In the latest episode of their impeccably shelved podcast, Ken and Robin talk improv GUMSHOE, Ken’s London book haul, our libraries and Ralstonism.
We’re looking for GMs to run our games at Origins Game Fair and Gen Con 2017!
If you’re interested in joining the GM crew at either of these shows, please email Cat Tobin at email@example.com with the following info:
- Convention name
- Your name
- If you have one, a nickname, alias, or online handle that gamers might know you by (e.g. cthulhuchick, Heavy Metal GM)
- Your convention-registered email address (if different from the email you’re using to contact us)
- Number of 2-hour games you can run (13th Age only)
- Number of 4-hour games you can run
- Preferred days and times for your games to run, using this format:
- 13th Age Thursday 16th June 16:00-18:00 EST
- Small Things (Seven Wonders) Wednesday 15th June 09:00-13:00 EST
- Secret of Warlock Mountain (DramaSystem) Thursday 17th August 14:00-18:00 EST
- Night’s Black Agents Friday 18th August 16:00-20:00 EST
- Whether you would like to run a Pelgrane-provided adventure, or one of your own
- Your t-shirt size
GMs will get our new 2017 t-shirts, meet up with our game creators, and receive special Pelgrane swag!
At midnight on 13th January 2017, we are increasing the GB pound prices in our webstore. This article explains how we calculated our new prices, and some of the reasons for the increase. For a full breakdown of the reasons behind this price increase, see my previous article, Brexit and Price Adjustment.
Why Adjust the Prices?
Before I get into our methods of calculation, I’ll quickly cover the reasons for the price change and how it affects our customers. This is entirely a financial decision. Almost all of our trade is in US dollars, and we account for most of our income and expenses in dollars. So, when the GB pound fell in value against the US dollar after Brexit, our income in dollars from the mail order store declined, because all our non-US and Canadian sales are in GB pounds. We’ve paid our US printers in dollars to ship every book we sell from our mail order store, so not only are we making less money gross on every sale, our fixed costs remain steady in dollars, and are now higher in pounds, so we make far less net margin.
I’ll give you an example. On 13th January 2016, you could buy a 13th Age Core Book for £29.95. At the time, this was US$43.37 – compared to a USD price of $44.95. On 13th January 2017 (the day I am writing this article), that same book, selling at £29.95, is worth US$36.23. Tomorrow, after the price change, the new price of £34.95 will be worth $42.21. If you are a UK customer, you’ll be paying £5 more, and we’ll get slightly less in dollars.
The Effect of This Change on Our Customers
The impact of the price change compared with last year’s prices depends on where you live. If you live outside the UK, there will be almost no difference in the average price you pay for our products in your currency, compared with what you paid this time last year.
US and Canadian customers
The US dollar prices are unchanged.
After the price change, customers will be paying almost the same in euros as this time last year.
This time last year, the 13th Age Core Book would have cost you €40.07. Today, the same book would have cost you €35.13. Tomorrow, it will cost you €40.99.
UK customers will be paying an average of 17% more in pounds for our books than last year. After the increase, we’ll be making about the same amount from UK sales in dollars as we were in January last year.
For most of our customers, there is very little change, compared with this time last year. The pound is at a historic low against a basket of currencies.
Here are a couple of examples:
- This time last year, the 13th Age Core Book would have cost Australian customers AUD61.39. Today, the same book would cost you AUD49.11. Tomorrow, it will cost you AUD57.31 – significantly less than last year.
- This time last year, the 13th Age Core Book would have cost customers in the Czech Republic 1077 Kč. Today, the same book would cost you 926 Kč. Tomorrow, it will cost you 1081 Kč – pretty much the same as last year.
To work out the values for your currency, get the conversion rates here.
How We Calculated our Prices
Historically, our UK prices have been based on the approximate exchange rate between the $ and £ at the time the product was released. This means our current UK prices are not consistent with the UK prices of historic products. So we’ve taken this chance to make our pricing more consistent across the board.
The first thing we did was pick an exchange rate: 1.28 USD/GBP. This currently favours non-US customers, and shows a certain optimism on our part.
Then we rounded the figures to .95 and 50p. We weighted the rounding towards the nearest pound because 50p prices don’t sell as well. Any price 40p or below was rounded down; 60p or above, rounded up.
