“Monk was asking Vida Carlaw, ‘Do you believe a mysterious jellylike creature did any killing?’ The girl hesitated, nipping at her lips. ‘You probably think I’m foolish, but, after all, no one really knows what is in the depths of the earth. Of course, scientists have a general idea, but there may be—things—down there that they don’t know anything about.'”

— Lester Dent, The Derrick Devil (Doc Savage Magazine, Feb 1937)

Cthulhu and his mythos emerged from the same news stands that produced the Shadow, Doc Savage, and lots of other larger-than-life characters who vastly outsold Cthulhu. Trail of Cthulhu honors that heroic origin by presenting rules and even gods in both Pulp and Purist categories, and Robin Laws especially honored it by presenting four straight-up pulp tribute adventures in Stunning Eldritch Tales. In the third adventure, “Death Laughs Last,” your heroes solved the mysterious death of milllionaire philanthropist Addison Bright, who fought crime in secret as … the Penitent!

Some detectives are stranger than others.

But what kind of pulp hero has only one adventure? (Most of them, sadly. Heroism was an unrewarding business, then as now.) The Penitent may be dead (for now) but if your Investigators acquired a taste for the lurid life, there’s more where he came from in the yellowed pages around them. Robert E. Howard alone provides plenty of inciting GMCs in need of two-fisted backup: River Street police detective Steve Harrison, boxer Kid Allison, sailor and boxer Steve Costigan, and that’s before you even get to Irish occultist John Kirowan or aging mercenary Kirby O’Donnell. Your heroes might cross cerebral swords with super detective Nick Carter, the young (ish) and (always) hungry Nero Wolfe, or any one of a hundred figures right out of Jess Nevins’ encyclopedias.

Compared to their descendants in the superhero comics, few actual pulp super villains survived more than one adventure. (Plenty of pre-pulp anti-heroes, such as Dr. Nikola, Dr. Quartz, Zenith the Albino, and Fu Manchu seemingly carried whole series by themselves, of course; classic pulps that attempted to recapture that spirit usually failed after a few numbers.) All their creators needed was a name and a gimmick — which is all a Keeper needs in a pinch, to be fair. So heroes are plentiful, and villains die fast — but which is which? Here’s a spinner rack full of pulp GMCs, packed like pulp-revival Ace Doubles, with both a hero side and a villain side. But even the heroes here have just a shmear of Purist flavor, meaning your Investigators might find themselves cast as the villains of this month’s exciting issue.

A-10

Decorated Great War ace turned barnstormer turned adventurer, “A-10” uses that code name when carrying out jobs for the FBI or the State Department with one of many state-of-the-art airplanes. Surveillance autogiros, speed-record interceptors, flying boats, even drone craft: A-10 can fly any of them better than any man alive.

Hero: Letitia Coolidge, self-taught electrical engineer, pulled an avionics control box out of a crashed disc-shaped craft in Vermont, put it in her second-hand Curtiss “Jenny,” and took off. She never gets used to having to plug wires from the stick into her brain, but the results are worth it … so far. Some of her “government orders” just come in on her airplane radio, a buzzing voice on a box …

Villain: Morland Harding flew too high over Brazil during an air show altitude contest, and made a deal with a Gaseous Wraith (Hideous Creatures, p. 108). All it wants is human sacrifices, and as long as he keeps killing people above 30,000 feet its vapors keep Harding literally at the top of his profession.

Fu Mien-chü

His name translates as “man who is a mask,” and his role in New York’s Chinatown is appropriately opaque. He has agents in every obscure temple, criminal gang, and house of ill fame in the district — and in every hospital, political campaign, and scientific laboratory. He holds at least two doctorates, in endocrinology and entomology, and speaks perfect un-accented baritone English.

Hero: This is the alias of the brilliant psychologist Dr. Fo-Lan, kidnapped by the Tcho-Tcho in 1902, who escaped them in 1906 by summoning the Elder Gods from Orion to destroy their city. Now, he investigates New York’s cult underground, warring against inhuman infiltrators and determining whether he needs to destroy yet another city to save the world …

Villain: “Fu” is either the Scorpion himself, Hsieh-Tzu (which is to say, L’mur-Kathulos of Atlantis), or one of his most trusted body doubles running the American branch of the Hsieh-Tzu Fan (Bookhounds of London, p. 63).

Jenna of the Jungle

Normally Jenna stays in her forest home in the Congo, but sometimes she visits New York in the company of her latest good-looking conquest. Both a wealthy English aristocrat and a jungle queen, she keeps a penthouse on Central Park West where she grows wild tropical plants and flowers, and where her pet panther Menes can sleep in the sun. Her prodigious strength keeps the mashers at bay when Menes isn’t around.

Hero: Born Geneva Jermyn, of the aristocratic Huntingdonshire Jermyns, she escaped the “Jermyn curse” of simian looks; although her arms and legs aren’t quite normally proportioned, and her nose is a little upturned, on her it looks amazing. When her cousin Arthur committed suicide and burned down the family mansion in 1920, she went to Africa to find out why. She came out a decade later, looking not a day older.

