Day 8
A purple witch hat d6!
Tuesday, October 8, 2024
Monday, October 7, 2024
October Horror Movie Challenge: Night of the Demon (1957)
Night of the Demon (1957)
There is something quintessentially British about this one. Black magic, witchcraft, even a meddling American.
Despite being almost 70 years old this movie is still rather effective. The special effects, ie the demon, are a bit dated, but still looked good and great for the time. Heck, they are not really terrible for now.
It mixes up a lot of demonology and witchcraft myths, but that is also fine really.
We get demon summoning, spells, storm-raising, a seance, and even an Indian spirit guide. A little bit of everything here.
It would have been interesting if they had embraced some of the new ideas from Gerald Gardner and the growing Wicca movement, but that connection would not be featured in movies until the 1970s.
Oh. The plot. The scientific community denounces witchcraft and black magic, so a pissed off occultist demonstrates his power by summoning a giant demon to kill key members. I suppose if it were redone today there would have been more deaths, but it still works.
Featured Monster: Demon
Again, while I can't say for certain this movie had any effect what so ever on the demons (and devils) in the Monster Manual, they are drawing from all the same sources. The demon here looks a bit like the Nalfeshnee or Type IV demon. The demon in this movie is much larger than I expected, making close to the same size as the Nalfeshnee.
When I was reading The Classics of the Horror Film, I saw this picture and thought it would make a great "Cat Demon." It was the ears and the nose. There was a cat demon in this movie, but it looked like a regular cat.
The movie is also a good example of a wizard in his castle with his magic books and our virtuous rogue (or, in this case, psychologist) investigating.
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Night of the Nalfeshnee |
The more I think about it, the more and more I think that this movie demon was the inspiration for the Nalfeshnee's look.
October Horror Movie Challenge 2024
Viewed: 10
First Time Views: 3
Secret Journey: Walking the Witches' Road
I have a lot of people asking me how I would implement the "Witches' Road" in my games. Well, obviously, I can't use the Witches' Road as it appears here, Disney being so understanding and forgiving. BUT thankfully, I do have something, and the advantage here is that it shares a genesis with my first witch class.
Upon a Secret Journey
Back in the early 80s I was building a bunch of new classes. I have talked about them here before, but briefly there was the Witch, the Sun Priest, the Healer and the Necromancer. The witch you have seen, the Sun Priest, though has yet to see a lot of text here. You can find the complete AD&D 2nd Edition kit here and on my downloads section.
There was a notion that the Sun Priest would need to complete a pilgrimage ever so many levels to prove their faith. While it was based on the pilgrimages made by Medieval faithful, the idea here was one of greater spiritual understanding. It was inspired by the Police song "Secret Journey." For me it added a bit more mysticism to the idea.
Here is what I said back then.
At 3rd level and every three level thereafter (6, 9, 12,...), the Sun Priest must go on a "secret journey." This journey is one of faith and must be accomplished alone, in secret. It might be nothing more than a dedicated study of church tomes (a journey of understanding), of deep contemplation (a journey of enlightenment), of destroying some foe (a journey of vengeance), or anything else the player and DM agree upon. The journey will last as long as necessary, and during this time, the Sun Priest will receive no experience points, nor can he partake in an ongoing adventure. The journey can be played out, or the priest may simply rejoin the adventures at a later date. The journey must be performed, or the Priest can not advance to the next level.
Again, remember this was for AD&D 2nd Edition. And while it is certainly geared towards a clerical class, there is no reason I can't adopt it, and adapt it, to the Witch.
In fact, I kinda have been doing that now anyway. When I was moving out of 3e over to 4e I was trying to decide if I was going to continue Larina under the new rules. I go my answer when I saw the Feywild get more emphasis. Very long story short, Larina went to the feywild, had a daughter with Fey Lord, but had to leave her behind to complete a quest at the behest of Baba Yaga. When she returned 13 years had passed. This quest was a Secret Journey in all but name.
You Will See Light In The Darkness
The Secret Journey for witches (The Witches' Journey maybe) is one a witch must complete at some point in her life before she can receive greater understanding about her magic, her craft and her place in it. For many it is an essential part of their lives as a witch.
Given this I am tempted to have it related to the steps of the Hero's Journey and include some of the elements of modern witch traditions of a symbolic Life-Death-Rebirth. The Witches' Journey is a symbolic death and rebirth.