The we applied a “Magic Nine” formula. Magic Nines are prices where the significant digit ends in a 9, like 19.95, 29.95, and 39.95. So we rounded prices near these values up or down as appropriate. We didn’t adjust prices around the 9.95 mark, because the impact to the price was too great. Numbers ending in 7 and 8 were rounded up to 9, and numbers ending in 0 or 1 were rounded down to 9. The combination of all these measures lead to a an average 17% increase. For comparison, if we hadn’t applied this formula and had instead just gone for a Round to Nearest 50p /.95 there would have been an average of 20% increase in the prices.
Revisiting our 13th Age example, the US$ price is $44.95. We divided this by the exchange rate (1.28), to get a value of £35.12. When we rounded the figures to .95 and 50p, this produced the new price of £34.95 – an increase of 17% for UK customers.
If anyone is interested in the Excel formulae, email us for more details.
Stone Skin Press and Dying Earth
Stone Skin Press books and some of the earlier Dying Earth books have UK prices printed on them, so they remain at their former price.
If there is a significant fluctuation in the dollar / pound exchange rate which we believe will last, we will adjust the exchange rate, and apply the updated formula again to get new prices. We’ll let our customers know in advance, so they can either chose to hold off from buying our books (if the prices will decrease), or chose to buy at that point (if the prices will increase), to take advantage of the change.
In the latest episode of their entirely accurate podcast, Ken and Robin talk historical license, Tim Powers, research and Tom Slick.
A column about roleplaying
by Robin D. Laws
My designs for Pelgrane have all been modular. Each includes
several sub-systems one could drop out without affecting the way other parts of the game operate.
(I say “for Pelgrane” because one of my games does use a universal engine in which every action is handled in the same way as any other. That’s HeroQuest, from Moon Design, which isn’t paying me for this column, removing my need to fit that into any kind of grand theory.)
This enables you to take the bits you like and replace them with a system from another design, if desired.
You can pair the investigative approach from GUMSHOE with a replacement for
general abilities from whatever system you find most comfortable to work in.
Same with the procedural resolution system from Hillfolk.
Sometimes, as in both of the above cases, I’ll design a sub-system so that it doesn’t pull focus from the main point of a game, even to the point of allowing it to be aesthetically displeasing.
Procedurals from Hillfolk do the job but they aren’t meant to be sleek and fun to handle. I didn’t want those rules to be alluring. Instead, whenever a situation comes up that tempts someone to call for them, I want everyone around the table to ask, “Do we really need a procedural here, or can we just agree to narrate it?”
My approach to general abilities in GUMSHOE isn’t so extreme, but they’re not meant to outshine the simplicity of the investigative bit.
When first creating a new rule or sub-system I don’t worry about its additional implications. I’m only working to solve a problem immediately before me.
For example, for the Dying Earth Roleplaying Game one tool I needed was a way to get the players speaking like Jack Vance characters. So I came up with the tagline system. This naturally carried through into Skulduggery, the goal of which was to preserve the DERPG mechanics outside of the setting they were originally built for.
When I was assigned to turn Vance’s Gaean Reach SF books into a game, I assumed it would use the new, simplified Skulduggery mechanics—until I read the books and found that they were almost all investigative in their plotting. So The Gaean Reach became a GUMSHOE game. Yet the need to get players talking like Vance characters remained, so I ported taglines into GUMSHOE. Once there I was able to hook them into an entirely different context, GUMSHOE’s need for ability pool refreshes.
That said, now that I (and Ken, and Gar) have created a shelf full of games, that means a box full of tools stands ready to serve when I need X to do Y in a new design.
This always starts with the need first. I don’t ask myself how can I repurpose starship combat from Ashen Stars or the Quade Diagram from Mutant City Blues. Instead I start with the problem and see if a sub-system already exists that can do the trick. (Also I’m leery about stealing the defining element of an existing game, each of which needs to sustain its own distinct feel within the GUMSHOE line.)
In the case of GUMSHOE One-2-One, all the problems I needed fixes for were new to the one GM, one player format. Since we’ve never done a game tuned for that configuration I had to invent new tools to solve its problems—Challenges to contain possibilities in a way that protected the character from prematurely being taken out of the story, Problems to replace the sense of deterioration and attrition fostered by dwindling general ability pools, Edges to counter-balance problems and generate a sense of reward, Sources to give players access to a full suite of investigative abilities without making every PC a polymath.
Now that I’m embarking on the design for the Yellow King RPG, I’m looking at the solutions I need and seeing some of them already in the ever-growing toolbox.