Villain: Did she visit the Anzique country on the way? Her boyfriends don’t last long, after all … Alternatively, perhaps she embraced the “White God” of Dzéwa, gaining her powers over plants and animals from its Xiclotli servitors (Shadows Over Filmland, p. 103).

Hugo “Doc” Woesten

There’s nothing he can’t do: scientist, surgeon, explorer, Doc Woesten embodies the perfect physical and mental development of the species. Using his “mental radio” at the top of the Empire State Building to receive uncanny distress signals from all over the world, Doc and his five assistants are always there when something weird and menacing threatens an heiress or endangers an archaeological dig. Only Doc’s assistants know what goes on in his secret psychic college beneath the New York State Psychopathic Institute in the Catskills.

Hero: Doc owes his abilities to alien possession: while experimenting with his mental radio during the 1927 nova XX Tauri, a “brother of light” incarnated into him. His operations on criminal brains further the “brother’s” search for minds possessed by Algol, Alphecca, or other “demon stars.”

Villain: Doc is a van Kauran on his mother’s side, from a long line of Mythos magicians in upstate New York. Henrietta raised him using twenty-one years of rituals and following every stricture in the Book of Eibon to create a “star child.” Doc travels the world “rescuing” artifacts (and eliminating rivals) to eventually bring about a new Hyperborean Age and make his mother proud of him.


Trail of Cthulhu is an award-winning 1930s horror roleplaying game by Kenneth Hite, produced under license from Chaosium. Whether you’re playing in two-fisted Pulp mode or sanity-shredding Purist mode, its GUMSHOE system enables taut, thrilling investigative adventures where the challenge is in interpreting clues, not finding them. Purchase Trail of Cthulhu, and its many supplements and adventures, in print and PDF at the Pelgrane Shop.

When the Pelgranes started talking about their favorite monsters, @brightneedle jumped in to put dibs on her subterranean, misunderstood besties.


Trail of Cthulhu is an award-winning 1930s horror roleplaying game by Kenneth Hite, produced under license from Chaosium. Whether you’re playing in two-fisted Pulp mode or sanity-shredding Purist mode, its GUMSHOE system enables taut, thrilling investigative adventures where the challenge is in interpreting clues, not finding them. Purchase Trail of Cthulhu and its many supplements and adventures in the Pelgrane Shop.

Building on fond memories of other random generators, what might a random Trail of Cthulhu adventure generator look like? The tables below generate a highly random Trail mystery. As with all random generators, the goal is to prompt the Keeper’s creativity in connecting disparate elements – don’t expect coherence from random rolls alone!

Adventure Hook (d12)

Why do the investigators get involved? (You can also use this as a way to determine the theme or atmosphere of the adventure if you’re not using pregenerated characters.)

  1. Adventure
  2. Arrogance
  3. Antiquarianism
  4. Artistic Sensitivity
  5. Bad Luck
  6. Curiosity
  7. Duty
  8. In the Blood
  9. Revenge
  10. Scholarship
  11. Sudden Shock
  12. Thirst For Knowledge

(The drives Ennui and Follower aren’t used in the list above.)

Location (d20)

Where does the adventure take place? The somewhat eclectic list of suggestions below is based on the locations discussed in the Trail of Cthulhu rulebook.)

  1. United States – Rural
  2. United States – Small Town
  3. United States – Urban
  4. United States – Lovecraft Country
  5. Abyssinia/ Belgian Congo
  6. Antarctica
  7. Brazil
  8. Burma
  9. Egypt
  10. Germany
  11. Greenland
  12. Haiti
  13. Mongolia
  14. Peru
  15. Rumania
  16. Saudi Arabia
  17. Soviet Union
  18. Easter Island/South Pacific Mandate
  19. Spain
  20. Thibet

Apparent Situation (roll 1d20)

What are the investigators doing here?

  1. Commercial interest – it’s related to the business of an investigator, like a real estate deal
  2. Investigate disappearance – of a friend, relative or other acquaintance. Or a strange, if the investigator is a police officer, detective or other specialist.
  3. Investigate untimely death – as above.
  4. Investigate cryptic events – lights in the sky, strange footprints, sinister letters.
  5. Investigate criminal activity – bootlegging, extortion, theft
  6. Investigate alleged supernatural event – ghosts, seances, vampire attacks, curses.
  7. Investigate medical mystery – strange disease, sudden madness
  8. Investigate prodigy – fallen meteorite, brilliant scientific discovery
  9. Carry out personal errand – execute a will, return a book borrowed years before
  10. Carry out mundane task – something connected to the investigator’s occupation
  11. Carry out official duties – as above, but a little more formal and significant
  12. Survey site – examine a location in detail, for commercial or archaeological reasons
  13. Report on story of interest – even if the investigator isn’t a reporter, they might be asked to look into a local mystery
  14. Research local history – as a hobby, out of antiquarian interest.
  15. Visit distant cousins or aged relative – haven’t seen them in years, I wonder what they’re up to
  16. Visit old friend or correspondent – as per Henry Akeley in Whisperer in Darkness
  17. Vacation or (recuperation after traumatic experience) – just what you need after that last nightmarish encounter
  18. Vehicle breakdown or travel delay – you’re stuck here for a while
  19. Drawn here by strange dreams – because you’re a Lovecraftian protagonist
  20. Seeking mysterious object or book – that has recently come to light

Horrible Truth (roll 1d12)

What’s really going on?