In AAA, the "Witches' Road" is taken on by a coven, but a Secret Journey is a solo affair; a witch must complete it on her own. Since it is a symbolic death and rebirth, this is not supposed to be easy. The witch will emerge from this fundamentally changed.
It is now a few hours later.
I pulled up a copy of the Hero's Journey, Buckland's Complete Book of Witchcraft, and of course, Jung's Man and his Symbols. I like the idea of witches having to embrace their own shadow-self in their journey of self-realization. I also added in some ideas from my NIGHT SHIFT notes.
Part 1: The Call to the Journey (Life)
1. Ordinary World: The witch lives in a mundane environment, feeling a sense of disconnection from nature and the spiritual world, unaware of their inner potential.
2. Call to Adventure: The witch experiences an awakening—perhaps through a sign, dream, or encounter—that ignites their curiosity about magic and the self.
3. Refusal of the Call: Doubts and fears surface as the witch grapples with societal expectations, personal insecurities, and the weight of tradition, resisting the call to explore their true nature.
4. Meeting the Mentor: An experienced witch or wise figure appears, offering guidance, wisdom, and tools to navigate the inner and outer worlds, encouraging exploration of the self.
Part 2: The Descent into the Underworld (Death)
5. Crossing the Threshold: The witch consciously steps into the realm of magic and the unknown, leaving behind their old life and beginning to confront their inner landscape.
6. Trials and Allies: The witch faces external challenges and meets allies, but also begins to encounter aspects of their Shadow Self—unacknowledged fears, desires, and insecurities that surface during their journey.
7. The Abyss: A significant challenge forces the witch to confront their Shadow Self directly, facing their deepest fears, regrets, and repressed emotions. This moment represents a metaphorical death, where the old self must be faced.
8. Rebirth through Initiation: The witch undergoes a transformative ritual or initiation, symbolizing acceptance of their Shadow Self. They emerge with greater self-awareness and empowerment, integrating both light and shadow aspects of their identity.
Part 3: The Return with Wisdom (Rebirth)
9. The Road Back: With newfound knowledge and power, the witch begins the journey back to their ordinary world, now equipped with a deeper understanding of their whole self.
10. Resurrection: The witch faces a final test or confrontation that challenges their integration of the Shadow Self, solidifying their transformation and understanding of the life-death-rebirth cycle.
11. Return with Wisdom: The witch returns to their community, sharing the wisdom gained from their journey, including insights on the importance of acknowledging and embracing one’s own shadow.
12. The New Ordinary World: The witch finds a place in their community, living in harmony with both the magical and mundane worlds, embodying a balance of light and shadow, contributing to a holistic understanding of existence.
Last Step: The Eternal Cycle
13. The Wheel of the Year: The witch embraces the cyclical nature of existence, celebrating seasonal festivals and the ongoing journey of life, death, and rebirth. They recognize that integrating the Shadow Self is an ongoing process, each cycle presenting new opportunities for growth and transformation.
Again, this is a draft, and I need to find some solid game applications for this. I want to add up the horror elements a bit. This journey needs to be a terrifying experience for the witch, but ultimately, a rewarding one where the witch emerges reborn.
I like what I have here, to be honest.
RPG Blog Carnival
This post is for my October RPG Blog Carnival: Horror and Fantasy.
Review: Van Richten's Guide to Vampires
Van Richten's Guide to Vampires
Nigel D. Findley, 1992
PDF. 96 pages, color cover by Den Beauvais, Black & White interior art by Stephen Fabian.
For this I am considering the PDF and Print on Demand versions.
One of the best Vampire supplements ever for a game was the Chill 1st Edition Vampires book. This book is for the AD&D 2nd Edition game, and it has the same utility to me.
First, a bit about these Van Richten's Guides. Rudolph Van Richten is Ravenloft's resident Vampire hunter and expert on the supernatural. He was Ravenloft's answer to Van Helsing, and he was not really all that different. If you read about him and picture Peter Cushing, you will be excused. The conceit is that they were all written by Van Righten himself and left for other hunters to find. There were several of these Guides, and all had quite a lot of utility for me. They were a good mix of "crunch" (game mechanics) and "fluff" (narrative material). I would LOVE to say I used them outside of Ravenloft when I was playing AD&D 2nd Ed, but in truth my AD&D 2nd experience was all about Ravenloft. I will point out that a lot of the "innovations" of these books would later find a home in D&D proper post AD&D 2nd Ed. But I am getting ahead of myself.
