Thursday, October 23, 2025

The Enchanted World: Ghosts

The Enchanted World: Ghosts
Next to the Witches and Warlocks book, this was one of the ones I had read the most as a kid. I did not have access to a full set until the last few years, but this one always stuck out. A lot of the tales in this book found their (if you will excuse the pun) spiritual descendants in Ghosts of Albion

Ghosts

by Ellen Galford and Time-LIFE editors, 1984 (144 pages)
ISBN 0809452162, 0809452170 (US Editions)

This volume is divided into four chapters dealing with death, the dead, and those who remain behind.

Chapter One: Guises of the Reaper

Ghosts are the reminders that life has an end, but we really don't know what that end is going to be like. So tales of ghosts, and tales of the Grim Reaper, abound. It always seems to come back to England and the British Isles for these tales. No surprise since these are the tales we are most familiar with. Here we learn of the Black Dog or Old Shuck, the Ankou, the Bean-Nighe, and banshees. Even innocent-looking animals like the raven and owl could be harbingers of death. 

We see similar manifestations in Germany where the Fetch becomes the Doppelgänger, and in the Middle East where the raven is called Abu Zájir or "The Father of Omens."

It should also be no surprise that quite a few of our myths and legends about ghosts and the dead come from the times of plague in Europe, where death was often given anthropomorphic form. 

The Enchanted World: Ghosts

Song of the Sorrowing Harp

A Scottish tale of jealousy of two sisters and the ghost that told of her murder.

Chapter Two: Invasions by the Angry Dead 

Death may take the souls of the dead, but they don't always stay quiet. Much like vampires (where the distinction is often blurred) the dead can come back. Here we encounter the utburd and the navky, two types of child ghosts that have haunted my own books and this blog for ages. 

The Enchanted World: Ghosts

We encounter poltergeists, the noisy ghosts, who might also be demonic. 

Demonic ghosts seem par for the course in Japan if "The Wife's Revenge" is any indication.

A Meeting on the Road Home 

A tale from Lancaster, but when re-told in modern times in America, it became the ghost girl that drivers would pick up. This one has a twist of the ghost keeping her head in a basket. 

Chapter Three: Shadow Plays of Grief and Pain

Ghosts are often doomed to repeat their deeds from their life in the afterlife. A forgotten battlefield in Scotland plays out it's bloody battle in ghostly form. Same with battlefields in Assyria, Troy, Wales, and the US Civil War.

But ghosts are not just attracted to battlefields, places of power where human sacrifice occurred were also popular among the dead. And of course haunted houses.

The Enchanted World: Ghosts

The Hooded Congregation

A Swedish woman rushes one cold morning to attend Christmas services, only to discover she share the service with a congregation of the dead.

Chapter Four: Hands Across the Void

The living and the dead can interact, and often the consequences are dire.  Here the dread art of necromancy is used and often the living soon join the dead. Others take great care to make sure the dead can't be rising or spoken too in their own sorts of necromantic arts. From Caesar to Vikings to Medieval Christians to 17th Century Cornwall, consulting the dead was a dread business. 

Glam's Tale

In this tale, the line between ghost and zombie is blurred as the dead return.

The Enchanted World: Ghosts

This one is still a fun read so many years later. I am surprised by how much of this wormed its way into my subconscious and took up a permanent haunt, as it were. 


Wednesday, October 22, 2025

October Horror Movie Challenge: Queen of Bones (2023)

Queen of Bones (2023)
 Another pick by my wife. Now, typically when she picks the movie, I get a veto power if it is under a certain IMDB or Rotten Tomatoes rating. She doesn't like to look at the ratings beforehand. This one did not have very good ratings at all, 4.6 on IMBD and no rating at all on Rotten Tomatoes; neither a good sign. But we watched it anyway and really liked it. This in a large part due to the performances by  Martin Freeman and Julia Butters. 

Plus, it is a perfect Witchcraft Wednesday movie.

Queen of Bones (2023)

Fearful or religious men (often the same thing) have always feared women’s autonomy. History has shown that whenever a woman becomes too independent, too willful, too curious, too powerful, someone slaps the word witch on her and decides she needs to be “saved.” That’s the heart of Queen of Bones, a quiet, moody folk horror film that takes place not in the 1600s but in 1930s rural America.