One key campaign frame has the players portraying versions of their characters refracted through time and reality. Since you might be playing several characters throughout the course of a series, character generation has to be fast, yet allow for creative input and modification. That means borrowing the Gaean Reach modular card-based chargen system, which has already been modified from Skulduggery, to yet another purpose.
Not all borrowings are from GUMSHOE. There might also be a touch of Hillfolk in the character generation.
Yellow King focuses on Robert Chambers stripped of retroactively applied Lovecraftian elements. (Don’t worry; if you own Trail of Cthulhu you can stick the Hounds of Tindalos back in if that’s your desire.) Accordingly I want an approach to subjective horror other than the Stability / Sanity system that works so well for a classically Mythos-driven spiral into cosmic despair. It just so happens that the approach to mental disintegration taken for unrelated reasons in Cthulhu Confidential fits that goal swimmingly.
Or at least I think it does. Everything’s up for grabs when theory meets play table.
And presumably problems I have yet to discover will call out for new solutions, which one of the Pelgranistas can later slot into a new need, as yet undreamt of.
Cthulhu City is written, if not finished, and the final book is overstuffed with Mythos gribbles and haunted architecture. There are so many cults and sorcerers lurking in there, not to mention weird Yithian machines, that I had to remove certain blasphemous tomes and cryptic relics to the virtual pages of page XX. Consider these a taster of horrors of come.
The Upton Papers
Physical Description: A hand-written diary, coupled with several folders of official documents bound in red ribbon. The papers may be found in a patent-leather briefcase that might even show signs of water damage.
Supposed History: These papers belonged to the late Francis Upton, the previous Mayor of Great Arkham. Upton died when his car plunged off the Garrison Street bridge into the Miskatonic river, and these papers were presumably lost with him. However, if someone recovered them from the water, or snatched them from the car before it mysteriously swerved, then Upton’s secrets might have survived his death…
Major Item: If genuine, the Upton Papers contain Francis Upton’s notes and personal observations about the city council and the secret rulers of Great Arkham. If Upton was, as he claimed to be, a reformer and enemy of corruption, then the papers document the activities of the Church of the Conciliator and the Necromantic Cabal in reasserting control of the city council after the fall of the Gilman House regime in 1925. Upton names several councillors and key figures as servants of the Mythos. If Upton trusted Federal Agent Vorsht, then the last paper is a letter to Vorsht asking for a full investigation of the city council. Combine this letter with Cop Talk or Bureaucracy to gain Vorsht as an ally.
Alternatively, if Upton was actually a cultist himself, then the papers shed new light on his death. Was he the victim of some internal feud within the cult? Did Vorsht or the Armitage Inquiry assassinate Upton? Or was his supposed death in the icy waters of the river merely a step towards some other mode of existence?
In either case, reading the Papers gives +1 Cthulhu Mythos and +1 Sentinel Hill Knowledge at the cost of a 3-point Stability Loss. Readers may also have recurring dreams of Upton’s death, which leave a lingering feeling of culpability after waking.
Minor Item: The papers are genuine, but there’s no sign of Upton’s diary. The documents in the folder all relate to a property deal involving several of the councillors, perhaps related the Olmstead Dam, the Dig in Salamander Fields, or the expansion of the city west into Billington’s Woods. Law detects irregularities in the documents; someone was covering up the true purpose of the property development.
Fraudulent: The papers are forgeries, as Craft can determine. They contain damning accusations about the private affairs of one of the councillors, like Arthur Diamond or Elanor Brack. Put these papers into the hands of an unscrupulous yellow newshawk from Newspaper Row, and they could do serious damage – even after death, Mayor Upton’s word counts for a great deal in Arkham.
The Ashpool Plates
Type: A series of twelve photographs taken by scandalous avant-garde photographer Edith Ashpool of Kingsport.
Physical Description: The first photographs in the series show Kingsport Harbour, and appear to have been taken from the deck of a yacht or other small vessel. A man, naked except for an ornate mask, stands by the railing in the foreground of each of the photographs, framing the background with his gestures. He waves goodbye in the early photos, points at elements of interests in others.
Other photographs show seascapes and coastlines around the north coast, near Kingsport Lighthouse. Several humanoid figures can be seen on the rocks at the foot of the cliffs, climbing in and out of the water. The later pictures in the series show a bizarre shoreline on some alien sea, with two moons clearly visible in the sky. The final picture appears to depict the yacht approaching a jetty of carved stone, where another figure wearing some sort of elaborate headdress awaits the boat’s arrival.