  1. The Apparent Situation is the true situation
  2. There’s a CULT here, and their activities may be exposed by the Apparent Situation
  3. There once was a CULT here; it’s mostly moribund, but some horror connected to the cult lies buried here and may be exposed by the Apparent Situation
  4. There’s an active and ambitious CULT here; the Apparent Situation is connected to some malign intent of theirs.
  5. There’s a CREATURE here, disinterested in humanity unless provoked.
  6. There’s a CREATURE here, preying on humanity.
  7. There’s a CREATURE here, slumbering – but it may be awoken by the Apparent Situation.
  8. The Apparent Situation was triggered by a TOME OR ARTEFACT
  9. Someone’s using the Mythos for personal gain using a TOME OR ARTEFACT
  10. There’s a GOD OR TITAN slumbering here, and its presence disturbs the world
  11. There’s an ancient ruin or tomb connected to a GOD OR TITAN here, guarded by a (1-3: CULT, 4-6: CREATURE)
  12. There’s a clash between two entities (roll 1d6 for each: 1-3: CULT, 4-5 CREATURE, 6 GOD OR TITAN).

Cult

Roll on the the Cult Size, Cult Status, Cult Intent and Blasphemous Rites tables.

Cult Size (roll d6)

  1. A single sorcerer
  2. A small cabal (a single family, a few locals)
  3. A congregation (two dozen or so)
  4. Endemic in the area (lots of people in the area are involved)
  5. Far-flung (only a small cabal here, but the cult is spread across the world)
  6. Great conspiracy (cult is world-wide and exceedingly well connected)

Cult Status (roll 1d6)

  1. Dead – no cultists left, only their works
  2. In decline – only a few left
  3. Secret – cult is hidden and mostly inactive, only performing rites on rare occasions
  4. Active – cult continues its sinister practices
  5. Recruiting – cult seeks new members
  6. On the verge of triumph! – cult is about to take a major step towards its goal

Cult Intent (roll 1d6)

  1. Worship of CREATURE with offerings, sacrifice
  2. Worship of GOD OR TITAN
  3. Study of TOME OR ARTEFACT
  4. Acquisition of power
  5. Keepers of CREATURE
  6. Summon GOD OR TITAN, end reign of humanity.

 Blasphemous Rites Include (roll 1d10)

  1. Worship outdoors at ritual site
  2. Worship at hidden temple, cave or ruin
  3. Bizarre surgical experiments
  4. Congress with CREATURE
  5. Use of drugs or extracts
  6. Ritual initiation
  7. Travel through dreams or magical gateways
  8. Use of ritual magic
  9. Ritual sacrifice
  10. Transformation

Creature (roll 1d100)

1-2 Bat-Thing
3-4 Bhole
5-6 Black Winged Ones
7-8 Byakhee
9-10 Colour Out of Space
11-15 Dark Young of Shub-Niggurath
16-20 Deep One
21-22 Dimensional Shambler
23-24 Elder Thing
25-26 Flying Polyp
27-28 Elder Thing
29-30 Formless Spawn
31-32 Gaseous Wraiths
33-38 Ghoul
39-40 Gnoph-Keh
41-42 Great Race of Yith
43-44 Hound of Tindalos
45-46 Hunting Horror
47-48 K’n-Yani
49-50 Lemurian
51-52 Lloigor
53-54 Masqut
55-56 Medusa
57-60 Mi-go
61-62 Moon-beast
63-64 Nightgaunt
64-66 Raktajihva
67-68 Rat-Thing
69-70 Sand-Dweller
71-72 Serpent Folk
73-74 Servitor of the Outer Gods
75-76 Shan
77-78 Shantak
79-80 Shoggoth
81-82 Son of Yog-Sothoth
83-84 Space-Eater
85-86 Star Vampire
87-88 Ultraviolet Devourer
89-90 Tcho-Tcho
91-92 Vampirish Vapour
93-94 Wendigo
95-96 Worm-Cultist
97-98 Xothian
99-100 Y’m-bhi

Gods & Titans (roll 1d20)

  1. Azathoth
  2. Chaugnar Faugn
  3. Cthugha
  4. Cthulhu
  5. Dagon
  6. Daoloth
  7. Ghatanothoa
  8. Gol-Goroth
  9. Hastur
  10. Ithaqua
  11. Mordiggan
  12. Mormo
  13. Nodens
  14. Nyarlathotep
  15. Quachil Uttaus
  16. Shub-Niggurath
  17. Tsathoggua
  18. Y’golonac
  19. Yig
  20. Yog-Sothoth