Chapter 1 is the Introduction and sets the tone for the book. This is all from the point of view of Van Richten himself. Game applications appear in text boxes throughout.
Chapter 2 covers the background of vampirism, including how it is spread and how vampires think. Here we learn that a vampire's blood can cause damage to the living much like holy water does to the undead.
Chapter 3. Here, I want to point out that none of the chapters use "1, 2, 3," but rather just the titles. The feel is that of a journal or a quasi-academic treatise. Chapter 3, Vampiric Powers, is a good one. It covers all the powers normally associated with the AD&D 2nd Edition Vampire and adds more. Most importantly is the idea that vampires get more powerful as they age. This was not a new idea; it was sort of implicit in all the retellings of Dracula and other popular media. It had also made it's way into other games before this, but for AD&D this was new stuff. Less revolutionary and more evolutionary; that is, it was going to happen sooner or later. It is an idea that has been adopted for D&D ever since for all vampires, in one form or another. I certainly used it in all my AD&D games going forward, even applying it to my 1st Ed and Basic-era games. Vampires also gain control over lesser undead.
Chapter 4. Covers the way new vampires can be created. Here, Van Richten moves away from Van Helsing and more into Professor Hieronymus Grost from "Captain Kronos - Vampire Hunter." Detailing all the then known ways the vampiric curse can be passed on. Throughout the book, this information is presented as Van Richten's personal experiences and those of trusted colleagues, with the caveat that there may be other means and ways they do not know yet.
Chapter 5. This covers the various weaknesses of the Vampire. This includes all the classic ones and how they are altered by Ravenloft's unique environment.
Chapter 6. This covers all the means to destroy a vampire, including the classics: Stakes, running water, blessed items, and sunlight.
Chapter 7. Magic and Vampires is the most "D&D" of all the chapters really. It not only covers how vampires are affected by magic but also how they can use magic items. Want to polymorph a vampire? Great, if it gets past their magic resistance, and they fail their saving throw, they will be come what ever it was you wanted. For one round. Then, they can shift to one of their alternate forms.
Chapter 8. This chapter is called "Life-Blood: Vampiric Feeding Habits" and is the one that takes the vampire further away from the AD&D model of the vampire. In particular the vampires of Ravenloft drain blood, not really levels, though there is an option for that. This was great because frankly I never liked level drain as a mechanic. We have seen blood drain in the Core Rules and Feast of Goblyns introduced us to a vampire that drains spinal fluid. Again the parallels to "Captain Kronos - Vampire Hunter" are there.
Chapter 9. Covers the "Sleep of the Dead" and how vampires sleep. We learn through other sources (and put into game terms here) that Strahd sleeps the sleep of the dead during the daylight hours and can't be woken. Other vampires like Jander Sunstar are very light sleepers. Note: Neither of these vampires are mentioned here as examples. They are detailed in other contemporaneous products.
Chapter 10. Akin to sleep in Hibernation, something all vampires do after a certain number of years. Hibernation is an extended sleep all vampires go through and as a means to keep 1,000+ year old vampires out of the game. OR at least out of Ravenloft. The previously mentioned Jander Sunstar is thought to be 700+ years old (as a vampire) and Cazador Szarr is also believed to be very old. Both are elves. I bring these two up in particular because rules laid down in this book continue to effect their 5th Edition versions.
Chapter 11. Relationships between vampires is our next chapter. As (mostly) Chaotic-evil creatures vampires rarely work together, save for a master-thrall relationship. There are also vampire "brides" and "grooms" (see Dracula) and they are little more than elevated thralls, albeit ones with more free-will. One wonders how this book might have been different if a movie like "The Only Lovers Left Alive" had been out then.
Chapter 12. This covers vampire psychology. How a vampire thinks and how they deal (or not) with immortality.
Chapter 13. Related to the previous chapter is this chapter on "The Facade." As the most human and living looking of all the undead (odd exceptions aside) the vampire has the best chance of blending in. But their immortality and their altered psychology often prevent a full integration into any society.
