themselves. That is why a teenager is perfect in a game about supernatural activity.
Adults follow routines, have reputations, jobs, mortgages, church groups, seats on the school board, and myriad reasons to preserve the "official" story. Teenagers care about other things. Why does that room stay locked? Why are they avoiding that particular teacher? Why did Mom go silent when I mentioned that name? Why does the school bell ring differently to me? And why do I see the woman in the black cloak and purple dress in the mirror?
Thus, the teenage witch belongs in this place.
Not only is she a character living between two worlds. At least partly, but not entirely. She is not a kid anymore, but she is not yet an adult. People look at her, underestimate her, boss her around, dismiss her, and correct her, all before she even knows who she truly is.
And then comes the magic.
She begins having dreams. Strange marks appear on her skin. She finds books at the library with strange titles. A stray cat starts following her wherever she goes and never leaves. Her reflection starts speaking to her. And perhaps she discovers that the story about the dead girl haunting the bathrooms at school was not just a story.
That is the importance of their first experiences.
Whereas in the world of AD&D, the witch appears with powers, spells, and a clear-cut purpose, here she is noticed. The world recognizes something in her, and she recognizes it back.
This can be terrifying, but also terribly tempting.
I played this scenario with Larina. There is a young girl named Larina. Some kids call her "Creepy." She has visions and talks to ghosts, but she tries to hide her magical abilities because she knows that using them attracts attention from things in the darkness.
This scenario is perfectly designed for Jackson, IL. But I also realized there was a lot more I could do with it. That starting with powers is one type of game, but developing them as the game progresses is something else.
Being magical in the Jackson environment means revealing oneself. Every casting of a spell is an exposure to the darkness seeking light. Every magical act draws eyes.
Jackson, IL, is still a modern reflection of the AD&D-inspired fantasy world in Advanced Witches & Warlocks. The witch concept remains the same, but the clothes are different.
The group of friends is the coven. After hours in school are the dungeons. Rumors around town turn into gossip in hallways. The wise woman standing at the edge of the village is now someone's aunt, a school teacher, a local shop owner, or someone who has waited patiently for the right girl to ask the right questions.
The familiar becomes a pet that manages to enter the school for reasons that no one understands. A notebook under the bed takes the place of the spell book. The place beyond the fence at the cemetery is the ruined shrine. An ancient deity is a name scrawled in pencil at the abandoned classroom.
But Jackson, IL, cannot merely be a simple adaptation of fantasy RPGs.
Not only would it be uninteresting, but it would lack necessary depth. It would be uninspired.
Modern horror has to have its own logic.
While in a fantasy game, the main heroes are expected to take up swords and bravely venture into the dungeons, their counterparts in the modern horror world still have homework to do.
They have to attend classes, deal with parents, curfews, training, work after school, live up to peer expectations, compete with rival schools, maintain reputations, deal with their younger brothers and sisters, and people who would certainly notice if they were gone for three days straight.
This makes a big difference.
A teenage witch cannot just leave town on adventures, and she has to find a way to come back, to cover the stains on her jacket, to explain why her homework was done in the library, why she is late for algebra after having seen something crawling out of the drain at night. And yet, this is not a restriction; it is the essence of the game.
The ordinary world, which is often a barrier in games of the supernatural, is, in fact, what makes them scary.
An isolated haunted school becomes frightening precisely because it is her school. A cursed road is terrifying precisely because her best friend lives on the other side of it. The monster at the cemetery terrifies her, because Grandma is buried there, while the witch's mark makes her fear going to gym class. The ordinary makes the scary parts scarier.
This is where the theme of the Satanic Panic emerges as well, but in the background.
Not as a simple decoration, but as the very core of the game, because the town uses that panic as a vehicle to express existing fears that otherwise remain untapped. The odd girl has always been creepy, the abandoned house - terrifying, the mysterious books at the library – suspicious. While the rumor makes the witch, it provides a ready-made justification for the search. This is horror, not because of accusations, but because of the town's desperation to believe that it has reason.
Since the community is already scared of her dark clothes, her books, her music, her art, and the woods she loves, the Satanic Panic gives this fear permission. It transforms gossip into social concern, suspicion into righteousness, and parents into monstrous beings, not changing their appearances in the slightest.
Because this is Jackson, IL, the choice of setting is critical. Where in a grand gothic landscape, the supernatural would sprawl. Here it is concentrated in the small-town Midwest. Everyone knows someone; everyone is related to someone; there are always witnesses to secrets; and there are always connections between the town monster and this place, even if no one has figured them out yet.
The ghost is not just a ghost. She used to be someone's sister, student, patient, or an innocent victim of a horrible event. The hag is not a creature that came here to terrorize. She may be an aunt, a landlord, a neighbor at church, the one whose home everyone avoids because of some terrible sin, or the very reason that three generations of women in one family never drink tea after dark. Local legends are not just myths. They are a necessity. People share their tales with such inaccuracy because the truth demands too much action.