Tomes & Artefacts (roll 1d20)

1. Necronomicon, original
2. Necronomicon, modern
3. Cultes des Goules
4. De Vermis Mysteriis
5. King in Yellow
6. Book of Eibon
7. Pnakotic Manuscripts
8-9 Idol of GOD or TITAN
10-11 Idol of CREATURE
12-13 Relic or Mummy of CREATURE
14. Remains of ancient sorcerer or priest
15. Ancient Stone
16. Dust or Elixir
17. Cryptic Machine
18. Weapon or Tool
19. Enchanted Place
20. Gateway or portal

Structuring the Adventure

As a starting point, assume 3-5 core clues must be discovered and 1-3 hazards must be overcome to complete the investigation.

Random Core Clues

Clue Type

1-2 Academic
3-4 Interpersonal
5-6 Technical

Academic

  1. Accounting
  2. Anthropology
  3. Archaeology
  4. Architecture
  5. Art History
  6. Biology
  7. Cthulhu Mythos
  8. Cryptography
  9. Geology
  10. History
  11. Languages
  12. Law
  13. Library Use
  14. Medicine
  15. Occult
  16. Physics
  17. Theology
  18. Roll again, but it’s an impossibility
  19. Roll again, but it’s a personal connection
  20. Roll again, but it’s a terrible revelation

An Impossibility: This rock is older than the universe! This painting is moving! This library is carnivorous!

A Personal Connection: Your Medicine can’t tell you anything about this condition – but you do know a retired physician, Doctor Black, who lives nearby. Maybe he can help.

A Terrible Revelation: Oops! I just correlated hitherto disassociated fragments of knowledge. Rookie mistake.

Interpersonal

  1. Assess Honesty
  2. Bargain
  3. Bureaucracy
  4. Cop Talk
  5. Credit Rating
  6. Flattery
  7. Interrogation
  8. Intimidation
  9. Oral History
  10. Reassurance
  11. Streetwise
  12. Roll again, but it attracts the attention of sinister forces

Sinister forces: It’s not wise to ask questions about certain topics.

Technical

  1. Art
  2. Astronomy
  3. Chemistry
  4. Craft
  5. Evidence Collection
  6. Forensics
  7. Locksmith
  8. Outdoorsman
  9. Pharmacy
  10. Photography
  11. Roll again, but it’s an impossibility
  12. Roll again, but it exposes the investigator to something toxic or hazardous

Exposure: You see a strange light as you look through the telescope; you pick the lock, but discover the door’s a twist in space and time…

Random Hazards

  1. Athletics – a chase scene, a physical obstacle
  2. Conceal – a hidden trap
  3. Disguise – you must infiltrate a group
  4. Driving – dangerous conditions or a car chase
  5. Electrical Repair/Mechanical Repair – a piece of equipment is vitally needed
  6. Explosives – it’s the only way to be sure
  7. Filch – you must steal something
  8. Firearms – a combat scene at range!
  9. First Aid – someone’s dying or badly injured
  10. Health – exposed to a toxin
  11. Piloting – we’re on a boat
  12. Riding – we’re on a horse
  13. Stability – keep it together, man!
  14. Scuffling – a combat scene, up close!
  15. Sense Trouble – there’s something out there.
  16. Shadowing – quick, after them!
  17. Stealth – you must infiltrate a place
  18. Weapons – a combat scene, with sharp bits
  19. Roll again twice
  20. It’s a combat scene, with a complication. Roll again for the second ability involved, other than a combat ability. For example, Riding implies a shoot-out on horseback; Stealth implies an assassination attempt.

Putting It All Together

Let’s roll up a random adventure and see what comes of it!

Our initial hook is SCHOLARSHIP, and our location is ANTARCTICA. Clearly, we’re on a scientific expedition – maybe the Starkweather-Moore expedition promised at the end of At The Mountains of Madness. It’s hardly worth rolling an Apparent Situation in this case. The Horrible Truth is that there’s a CREATURE preying on people – specifically, a BLACK WINGED ONE, the assassins of the Cthulhu cult.

Our key clues are: BUREAUCRACY, ART and OUTDOORSMAN, and our random hazards are FILCH and RIDING.

So… the expedition to the Antarctic includes a secret worshipper of Cthulhu. He summons up a Black Winged One to kill other members of the expedition, for he seeks to get to the glacier where Cthulhu slumbers. Bureaucracy reveals that someone infiltrated the expedition under an assumed name, Art (plus Filch) means the investigators steal the cultist’s sketchbook and see his crazed scribblings of a buried god, and Outdoorsman & Riding imply a desperate sleigh-dog chase scene across the frozen wastes!

Another random attempt yields:

ARROGANCE for our hook, SPAIN for our location, VACATION for our Apparent Situation. That sounds like a bunch of idealists charging off to volunteer in the Spanish civil war. The horrible truth is that there’s a clash between two Cults.