Chapter 14. In a largely mechanical chapter, this deals with the vampires of certain classes and the powers and skills they can retain. Honestly, I think this one would have been a better Appendix since this chapter lacks a lot of the Van Richten notes and would have given us a nice 13 chapters.
At 96 pages this is a wealth of information about vampires. Just as I extended it from Ravenloft to all my AD&D 2nd Edition games, you can also use ideas (and even some mechanics) to extend this form AD&D 2nd edition to other editions of D&D. Indeed, some of that was already getting baked into post AD&D rules. I have also used ideas from this in other games outside of D&D.
The interior art is all by Stephen Fabian and gives us a great visual connection to the core rules. There is some repeated art here from the core and other products, but only someone who has all the books and read them all over and over would notice.
A word about the PDF and PoD
I had this book when it was first published, but I unloaded it from the time I was in grad school to when I bought my first house. I kinda regret that. The PDF, though is easy to read and bookmarked.
The POD version is also nice, but the interior text is a bit faded, and the red text is more pinkish. It is 100% serviceable for gameplay and reading. It just reminds me I wish I still had all my originals.
Sunday, October 6, 2024
October Horror Movie Challenge: Mummy Marathon
I lined a bunch of these up so I figure tonight is as good of a night as any!
The Mummy (1932)
I have often said that I knew the names Boris Karloff, Bela Lugosi, and Lon Chaney long before I knew who the president was (Ford at the time). This movie is one of those reasons.
Boris Karloff gave us some fantastic performances during the era of the Universal Monsters, but few were as good as his turn as Ardath Bey / Imhotep the Mummy. So good that this movie was the blueprint for every Mummy movie to follow.
It falls under the horror sub-trope of "The Immortal Beloved." Something they are always trying to shoehorn Dracula into (see "Bram Stoker's Dracula" as a prime example) but actually works best here. In this case Imhotep finds the reincarnated Ankh-es-en-Amon and tries to make her into his immortal bride. It's a formula that is repeated in the 1959 version and the 1999 versions.
The Mummy (1959)
Not to be outdone, Hammer did their own version. Like the Universal 1932 version, this one also has a former Van Helsing in the cast. Edward van Sloan in 1932 and Peter Cushing for the 1959 version.
This one follows the Universal one in general plot, it is actually much closer to the Universal The Mummy's Hand, The Mummy's Tomb, and The Mummy's Ghost. The notion of the resurrected love is still there.
In this movie the Mummy, aka Kharis, played by Christopher Lee is in love with Princess Ananka. Lee is always great, and his Dracula is still one of horror's best, but he is under-utilized here as a mummy.
The Curse of the Mummy's Tomb (1964)
Here is good drinking game. Every time someone tells Annette Dubois (Jeanne Roland) to "stay put" or keep her from seeing something take a drink. You'll be dead by the end of the movie.
The plot here is familiar. British Egyptologists dig up a mummy against the protests of the locals. There is a curse, and the mummy walks again.
While my love for Hammer is never-ending, this one is rather predictable, to be honest.
Featured Monster: Mummy
The mummy of the Monster Manual is beyond a doubt influenced by these movies. Granted, the pulpy fantasy the creators of D&D were fond of and had plenty of tombs and dungeons to rob, so a mummy seems like a no-brainer.
Couple this with the Ravenloft: Masque of the Red Death which actually has Imhotep as a mummy, then the influences are are even more apparent.
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Are You my Mummy? |
There are a few items in these movies that resemble the AD&D Lich phylactery. The Scroll of Thoth/Life, the amulet of life. These are central to these movies, but not so much the AD&D monster mummy. They are central to the Lich though.
I had considered doing the 1999 Brendan Fraser Mummy, but I am getting tired.
Dracula, The Hunters' Journals: 06 October; Jonathan Harker’s Journal.
Mina rebounds some more and has a plan.
Jonathan Harker’s Journal.
6 October, morning.—Another surprise. Mina woke me early, about the same time as yesterday, and asked me to bring Dr. Van Helsing. I thought that it was another occasion for hypnotism, and without question went for the Professor. He had evidently expected some such call, for I found him dressed in his room. His door was ajar, so that he could hear the opening of the door of our room. He came at once; as he passed into the room, he asked Mina if the others might come, too.
“No,” she said quite simply, “it will not be necessary. You can tell them just as well. I must go with you on your journey.”