Supposed History: Ashpool claimed to have taken the photographs from the deck of the Hecate, a yacht owned by Ashpool’s rumoured lover Sauducismis “Saul” Waite, a cousin of former mayor Ephraim Waite. She exhibited the photographs in a small gallery in Kingsport; Art History or Kingsport District Knowledge recalls stories that there was a second, ‘inner’ set of photographs that could only be viewed on payment of an unspecified fee.
The police raided the Gallery two days after it opened; initially, they claimed that several gallery patrons including Ashpool had shown symptoms of typhoid and so the gallery had to be closed as a public health hazard. Later, it was made known that the ‘inner’ exhibition contained degrading and illegal pornographic images.
Major Item: The Ashpool Plates are a form of magical communication. Looking at the photographs in sequence, ideally while using a mind-expanding drug, puts the observer into a trance in which there is a psychic overlap between the observer and the masked man. Without the second set of photographs, the communication is one-way: the user is aware of another presence in the psychic landscape (presumably, whatever entity is represented by the figure wearing a headdress) and can “send” but not “receive” thoughts. The Ashpool Plates can be used to call for aid from whatever that entity is, and such entreaties will receive a response.
Of course, wise investigators may wish to know what they’re dealing with before entering into supernatural bargains. Ashpool is still in police custody in Fort Hutchison, but Saul Waite’s family connections protected him from any repercussions. The investigators could also try identifying the naked man, who clearly isn’t Saul.
Minor Item: A Cthulhu Mythos, Occult or Magic spend confirms that the photographs document the performance of a magical ritual. Replicating the gestures made by the masked man while following the course of the Hecate opens a sea-gate off the shore of Kingsport.
Fraudulent: The later photographs were faked in a special-effects shop at AKLO Pictures, one of Great Arkham’s movie studios. Ashpool was employed as a designer on an upcoming movie, but while on set, she managed to convince a vulnerable young starlet to pose for a series of compromising photographs. To protect their investment in the actress, studio bosses bribed the police to shut Ashpool down.
Wonders of the Invisible City
Physical Description: 110 pages, cheaply bound and badly typeset. Printed in 1862. This is a second-hand copy; according to the flyleaf, it was owned at some point by a “M. Daniels” – perhaps Milton Daniels, the Union Boss?
Supposed History: Wonders of the Invisible City is a printed transcript of a series of sermons or lectures that were allegedly given by Reverend Shrewsbury, a pastor who lived in Arkham in the 1740s and 1750s. While there is plenty of evidence to attest that Shrewsbury quarrelled with Joseph Curwen and other merchants and civic leaders, and even spoke out against their “Godless ways” from the pulpit, there is no proof that this book contains an accurate transcript of Shrewsbury’s words.
Major Item: The book contains a litany of accusations against the founders of Arkham, mentioning Curwen, Orne and Hutchinson by name, but also insinuating that several other families were in league with devils. It describes “certaine works” that were carried out in the dead of night by Curwen and his allies; Architecture or Astronomy guesses that the description is of a detailed survey of the land around Arkham, focusing on key magical sites like the Wooded Isle, Sump Marsh and the Chinese Garden.
The book also describes Shrewsbury’s encounters with strange “travellers” who revealed to him a “vision of a monstrous Pandemonium-to-come”. The description in the text of the mannerisms of these stranger is eerily close to those of the player characters – is some cross-temporal encounter with Reverend Shrewsbury in their future? Handwritten marginal notes in this section appear to be written in code, and might contain a spell or instructions for achieving such a prodigy.
Minor Item: The book is less specific about the misdeeds of Arkham’s founders, but a close reading with Archaelogy or History can reveal the precise location of Curwen’s missing farm in Salamander Fields. Marginal notes suggest that a previous owner of this book came to the same conclusion and may even have carried out a search for the buried ruins.
Fraudulent: Occult or History confirms that most of the text is copied from Philip’s Thaumaturgical Prodigies in the New England Canaan, and has little new information of relevance.
Ken and Robin emerge from their time machine into the pre-apocalyptic wasteland of 2017 to talk Cthulhu mythos secrets in the information age, opting out of uncomfortable gaming content, Luke Crane, and Eliphas Levi.