Martin Freeman plays Malcolm, a widowed father raising his daughter Lily (Julia Butters, who’s fantastic) and son Samuel (Jacob Tremblay) in a house thick with secrets. At first, Malcolm seems decent enough, even tender in his grief. But as Lily begins to change, both in body and in strange, supernatural ways, his love curdles into fear. We slowly realize that he’s not just haunted by what happened to Lily’s mother… he’s terrified his daughter might become her.

That dynamic drives the film’s tension. Lily starts having dreams, visions, and odd encounters in the woods. The line between puberty and possession blurs. Is she cursed? Chosen? Or simply awakening to her own power in a world that can’t tolerate that? By the time the third act arrives, the answer feels almost inevitable: Malcolm would rather destroy her than let her become something he can’t control.

It’s not subtle, but that’s fine, it isn’t supposed to be. Queen of Bones plays like a postscript to Robert Eggers' The Witch, set 300 years later but fueled by the same fear: that the feminine divine, if left unchecked, would upend the patriarchal order. It’s witch panic dressed in Depression-era grief, with dust, silence, and old ghosts in every corner.

There’s a scene late in the film, no spoilers, where Lily finally confronts what her father did to her mother. It’s devastating, not just for the violence but for the certainty behind it. Malcolm truly believes he’s doing God’s work. That’s what makes him the monster.

What I loved about this film, and what I think most critics seem to have missed, is how subtle its magic is. It’s not a jump-scare movie. It’s an awakening movie. The horror here isn’t in the witchcraft, it’s in the control. Freeman gives one of his best performances as a man eaten alive by righteousness, and Butters is mesmerizing as Lily, teetering between innocence and fury.

This isn’t The Witch, no. But it shares the same DNA: a girl’s coming-of-age framed as an act of rebellion against divine tyranny. The difference is, this one suggests the witch’s power was always there just waiting for her to claim it.

Queen of Bones might not be perfect, but it’s important. It’s quiet horror with something to say about generational trauma, religious oppression, and the terror of becoming yourself. The final moments hit like a benediction and a curse all at once.

NIGHT SHIFT & Occult D&D Ideas

Let's be honest here. 

I you can't see the RPG potential here I am not sure you are reading the right blog. Generational witches are a topic I discuss frequently here. Like obsessively so.

I wonder what Lily's life would have been like after the movie? She would have been 23 near the start of WWII, in her 40s when the Beatles came to America, her 60s when the 80s began and so on. Interesting. 

For NIGHT SHIT, it’s a modern folk-horror story transplanted to a rural, Depression-era America where witchcraft is whispered about in sermons. A perfect slow-burn scenario: something ancient stirs in the woods, and the townsfolk are eager to call it Satanic. The PCs could arrive as outsiders—teachers, doctors, or priests, only to discover the true evil that resides within the house. Or a perfect Call of Cthulhu game that doesn't involve the Mythos. 

For my Occult D&D ideas, it is a good example of how witchcraft is inherited via bloodlines, and there are witch families.

October Horror Movie Marathon 2025

October Horror Movie Challenge 2025
Viewed: 25
First Time Views: 23

Witchcraft Wednesdays: Occult D&D updates and Halloween sales and more

 Stayed up last night watching The Substance, if you haven't read my review, then no big deal, but at least see the movie, might be my favorite one of the Challenge so far. 

Occult D&D

I have been playing around with this idea of "Occult D&D" for a little while now. I went into it really with no major intentions save to add some more occult feeling to my D&D games and maybe into my NIGHT SHIFT games as well. Its been a blast really. I was sorting through my notes and looking over the books I still want to read or reread for it, and I discovered that I have a lot. Like an obscene amount.

Not just in what I have written so far (an estimate of about 350 pages), but also in what I am still planning on reading.

The Enchanted World
The Enchanted World

Mysteries of the Unknown
Mysteries of the Unknown

The Supernatural
The Supernatural

Man, Myth, & Magic
Man, Myth, & Magic

Do I *need* to read all of these? No, but I *want* to. Many of course are re-reads. I have had these for ages, but I want to be systematic about all of this. Half the joy for me is the research. Sorry, its the academic in me.

I am not 100% sure what shape the final product(s) will take, or even if it will be something I will ever publish. But I am having a lot of fun with it so far.

Halloween Sales

As always, many of my books are on sale at DriveThruRPG for Halloween!