The first Cult is a lone sorcerer who’s on the verge of triumph – he seeks to acquire power, and his blasphemous rites include Ritual Initiation.

He’s opposed by a second cult that Endemic in the Area, highly Secret, and worships… hmm. The Tcho-Tcho. Their rites include congress with a creature – rather an involving a second race, let’s assume it’s congress with Tcho-Tcho. Presumably, there’s a connection between the Plateau of Leng and the Meseta Central.

Obviously, if it’s the Spanish civil war, then the two cults are on opposite sides. A Communist sorcerer? Fascist Tcho-tchos? Or the other way around?

Our core clues are INTIMIDATION (Interrogating a prisoner, maybe?), OCCULT and COP TALK; hazards are Piloting and Sense Trouble.

So – the investigators are volunteers on the Republican side. Interrogating a prisoner, they learn of a fascist plot to bomb mountain villages. (Time to do some research on aerial bombardment and air power during the Spanish civil war; Guernica can be a touchstone here). OCCULT discovers the villages are being targeted because of their connection to the Tcho-Tcho cult; the investigators need to use Piloting and a borrowed biplane to shoot one bomber down before it commits the mass sacrifice needed a portal to Leng and the triumph of the Nazi sorcerer behind the bombing plan. Cop Talk and Sense Trouble warn the investigators that their Tcho-Tcho-worshipping allies will turn on them after the fighting’s done, and they should head back to the safely of the lowlands if they hope to survive…


Trail of Cthulhu is an award-winning 1930s horror roleplaying game by Kenneth Hite, produced under license from Chaosium. Whether you’re playing in two-fisted Pulp mode or sanity-shredding Purist mode, its GUMSHOE system enables taut, thrilling investigative adventures where the challenge is in interpreting clues, not finding them. Purchase Trail of Cthulhu, and its many supplements and adventures, in print and PDF at the Pelgrane Shop.

In our latest virtual panel, Kenneth Hite, Robin D. Laws, and Gareth Ryder-Hanrahan are joined by special guest, Chaosium’s Lynne Hardy, to discuss the perennial connection between H. P. Lovecraft’s Cthulhu Mythos. We cover the core elements of Cthulhu gaming, Call of Cthulhu’s impact on the hobby, striking a balance between hopelessness and flipping out, how gaming changed the mythos, our favorite bits of Yog-Sothothery, and more.


Trail of Cthulhu is an award-winning 1930s horror roleplaying game by Kenneth Hite, produced under license from Chaosium. Whether you’re playing in two-fisted Pulp mode or sanity-shredding Purist mode, its GUMSHOE system enables taut, thrilling investigative adventures where the challenge is in interpreting clues, not finding them. Purchase Trail of Cthulhu and its many supplements and adventures in the Pelgrane Shop.

“The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown”, to quote Lovecraft. However, when it comes to translating his fiction into games, unknown monsters can be tricky to handle. In a roleplaying game, the players need to be able to make meaningful decisions, and for that, they need some information to give context to those decisions. The more they know, the less unknown there is. (One reason why classic monsters like vampires work well in rpgs – the players know the rules already, and you can present them as a part of a bigger mystery instead of making the investigation all about the monster. They no longer draw their power from fear of the unknown – it’s all about fear of what they might do with their known powers and hungers.)

Sometimes, getting more information about an unknown threat can be scarier. For example, if the characters are the crew of an isolated research base, and they find the mangled corpse of one of their co-workers outside on the ice, that’s scary – there’s a monster out there! However, if the characters then discover another corpse inside a locked room in the base, that’s even scarier – can the monster walk through walls? Is it a shapeshifter, now disguised as one of the crew? Is it in the air ducts?

The players need to discover the ‘rules’ of the unknown monster, and there’s an awkward dance here, especially if the monster can only be defeated by exploiting a particular trait, and especially in a one-shot or short adventure. You need to ensure the players find the information they need without making it obvious or contrived (nothing spoils atmosphere like having a really obvious LOOK, LOOK, HERE’S THE IMPORTANT BIT scene), while still keeping the monster mysterious. So, what are some elegant ways of getting information to the players, without making it seem like you’re setting up the pins with one hand and handing the players a bowling ball with the other?

(An aside – one key question to ask yourself is always, “what’s the characters’ goal?” If the characters can achieve their aims – break the family curse, escape the nightmarish town, discover the fate of their old friend – without having to defeat the monster outright, you can get away with revealing less about the monster. But if your campaign setup or scenario hook demands that the characters take an active role in investigating or thwarting the Mythos, they’re likely to press on to a final confrontation – and if you want to avoid that final confrontation from becoming a chase scene or a shootout, it’ll have to hinge on a meaningful decision by the players, which means giving information about the unknowable horror.)