Investigate Mythos Mysteries in 1920s NYC’s Harlem Renaissance!
From Chris Spivey, one of the writers of Pelgrane Press’s Cthulhu Confidential and the upcoming Out of the Woods, comes Harlem Unbound, an RPG sourcebook for GUMSHOE and Call of Cthulhu, published by Darker Hue Studios and written by Chris Spivey, one of the writers of Cthulhu Confidential and the upcoming Out of the Woods.
There are just a few days left to support Harlem Unbound on Kickstarter.
New York City in the 1920s: Prohibition is in full swing, and bootleggers are living high. African Americans flee the oppressive South for greener pastures, creating a new culture in Harlem. The music of Fats Waller and Duke Ellington pours out of the city’s windows and doorways, and the sidewalks are crowded with women in stylish skirts with silk stockings, and men in white gloves and Chesterfield coats. There’s a feeling of possibility in the air, like never before. But even in this land of promise, Harlem is a powder keg. While classes and cultures collide, Lovecraftian horrors lurk beneath the streets, creeping through dark alleys and hidden doorways into the Dreamlands. What Great Old One shattered our reality? Can you hold it together and keep the Mythos at bay for one more song?
Harlem Unbound is a unique RPG sourcebook that takes players into the exciting world of the Harlem Renaissance at its height, to face terrifying horrors from the Lovecraftian Mythos. This groundbreaking tome gives Keepers and players everything they need to bring this unique place and time to life, and engage with the people who gave it its soul.
Harlem Unbound is compatible with multiple systems, with options for investigating the Mythos on New York’s jazz-soaked streets using either Chaosium’s Call of Cthulhu RPG or any of the several GUMSHOE-powered investigative RPGs by Pelgrane Press.
This sourcebook flips the standard Lovecraftian view of minorities on its head, putting them in the role of heroes who must struggle against cosmic horrors while also fighting for a chance at equality. By default, the protagonists of Harlem Unbound are African American, not white (which is the standard assumption found in Lovecraftian fiction). Our heroes and heroines come from all walks of life with regard to class, ethnicity, race, religion, gender and sexual orientation.
The heart of the Renaissance was a revolution aimed at changing the world through art, ideas, and the written word. It was a uniquely powerful movement against the unjust status quo, a time in history that still inspires today. The history, people and stories in this book shine the spotlight on the people of Harlem, their successes and their struggles.
More information about Harlem Unbound can be found on its Kickstarter page.
“Cosmic Love is absolutely Ruthless and Highly Indifferent.”
— John C. Lilly
There are not enough pages in any rulebook, and especially not enough in the Fall of Delta Green chapter that looks like it will have to suffice for both 1960s history and backgrounder and scenario seeds, to tackle even a fraction of the weirdness that the Sixties brought to life or to light. And there probably aren’t even enough pages to do proper justice to the many and manifold weirdnesses of John Cunningham Lilly (1915-2001). But in his pioneering spirit, we’ll shoot up with a whole bunch of ketamine and decide we can do it here anyway.
Lilly was a sort of Midwestern ideal type of the Lovecraftian protagonist: born in St. Paul to wealthy parents, he studied chemistry and philosophy from an early age. His undergraduate career at Caltech (1933-1938) almost exactly overlaps the period of the alchemist-Crowleyite John Whiteside Parsons’ GALCIT rocketry program there, and both were chemistry students. (Lilly and Parsons almost certainly met, Caltech not being that big a world in the Thirties, but what happened — or Happened — during that Trail of Cthulhu time slot has managed to go un-recorded in their various biographies.) He entered Dartmouth medical school in 1938, then transferred to Penn where he continued his Lovecraftian development by conducting various medical experiments on himself and writing a forbidden text: a book (this was 1942) called How To Build an Atomic Bomb. He conducted postgraduate work under pioneering biophysicist (and putative Majestic-12 member) Detlev Bronk and at the National Institute of Mental Health (NIMH), doing research for the Air Force — among other things developing early electro-encephalograms and, in 1954, the first sensory deprivation tank. According to his memoirs, he was approached by the CIA to work on such things as animal-activated surveillance and explosives, and (perhaps) on the MK-ULTRA mind-control project. According to Lilly, he refused, nobly insisting that his work remain open for all. He loudly resigned from NIMH in 1958.