Here is the haunted Midwest I imagine for Jackson: the place familiar enough to evoke a sense of security, and unfamiliar enough to hint at inherent dangers.
It is the time that makes the adventure unique as well. 1986 is not chosen by coincidence, although the brand recognition factor cannot be denied. It represents not nostalgia, but distance in time. No smartphones, GPS systems, online investigations, instant messaging apps, or fast transportation are available for the characters. If something terrible happened at night, they needed a phone line, a bicycle, a car, a payphone, or the guts to go to see it.
Rumors spread quickly, but not evenly. Information is stored in filing cabinets, yearbooks, church hallways, newspaper archives, and the library collection.
Which means that all the investigations are hands-on. The characters have to move from place to place, talk to people, and expose themselves. Which is important because in Jackson, IL, knowledge is bound to a place. The public library is important not because it is there, but because it has archived newspapers. The occult shop is valuable not for supplies but for the chance of someone seeing a teenager there. The school is necessary because almost everyone in town once studied there and left something behind. And the cemetery is crucial, because names are inscribed in stone, but not necessarily in the right manner.
As you remember, the power of the witch in Advanced Witches & Warlocks is bound to fantasy conventions and expectations. It is associated with danger, complexity, and power. Magic comes at a price. It creates bonds and produces unexpected results. In Jackson, IL, everything is different because the flow of magical powers has changed.
This is the reason why these two projects complement each other.
While the Advanced Witches & Warlocks focuses on how witches look in a classic AD&D fantasy world, Jackson explores how a sixteen-year-old witch attending a class on Tuesday morning realizes that her destiny is tied to something far older than the town.
I am not yet sure whether this second project will eventually lead to a full-fledged book. And it may take quite a bit of writing and effort, probably surpassing 80,000 words before I finally figure out the full vision, there is one thing that I am sure about.
Jackson, IL, is a perfect reflection. While the witch at the edge of the ancient village is the witch wearing the black cloak on the old road in Advanced Witches & Warlocks, the witch sitting quietly at the high school is the girl on the bus looking at the old road with fascination.
Because the fantasy witch and the teenage witch are not different.
They are reflections of one another through the glass.
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| Prof. Lars Nichols with his daughter, Larina |
Every good haunted school needs a new girl.
It is one of the staples in teen horror literature and movies, and yet it works so well because it is not a gimmick. From Buffy Summers arriving at Sunnydale High to start a new life to Sarah Bailey transferring to a new school to become the missing fourth link in a teenage coven. The new girl arrives in the adventure exactly when it is born in the audience member's mind. The new girl does not yet understand the rules of the game, so we get to learn with her.
This is important in a horror RPG.
The long-time local heroine already knows what is better to remain unsaid. She knows the forbidden hallways, the names of the families whose conversation must be cut abruptly, and the teachers whom one has to joke with and not argue. She was taught by experience. While she may not fully believe in the town tales, she knows what they are about or at least what to avoid.
The new girl doesn't know anything. Not yet, at least.
- She wants to know why the third-floor room is locked all the time.
- She is curious why no one ever swims in the creek downstream.
- She wonders why there is a gap in the school's trophy case.
- She would like to understand why the librarian keeps local histories in the drawers rather than on the shelves.
- She would like to know why people fall silent whenever someone mentions "Mauvaisterre" or "Blackthorne."
This makes her useful. This also makes her dangerous.
The character of Larina fits the concept perfectly because she is known and unknown. We know where she can evolve into. The Witch Queen. The occult historian. The redhead witch, who wears black and purple clothing and stands in the way of the bad things trying to get into our world.
But this is not the case in Jackson, IL.
Larina might have just moved into town because of her father's transfer to the college. She might be a newcomer attempting to blend into normality, failing to do so by noon. She might already be aware that ghosts exist in her town, but she has yet to comprehend their meaning. The other students might consider her creepy before she even introduces herself.
This is useful at the table.
The role of Larina as a New Girl Witch is not to figure out the details for players but to expose the mysteries by noticing things that everyone else failed to see or has learned to ignore.
I use Larina here because she is a great character for me. She is a stand-in, though, for any character the players bring to the table.
- She observes the reflection's weird movement.
- She listens to a ringing of the bell that no one else can hear.
- She realizes that a stray cat hanging around the school has come there with a specific purpose.
- She discovers that the dead girl haunting the school bathrooms knows her name.
- Her first lesson of magic is not about casting a spell.
- It is about revealing her to the supernatural world.
- The ghosts can see her.
- The entity residing beneath the railroad tracks sees her.
- The teacher who has not aged since 1769 sees her.
- So do students who needed reasons to regard her as creepy.
So use the New Girl Witch when you want to start your campaign with a supernatural revelation. She can be a player character, NPC, rival, friend, or a stranger whom the other characters need to trust or not.
And just like the PCs, she does not have to know everything.
She just has to know enough to be scared.