  • GUMSHOE, of course, promises the players will always get the clues they need if they use their investigative abilities. Try to use multiple tangential clues to the nature of the monster, as opposed to one core revelation that spells out what must be done. Say, for example, the characters are up against a horror from the logos – a monster that manifests when its name is spoke aloud. Dropping lots of hints that connect to this – a corpse with its tongue torn out (Forensics), Occult references to the unspeakable one, a bunch of references to the Scottish play (Art History) – lets the players make that final intuitive leap.
  • In The Dunwich Horror, the Son of Yog-Sothoth can only be destroyed by a ritual. Lovecraft handles this by having the first Whately brother draw attention to the book containing the banishing ritual in an earlier scene. Have the players discover information about the monster while pursuing an apparently unrelated lead.
  • Pacing out the information also helps. The bigger the gap between the players discovering information about the monster, and actually encountering the monster, the better. If the players run into a Colour Out Of Space five minutes after encountering the local inventor with his shed full of high-voltage electrical equipment, then it’s obvious that the Keeper intends for them to use electromagnetic fields as a weapon against the otherwise invincible foe. However, if the players run into the inventor near the start of the adventure, and encounter the Colour much later, then it feels much more like the players cleverly calling back to an established bit of background colour. Lovecraft uses something like this technique in The Case of Charles Dexter Ward, where Doctor Willett discovers the dismissal formula long before he finally uses it to banish Joseph Curwen. (Of course, the scene where Dr. Willett randomly starts chanting spells out loud would be intolerable railroading in a tabletop game…)
  • Another approach is to undercut expectations. Say the players find out that there was a series of murders fifty years ago when a cult opened up the Box of the Shining Trapezohedron, and now there’s another set of identical murders. Clearly, someone’s taken the gem from the magic box, and the obvious solution to the scenario is to put the gem back in the box. Twist this by having the cult destroy the box before the players can return the gem. Now, the players have to come up with their own variation on that original solution by finding another way to bury the gem before the monster finds them…

While digging through old boxes, I came across a copy of long-vanished British gaming Roleplayer Independent magazine from the hoary ancient days of December 1992. It took me a few minutes to work out why I’d kept it – there’s a random Cthulhu scenario generator in there by Jim Johnston. (In fact, that article must have been my first encounter with the Cthulhu Mythos, as the first time I actually played a Cthulhu game was January 1994 – but I digress).
Random inspiration is great for Cthulhu scenarios. One of the charms of the Mythos is its sheer incongruity and omnipresence – look under the wrong stone, and you don’t just find a monster, you find an infinitely deep abyss. The Mythos is infinitely mutable, with the possibility of horror lurking in any aspect of reality.

For example, take the first table from that old random generator.

From RPI December ’92

Any of those could lead to a single monster – the lights in the night are a lone fire vampire, accidentally summoned by an archaeologist meddling with an ancient relic, and the worst the investigators might face is a little combustion. Or maybe the lights are Yog-Sothoth manifesting to spawn his hybrid son, and the stakes are nothing less than the destruction of all life on Earth.

Another possible prompt is to pick a random investigative ability, and build a scenario around a clue discovered with that ability. So, lights in the sky + Reassurance – why is some witness so terrified by the lights that reassuring her unlocks the mystery? Maybe the lights are ghosts – psychic projections from the brain-matter of the recently deceased, agitated by some cosmic force afflicting the graveyard (a Colour, maybe?).

Picking a random monster or mythos tome also works – the trick is finding something seemingly incongruous, and then challenging your brain to find connections. As an exercise, let’s take a random event from 1937. A quick jaunt on Wikipedia gives me:

https://en.wikipedia.org/wiki/September_1937_Folsom_escape_attempt

A random pick of investigative ability gives me Architecture, and picking a random monster from Hideous Creatures gives me the Dark Young. So… the escape attempt involved a carved wooden pistol. Maybe the pistol wasn’t carved, but grown, and one of the prisoners was a secret worshipper of the Black Goat who erected a secret temple to her in some hidden corner of the prison (Architecture). The escape attempt fails, but the worried warden turns to the investigators to discover the origin of the unholy weapon.

Alternatively, taking the same historical event, but a different ability and monster – Law and the Moon-Beasts. Ok, clearly, the prisoners are escaping because the state of California has a secret bargain with the Moon-Beasts, and prisoner ‘executions’ at Folsom are a cover for the unholy teind of victims to the Moon-Beasts…

A third random prompt  – Flattery and the Ultraviolet Devourers out of From Beyond. Here, maybe an arrogant prisoner claims to know a better way out of the prison – he’s going to walk through the walls. Flattery gets him to reveal that his friend on the outside has a mysterious machine that can shift its targets out of conventional space-time and back again. One day soon, his cell’s going to light up all purple, and he’ll be gone. His friend’s testing it – what do you think drove those other prisoners crazy enough to attack the warden like that?


Trail of Cthulhu is an award-winning 1930s horror roleplaying game by Kenneth Hite, produced under license from Chaosium. Whether you’re playing in two-fisted Pulp mode or sanity-shredding Purist mode, its GUMSHOE system enables taut, thrilling investigative adventures where the challenge is in interpreting clues, not finding them. Purchase Trail of Cthulhu, and its many supplements and adventures, in print and PDF at the Pelgrane Shop.