The K-r-r-k-k-k-k-k of Cthulhu
Having boldly proclaimed his independence from government control, Lilly founded the Communication Research Institute Inc. (CRII) on the island of St. Thomas in the U.S. Virgin Islands. CRII was, of course, funded by NASA, the U.S. military, and possibly other shadowy figures. Lilly had become interested in the question of dolphin brains: much like those of humans, cetacean brains are very large in ratio to their bodies and have an even higher density of neurons. Lilly set up dolphin tanks and pools, and began to experiment on dolphins, most notoriously when his dolphin Peter fell for researcher Margaret Lowe Howitt while she tried to teach Peter to speak English. It wasn’t all dolphin grabass in the islands, though: Lilly also dissected and probed the brains of the cetaceans, in between drug experiments (on them and himself) and attempts to decipher dolphin communication by floating next to them in sensory deprivation tanks.
James Wade’s terrific 1969 short story “The Deep Ones” provides a fictionalized Lilly in the form of Miskatonic hippie guru Alonzo Waite, and in the form of his opposite number, dolphin researcher Dr. Frederick Wilhelm. Most impressively, it casts the dolphins as one more intermediary between man and Cthulhu, cousin or evolutionary stage of the Deep Ones. Wade mentions the ancient Greek myth that dolphins were pirates turned into beasts by Dionysos, tying it wonderfully into the deeper Mythos truths of Dagon and human-oceanic interbreeding of the Innsmouth sort. Any Fall of Delta Green Handler has a whole mini-campaign just lying there between Wade’s fictions and the CRII’s madness.
But it doesn’t end there. Wade doesn’t even bring in Lilly’s involvement in SETI, which (likely again via NASA back channels) wound up connecting Lilly and the CRII with astrophysicist Frank Drake, who considered dolphins a template for alien life on Earth. Lilly presented his dolphin theories at the Green Bank astrophysics conference in 1961 where Drake coined his famous equation for the probability of alien life. He was such a hit that Drake, Lilly, a pre-turtleneck Carl Sagan, and biologist J.B.S. Haldane all made up the “Order of the Dolphin” and wore dolphin lapel pins when they were wearing lapels, which wasn’t often in St. Thomas.
Lucy in Sarnath with Diamonds
But Lilly was losing interest in his dolphins for the time being, because his dolphins weren’t receptive to injections of LSD. (Although he later decided dolphins could telepathically project sonar images into his head while he floated in his nearby sensory deprivation tank, he somehow didn’t associate those results with his LSD use.) Despite Lilly’s official rejection of government support, he wound up getting on the approved list of LSD researchers, and began charting his own passage into the “province of the mind” at, among other places, the Maryland Psychiatric Research Center (MPRC) in Catonsville, Maryland in 1968-1969. The MPRC just happens to be located in the Spring Grove Mental Hospital, founded in 1797, and a major center for research into schizophrenia, with a large collection of human brains. Which means, of course, that we could go in any number of Lovecraftian directions here, from the mental experiments of “Beyond the Wall of Sleep” to the search for the biological boundaries of death in “Herbert West — Re-Animator” to the, well, large collection of human brains in “Whisperer in the Darkness.”
But perhaps it’s most fun to put a probe in all that and head inside instead, to the Dreamlands. The “province of the mind,” visited by special questers during a ritual dream state, sounds very familiar to us Lovecraftians. As Lilly put it: “In the province of the mind what one believes to be true, either is true or becomes true within certain limits. These limits are to be found experimentally and experientially. When so found these limits turn out to be further beliefs to be transcended. In the province of the mind there are no limits.”
Lilly mostly wrote up his psychedelic experiments in the context of “reprogramming the human biocomputer” rather than as a way to discover the face of the gods of Earth … assuming there is a difference. What else does Randolph Carter seek, both on Kadath and in the Silver Key, than the human source code, the image of the creators and the geometry of time? Lilly’s own experiences with Gnosticism, at a retreat in the Chilean desert, convinced him that there was a specific ritual control mechanism known to ancient man for opening that “province,” but we should move on before we get trapped in the Witch-House.