This includes my newest and most popular titles:

Plus a lot more!

EGG Con

I'll be at EGG Con this summer! I'll be there again with Elf Lair Games, selling and running NIGHT SHIFT and Thirteen Parsecs. Hope to see you all there. 


Tuesday, October 21, 2025

October Horror Movie Challenge: The Substance (2024)

The Substance (2024)
Oh. Now this one was great. I mean really great. Major kudos to stars Demi Moore, Margaret Qualley, and Dennis Quaid for this one. And special kudos to Coralie Fargeat, who wrote and directed this horror as social commentary.  Outstanding work all around.

And kudos as well to my wife for finding this one. For a non-horror fan, she has been doing great this year.

The Substance (2024)

I heard a quote once: “There is nothing subtle about a blood cannon.” Maybe it was from True Blood, maybe it was from GWAR, either way, it’s true here.

The Substance is not subtle. It’s loud, bloody, and unrelenting in both style and message. Coralie Fargeat (who wrote and directed) delivers a film that’s equal parts body horror, feminist manifesto, and acid-drenched satire of fame and aging. It’s one of those movies where you feel like you’ve been punched, bathed in glitter, and dumped in a pool of self-loathing. All at once. And I mean that as the highest compliment.

Demi Moore stars as Elisabeth Sparkle, a former fitness celebrity whose fame has faded. She’s cast aside for being “too old,” (note her character is fired because she is 50. Demi Moore was a little over 60 when she filmed this), a sentiment delivered with the kind of cruelty that feels uncomfortably real. Then she’s offered the Substance, a mysterious bio-experiment that promises to regrow youth, a newer, better version of herself, "Sue" played by Margaret Qualley. But the catch (and of course there’s a catch) is that both versions can’t exist in the world for long. They must share their bodies, taking turns. One week each.  Each needing the other. Until things start to fall apart.

What follows is a slow, grotesque unspooling of identity, vanity, and the impossible standards society puts on women. The horror here isn’t just the blood or the transformation (though that is there too), it’s the realization that both versions of Elisabeth are doomed. One is consumed by jealousy, the other by expectation. Both are victims of the same impossible ideal.

The performances are phenomenal. Demi Moore gives the kind of fearless, career-best turn that deserves every award she can get. She’s raw, furious, and heartbreakingly human. I have liked Demi Moore her whole career. She is one of those actors who will do things you never expect. You told she was going to be in a horror movie that required her to nude most of the time including a full frontal, I would not have been shocked. If you told me she was going to do it at 61 then I would have been completely shocked. Margaret Qualley matches her note for note, switching between innocence, hunger, and sociopathic glee. Their relationship, rival, mirror, mother/daughter, predator/prey, is the film’s beating heart. Coralie Fargeat does a fantastic job of making sure any movement made by Moore is mirrored in Qualley.

And yes, there’s plenty of blood. This film combines Cronenberg’s The Fly with elements of American Psycho, culminating in a glam fever dream of neon, mirrors, and synthetic pop. Every shot drips with excess, but it’s all in service to the story. The gore isn’t exploitative; it’s cathartic, a scream made visible. This is Jekyll and Hyde for the 21st century. 

I’ve been thinking about The Substance ever since I saw it. It’s one of those rare modern horror films that sticks to because it means something. It’s angry about the right things, about how society commodifies beauty, how women are punished for aging, and how self-worth gets twisted into self-destruction. It’s not a pleasant watch, but it’s a necessary one. There is a repeated scene where Elizabeth/Sue has to go to this rundown neighborhood to get her two week supply of the Substance. As Elizabeth in her 60s, she is ignored. As Sue in her 20s/30s every eye is on her. As Elizabeth as an old haglike crone, she scares people. 

And yet, for all its brutality, the film still finds moments of strange beauty. The way Fargeat frames Moore’s face, lit like a fallen saint, staring down the monster she’s become, feels mythic. Like watching the goddess of vanity destroy herself and rise again in blood and glitter.

The Substance is body horror at its most intelligent and furious. It’s not just about flesh—it’s about identity, power, and the impossible pressure to be “enough.” It’s grotesque, funny, feminist, and unforgettable. Fargeat doesn’t pull punches, and she doesn’t care if you flinch.

There is nothing subtle about a blood cannon. But sometimes, subtlety is overrated.