They were a chance assembly of people who all happened to have some curious story current in their own family or neighbourhood which had puzzled them, and deserved (as they conceived) further investigation. Each had supposed that his own particular problem was a unique one, and was surprised when he found someone else with a similar or parallel story. It was the discovery that there were so many such tales abroad, far more than anyone had expected, which induced the original founders of the society to form themselves into a club for the investigation and testing of alleged manifestations of the supernatural.

— Sir Charles Oman, “The Old Oxford Phasmatological Society,” JSoc.Psych.Res. 33:622-23 (March-April, 1946)

In his ghost story “The Mezzotint,” M.R. James mentions “the Phasmatological Society” in passing. Often dismissed by Jamesian scholars as another of the master’s fertile inventions, this real ghost-investigating group was founded at Oxford University around 1874 (Oman recalls the date as October 29, 1879, but other sources differ). It continued operating at least until 1886, at some point establishing a chapter in London. The Society appeared in the London Truth as late as 1894; its members included the military historian Sir Charles Oman, Lord Haldane, the Bishop of Gloucester, and other eventually eminent personages.

The phasmatologist at work

They were less eminent as Oxford undergraduates, of course, though still quite well connected. The player characters might be such dilettante investigators, following up on the kind of tales James’ narrators recount as having safely occurred in earlier days or on queer stories that happen to their own peers or dons. The real Phasmatological Society took testimony from ghost witnesses and other paranormal experiencers, and then investigated the reports. Player character Society members might even investigate earlier James stories themselves, letting the GM invent sequels to the various horrors, or follow up on clues left by their great forefather the clergyman, philosopher, and ghost-breaker Joseph Glanvil (1636-1680). Like James’ protagonists, they encounter treasure hunts, cryptograms, mazes, and other puzzles with the clues hidden in church architecture or manor house bookshelves.

Jamesian adventures can take place entirely in the Victorian milieu of the original Phasmatological Society, of course, or in James’ own Edwardian era. A revived (or covertly continued) Society might investigate ghosts in the Trail of Cthulhu 1930s; its antiquarian membership makes ideal foils, marks, or clients for the Bookhounds of London. A swinging ’60s mod-occultist scene follows the guru and impresario “Chorazin” in London and San Francisco (FoDG, p. 304), and a modernized Society could emerge in Soho, Chelsea, or Berkeley to investigate the phasmatic wreckage in his wake. (Use the Activist or Scholar backgrounds; FoDG, p. 044.) The modern-day Phasmatological Society makes an ideal framing device for Fear Itself adventures or a cover group for an Ordo Veritatis “station-watch” squad hunting Esoterrorists.

A Pleasingly Random Ghost

Jamesian ghosts, while nicely tailored to their individual stories, don’t have any determinable order or logic to their abilities. In GUMSHOE mechanical terms, they have one to three Abilities: Aberrance (for all ghosts), Health, and and Scuffling (the last two for material, materialized, and possessing ghosts). All ghosts can spend Aberrance for minor effects such as cold spots, poltergeist activity, weird noises, and so forth; such effects cause damage or other mechanical effects, if any, equal to the spend.

Their ratings depend on their power, which is measured in dice. Most Jamesian entities have two dice in each Ability; minor ghosts have only one die in each Ability; major specters such as Count Magnus have three or even four dice in each. Each time the ghost appears, roll its dice in each Ability; the total is the pool it has available for that night. All Abilities fully refresh each sunset unless the ghost is exorcised or otherwise destroyed (usually by burning its remains).

Roll the ghost’s highest dice pool, take the highest two dice rolled, and divide the total result among its Alertness, Stealth, and Stability Loss bonuses. (Jamesian ghosts deal heavy Stability Loss penalties, as a rule.) For one-die ghosts, roll one die, add +1, and divide the result as above.

Roll one die on one Power table for each die in the ghost’s abilities. The number after the Power name is its Aberrance cost to use. A one-die entirely immaterial (Aberrance-only) ghost probably only rolls on the Oppressive Powers table, but the GM might pick a suitable power from one of the other tables if desired. Ghosts with any dice in Health or Scuffling can automatically materialize once in a scene for 2 points of Aberrance, even without the Materialize power. Those ghosts also roll one die and split the result between attack damage bonus (default is +0) and defense bonuses while material (expressed as minuses to damage). Materialized ghosts almost always have the Corpse quality (damage halved, shotguns do 2 pts, firearms do 1 pt).