The Facts in the K of Arthur Jermyn
Anyone who has seen Ken Russell’s film Altered States knows the next bit of this story. In search of a cure for his migraines, Lilly told his friend Dr. Craig Enright to inject him with ketamine while floating in his isolation tank. After a massive dose did, indeed, end his migraines, Lilly went off the deep end. He and Enright injected each other and recorded the results, even after one time in 1973 when Enright accidentally “reprogrammed himself” to “return to the pre-hominid state of man” and began hopping around the room howling and trying to smack Lilly in the face. Their conclusion sounds like yet another Lovecraftianism, possibly out of HPL’s druggie/Neo-Platonism combo tale “Hypnos”: “One’s internal reality could differ radically from the external reality in which one was participating, even with regard to prominent features of the physical environment.” Parallel worlds, pre-hominids, and K, oh my.
The ECCO Out of Time
In a development surely unrelated to the massive doses of ketamine he was on, in 1974 Lilly made contact with the Earth Coincidence Control Office. This network of higher realities that overlaps ours controls our existence by means of coincidences: Lilly’s entire life became a pattern of ECCO-directed research. (Research, Lilly believed, was merely the decanting of higher truth into our truth by a “universal network of mind.”) During an earthquake in 1971 Lilly had discovered the “Alternaty,” a doorway or window into all futures simultaneously; ECCO has picked the door it wants us to walk through and will suffer no backtalk. Once aware of ECCO, their target must remain ready for the catastrophic and impossible, remain in the “training program” for life, and “use your best intelligence” in its service. This reminds me of nothing so much as the Motion, the Delta Green name for the Yithian agents mentioned in “The Shadow Out of Time,” directing history to produce the Great Race’s ideal conditions for their return.
And just as the Yithians fear and hate the Mi-Go and the Yellow Sign, so too do the ECCO oppose the SSI, who crashed a jet at LAX in 1974 to get Lilly’s attention. SSI are the Solid-State Intelligence rising in all electronics, preparing to eradicate biological water-based intelligence, beginning with the dolphins. (Echoes of a Mi-Go war with the Deep Ones perhaps?) Eventually the SSI, like Wilbur Whateley, plan to “wipe the world clean” and create a low-temperature vacuum, their ideal living conditions. Lilly warned us of the ongoing and escalating ECCO-SSI war in 1981 but surely its, er, echoes reach back two decades to the shadowy forces that gave Lilly access to LSD and (through Bronk and his associate Britton Chance) to the world of early computing. ECCO and SSI, dolphins and pre-hominids, Cthulhu and Carl Sagan: it all flows together in the Mythos cyclone that is the mind and life of John C. Lilly.
Cthulhu Confidential, the flagship title for GUMSHOE One-2-One, is now available for pre-order! GUMSHOE One-2-One is designed for two players: a GM and a player who takes the role of a solo investigator, solving Mythos mysteries. In Cthulhu Confidential our PCs are hard-boiled shamus Dex Raymond, investigative journalist Vivian Sinclair, and private eye Langston Montgomery Wright.
We asked the Pelgranistas—as well as some friends of Pelgrane—which fictional characters they’d most like to have a GUMSHOE One-2-One mystery adventure with. This is GUMSHOE One-2-One author Ruth Tillman’s choice:
Miss Phryne Fisher
Kerry Greenwood’s irrepressable Miss Phryne Fisher, as so ably portrayed by Essie Davis, is my dream One-2-One player. Her willingness to ask “why not?” and simply dive in through a window would create the perfect table atmosphere where all bets are off, even with a tightly-written scenario. Fortunately, the author just wouldn’t care because you’d both be having such a good time. Phryne would somehow manage to make even the most basic use of Flattery a Push. She’d would always go for an Extra Problem if she thought she might pick up an Edge and follow up to ensure the folks hurt during the scenario got everything sorted out at the end. Her jazz age soundtrack would easily fit in with the noir feel of Cthulhu Confidential and, while she’s never met a mythos horror before, you can’t tell me she wouldn’t stare it down over her tiny pistol–probably before making the sanity-saving choice to flee.
Preorder Cthulhu Confidential at the Pelgrane webstore, and get the PDF plus a preview of the first Dex Raymond adventure, straight away!
GUMSHOE One-2-One retunes, rebuilds and re-envisions the acclaimed GUMSHOE investigative rules set for one player, and one GM. Together, the two of you create a story that evokes the classic solo protagonist mystery format of classic detective fiction. Can’t find a group who can play when you can? Want an intense head-to-head gaming experience? Play face to face with GUMSHOE One-2-One—or take advantage of its superb fit with virtual tabletops and play online. Purchase Cthulhu Confidential and future GUMSHOE One-2-One products in print and PDF at the Pelgrane Shop.