OH! I forgot to mention how perfectly vile Dennis Quaid was in this. I didn't think he had it in him, but as Elizabeth/Sue's producer Harvey, he is sexist, casually chauvinistic, more than a little misogynistic (most everyone in this movie is), and an absolute joy to watch on screen because his character is utterly clueless about how repulsive he is. I had read that Ray Liotta was originally cast as Harvey. While I know intellectually he would have been phenomenal, Quaid gave this one his all. 

NIGHT SHIFT & Occult D&D Ideas

There is a very loud part of me right now that doesn't want to do any sort of game adaptation of this. The movie works perfect on its own and should be appreciated all on its own.

I wouldn't say it was perfect. But damn. It is close.

October Horror Movie Marathon 2025

October Horror Movie Challenge 2025
Viewed: 24
First Time Views: 22

Mail Call Tuesday: October Adventures & Witches

 It is proper chilly today in Chicago. And in my mailbox are some new witchy-themed books.

The Cooked Moon for 5e

I backed this Kickstarter and got the book a couple of weeks ago...or so I thought! My oldest saw it on my desk and has been taking his group through it.

The Crooked Moon

He loved it so much, saying it is the best D&D 5e adventure out in years, that he went out and bought the special edition version.

As it turns out the Special Edition on he grabbed was for D&D 5.5 (labeled 5e|2024) mine is for 5e|2014. The page number is the same, but the pages don't exactly line up. The content is still the same. There are differences, but we have not found them yet.

The book is huge, 632 pages, and gorgeous. It has a bit of everything. A 350-page adventure for levels 1 to 13. New subclasses, new species, new monsters, spells, feats and more. There new mechanics, curses, dark bargins.

The Warlock from Crooked Moon
Honestly, this feels like they are flirting with me.

It really is top-notch, and kudos to Avantris for getting it out in time for Halloween.

Sickest Witch

Another Kickstarter delivery in time for Halloween. 

Sickest Witch

I only got this one yesterday so I have not had the chance to go through it all yet. But it is a damn attractive book.

It feels like a stripped-down OSR-like game with some other design elements. Looks really fun.

All writing, development, and art was done by Justin Sirois. So it has a solid, united, vision throughout. 

Both are great for Halloween fun!

Monday, October 20, 2025

October Horror Movie Challenge: The Living Dead Girl (1982)

The Living Dead Girl (1982)
 Toxic waste is weird. Sometimes it can give you superpowers, like it did for the Teenage Mutant Ninja Turtles or The Toxic Avenger. Sometimes it can drive you mad, like it did for the Joker. But in the hands of Jean Rollin, it can turn a beautiful corpse into an undead creature with a taste for blood.  

Here is my Jean Rollin pick for the Challenge. 

The Living Dead Girl (1982)

Also known as "La Morte Vivante." 

Two workers dumping chemical waste into a crypt accidentally reanimate Catherine Valmont (played with ethereal loveliness by Françoise Blanchard), a young heiress who died years before. Pale, ethereal, and soaked in the fluids of death, Catherine rises and begins her slow, dreamlike return to her family’s estate.

What follows is classic Rollin, half horror, half tragic romance, all atmosphere. Catherine’s childhood friend Hélène discovers she’s somehow alive, and their reunion becomes an aching meditation on devotion, decay, and desire. Hélène wants to protect Catherine, to keep her safe from a world that would destroy her again. But Catherine needs blood to survive, and the film doesn’t flinch from that. The killings are gruesome, but in that strangely poetic way only Rollin could pull off.

There’s a scene near the midpoint where Catherine wanders the countryside in her white gown, streaked with blood, sunlight glinting off her skin like marble. It’s beautiful and horrifying, the kind of imagery that reminds you Rollin was as much a painter as a director. His zombies aren’t Romero’s shambling corpses, they’re revenants, ghosts of passion and memory.

The film moves at a dream’s pace, lingering on eyes, hands, old rooms, and decaying portraits. Rollin’s usual themes are all here: eroticism, friendship beyond death, the weight of memory, and that perpetual tension between beauty and rot. The Living Dead Girl might be his most accessible film for horror fans, but it never compromises his melancholy poetry.

The score by Philippe D’Aram gives it a haunting pulse, equal parts romantic and funereal. It’s the heartbeat of a dead girl who never asked to return. She wants to go back to being dead because she can't stand this half-life she is in now.