Dr. Van Helsing was as startled as I was. After a moment’s pause he asked:—
“But why?”
“You must take me with you. I am safer with you, and you shall be safer, too.”
“But why, dear Madam Mina? You know that your safety is our solemnest duty. We go into danger, to which you are, or may be, more liable than any of us from—from circumstances—things that have been.” He paused, embarrassed.
As she replied, she raised her finger and pointed to her forehead:—
“I know. That is why I must go. I can tell you now, whilst the sun is coming up; I may not be able again. I know that when the Count wills me I must go. I know that if he tells me to come in secret, I must come by wile; by any device to hoodwink—even Jonathan.” God saw the look that she turned on me as she spoke, and if there be indeed a Recording Angel that look is noted to her everlasting honour. I could only clasp her hand. I could not speak; my emotion was too great for even the relief of tears. She went on:—
“You men are brave and strong. You are strong in your numbers, for you can defy that which would break down the human endurance of one who had to guard alone. Besides, I may be of service, since you can hypnotise me and so learn that which even I myself do not know.” Dr. Van Helsing said very gravely:—
“Madam Mina, you are, as always, most wise. You shall with us come; and together we shall do that which we go forth to achieve.” When he had spoken, Mina’s long spell of silence made me look at her. She had fallen back on her pillow asleep; she did not even wake when I had pulled up the blind and let in the sunlight which flooded the room. Van Helsing motioned to me to come with him quietly. We went to his room, and within a minute Lord Godalming, Dr. Seward, and Mr. Morris were with us also. He told them what Mina had said, and went on:—
“In the morning we shall leave for Varna. We have now to deal with a new factor: Madam Mina. Oh, but her soul is true. It is to her an agony to tell us so much as she has done; but it is most right, and we are warned in time. There must be no chance lost, and in Varna we must be ready to act the instant when that ship arrives.”
“What shall we do exactly?” asked Mr. Morris laconically. The Professor paused before replying:—
“We shall at the first board that ship; then, when we have identified the box, we shall place a branch of the wild rose on it. This we shall fasten, for when it is there none can emerge; so at least says the superstition. And to superstition must we trust at the first; it was man’s faith in the early, and it have its root in faith still. Then, when we get the opportunity that we seek, when none are near to see, we shall open the box, and—and all will be well.”
“I shall not wait for any opportunity,” said Morris. “When I see the box I shall open it and destroy the monster, though there were a thousand men looking on, and if I am to be wiped out for it the next moment!” I grasped his hand instinctively and found it as firm as a piece of steel. I think he understood my look; I hope he did.
“Good boy,” said Dr. Van Helsing. “Brave boy. Quincey is all man. God bless him for it. My child, believe me none of us shall lag behind or pause from any fear. I do but say what we may do—what we must do. But, indeed, indeed we cannot say what we shall do. There are so many things which may happen, and their ways and their ends are so various that until the moment we may not say. We shall all be armed, in all ways; and when the time for the end has come, our effort shall not be lack. Now let us to-day put all our affairs in order. Let all things which touch on others dear to us, and who on us depend, be complete; for none of us can tell what, or when, or how, the end may be. As for me, my own affairs are regulate; and as I have nothing else to do, I shall go make arrangements for the travel. I shall have all tickets and so forth for our journey.”
There was nothing further to be said, and we parted. I shall now settle up all my affairs of earth, and be ready for whatever may come....
Later.—It is all done; my will is made, and all complete. Mina if she survive is my sole heir. If it should not be so, then the others who have been so good to us shall have remainder.
It is now drawing towards the sunset; Mina’s uneasiness calls my attention to it. I am sure that there is something on her mind which the time of exact sunset will reveal. These occasions are becoming harrowing times for us all, for each sunrise and sunset opens up some new danger—some new pain, which, however, may in God’s will be means to a good end. I write all these things in the diary since my darling must not hear them now; but if it may be that she can see them again, they shall be ready.
She is calling to me.
Notes: Moon Phase: Waxing Gibbous
Quick entry before a very long break as our hunters travel to Central and Eastern Europe. This is our last entry for a week or so (October 11).
There is a bit of confusion on the dates here. Mina's hypnotic session was Oct 4, but here on Oct 6, Jonathan says "yesterday." Granted, there is a lot going on.
In fact Jonathan is preparing for his, and everyone's, deaths.
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