Watching it now, what strikes me most is how sad this movie is. Beneath the nudity and the blood (and there is a lot of both) lies a deep loneliness, a yearning for connection that can never be satisfied. Catherine and Hélène obviously love each other in a way that goes beyond just girlhood best friends. So much so that Hélène even gives Catherine the one thing she needs, but can't take. Her life. Given how with each killing Catherine becomes more and more human, this might be the last thing she needs to be truly alive, and the thing she needs to finally end that life.

NIGHT SHIFT & Occult D&D Ideas

This movie is the opposite of The Crow.

Whether a Revenant or a Driven, this person comes back through no action of their own and only wants to go back to being dead.

For AD&D 1e play, Catherine could easily be built as a variant Revenant, but replace her endless rage with hunger, confusion, and sorrow. She retains fragments of her humanity, which makes her both tragic and unpredictable. She might even be a “failed resurrection” spell result, where the spirit returns without the soul.

In a witch campaign, imagine this as the aftermath of a desperate ritual gone wrong: a coven trying to bring back one of their sisters but awakening something else instead. Maybe the only one who can calm her is her familiar, or another witch who recognizes what she has become.

For NIGHT SHIFT, Catherine is pure Urban Gothic. An undead empath, bound to the psychic link of her closest friend, feeding on life energy to stay anchored. Her condition could be used as a metaphor for trauma or addiction, an unending need that destroys the very things she loves. She needs to feed, of friend feels the need to keep giving her what she wants, knowing it will end in death.

Mechanically, she’s not that powerful, her danger lies in the emotional entanglement. PCs who meet her won’t want to kill her. They’ll want to save her. And that’s exactly when she’ll strike.

October Horror Movie Marathon 2025

October Horror Movie Challenge 2025
Viewed: 23
First Time Views: 21

Monstrous Mondays: The Bluff Creek Woodwose

 Today is the 68th Anniversary of the most famous Bigfoot film footage ever, the Patterson-Gimlin film. As a kid, I devoured anything Bigfoot-related. Of course the odds that a giant hominid still running around out there is really, really slim to none at all. The tales are still fun. 

I am also working on ideas to combine Bigfoot with some witch and occult ideas. Proper nod to the weird shit of the 1970s that still fuel my games.

Patterson–Gimlin film

The Bluff Creek Woodwose (Sasquatch Matron)

Frequency: Very Rare
No. Appearing: 1–4 (1–2 matron guardians, 0–2 juveniles)
Armor Class: 5
Move: 15" (9" in steep brush)
Hit Dice: 6+6 (matron 7+7)
% in Lair: 20%
Treasure Type: Q×2, S (trinkets, river-polished curios)
No. of Attacks: 2 fists or 1 rock
Damage/Attack: 1d6/1d6 or 2d8 rock (range 6")
Special Attacks: Staggering Bellow, Uproot
Special Defenses: Forest Camouflage, Scent Veil
Magic Resistance: Standard
Intelligence: Low to Average
Alignment: Neutral
Size: L (8'–9' tall; matrons up to 600+ lb)
Psionics: Nil
XP Value: 650 (matron 900)

The Bluff Creek Woodwose is a towering, shaggy primate that keeps to old-growth river canyons. Locals swear a particular matron haunts Bluff Creek, wary but fiercely protective of her young. Hunters call her “Patty.” Witches call her “Grandmother of the Green.”

It is believed to be related to the BasajaunSasquatch and the Yeti. It's closest relative, at least in terms of behavior is the Woodwose

Staggering Bellow: Once per turn, cone of 30'. Creatures of 3 HD or less must save vs. paralyzation or be stunned for 1 round and drop held items. Others save at +2 or suffer −1 to hit for 1 round.

Uproot: On a hit with both fists in a round, the Bluff Creek Woodwose may attempt to shove or topple a target of size M or smaller. Opposed STR check; failure knocks the target prone.

Forest Camouflage: Surprise foes on 1–3 in 6 in dense woods or creek fog. Tracks grant rangers a +2 to follow.

Scent Veil: Wind shifts and wetted fir boughs give the Woodwose a 50% chance to negate tracking by non-rangers unless the pursuers have dogs.

Like the Sasquatch and Woodwose, the Bluff Creek Woodwose prefers to be left alone.