Combat Powers

1  Disgusting Touch (2): foe must make a 6-point Stability (Difficulty 5) test to touch or when touched by the being during the scene

2  Disquieting Touch (1): attack using Scuffling, damage (+0) comes off Stability

3  Foetor (0): Forces a 5-point Health test (Difficulty 5) in close combat

4  Freezing Terror (1): attack using Aberrance, damage (d+0) comes off Stability

5  Grapple (2): forces test of its Aberrance or Scuffling vs. foe’s Athletics or Scuffling; if foe fails, foe cannot escape for a number of rounds equal to margin of success and their Hit Threshold drops to 2

6  Materialize (2): may materialize to make physical attacks (damage comes off Health) with Scuffling, spend 2 again to dematerialize into foul vapor immune to material attacks

Movement Powers

1  Abduction (2): may carry (or Apport, if it also has that power) an unconscious or Grappled victim to one pre-ordained place (usually its grave)

2  Apportation (1): may teleport to its own death site, gravesite, image, and/or name

3  Familiar (1): may appear as, or operate through, a rough beast such as a cat, owl, rat, spider, or similar creature

4  Follow Victim (1): automatically follows target; spend only required when victim changes conveyance or significant direction

5  Inhabit Matter (2): may possess and animate organic matter such as linen sheets, wood carvings, trees and vines, corpses, etc. with a Health pool either equal to the ghost’s Health or to 1d per point of Aberrance spent

6  Spider Climb (1): can climb up walls (if ghost is immaterial, applies to inhabited matter, familiars, or ghost in materialized form)

Oppressive Powers

1  Confusion (2): on a failed Stability test, target is dazed or struck forgetful

2  Create Darkness (1-3): increases Difficulty of visual tests (including Hit Thresholds) in the area by amount spent; spend of 3 further increases Difficulty of all Stability tests by +1

3  Desolate Cry (1): triggers 3-point Stability test in hearers

4  Oppression (1): lowers victim’s Stability pool by 1, cannot be refreshed by normal rest, usable once per week

5  Send Nightmare (1): triggers 4-point Stability test in one victim

6  Terrifying (2): +2 to Difficulty of Stability tests

 

One of my favourite bits of working on Hideous Creatures – and the infamous H*wk*ns P*p*rs, for that matter – was writing up the in-character handouts that accompany each monster. Part of the joy was obviously seeing what artistic wonders Dean Engelhardt would come up with, of course, but even if you’re not blessed with a brilliant layout artist, you can still have fun generating fiendishly oblique handouts that hint at greater horror.

First, pick one or two aspects of the creature you want to highlight or foreshadow. These might be:

  • Horrible portents associated with the creature, so the players recognise them when they encounter them later on. A stench, a distinctive sound, a bizarre physical phenomenon, a sensation – anything that heralds the approach of the horror.
  • A distinctive way of killing, so the players recognise the creature’s victims for what they are.
  • A supernatural ability or phenomenon associated with the monster
  • A thematic association – if you’ve got a crocodile monster, your handout should reference something crocodile-related – Egypt? Rivers? Survivals from primeval times? Eggs? Lurking dangers? Floating logs? Teeth?

The trick is to find something that’s strongly associated with the monster in the scenario, but is still deliciously ambiguous. A bloodless corpse with neck wounds screams ‘vampire’ a bit too loudly, but unexplained illness with the symptoms of anaemia – that’s great, especially if you describe it in such a way that the players worry about other possible horrors too. Is the anaemia caused by a bloodsucking horror, by weird radiation, by an internal parasite? Foreshadow, don’t fore-explain. In handouts like this, aim for ambiguity that only gets resolved when the players actually encounter the monster.

You can be quite subtle here – the simple existence of the document means the players will give it added weight, and comb the document for hints. For example, say your monster is associated with weird time dilation. You could write a short diary entry where a young heiress talks about how she went out riding one morning after breakfast near the old standing stones, and lost track of time – she thought she was only out for a short time, but she arrived back to find it was already mid-afternoon. On its own, that’s a dull piece of text – but the fact it’s a handout means the players will pay added attention to it. (Note that they’ll also pay attention to irrelevant pieces of it – expect the players to get jumpy at mentions of horses, investigate the family history of the heiress, and investigate the old standing stones.)

(Also – the incongruous placement of a handout is a really great technique. Finding a heiress’ journal in a country house is unremarkably – it’s part of the conceptual furnishings. Finding that same journal in a ruined lighthouse, or a cult hideout in a slum, or in a tomb that hasn’t been disturbed since it was sealed 3,000 years ago – that’s a lot more intriguing!)

Second, catch ye hare. Think of the sort of handout you want. Try starting with a real piece of text to get a sense of language and phrasing. A diary from the 1920s is going to read differently from a diary from the 1960s – and that’s going to be very different to a blog post from 2008. Diaries and letters are the most flexible sort of handout, but they’re a bit cliche. Newspaper articles are always good as a starting point, but can’t get too close to the real mystery (unless you can hint at a sinister reason why the journalist was prevented from investigating and digging deeper). Official accounts, like coroner’s reports, are good when you want to summarise an incident (or describe a mutilated corpse in detail, which can be really handy – it lets investigators use forensic techniques on a death from maby years ago), but hard to keep to short, and the best handouts are short and punchy. Shorter documents – records, auction listings, classified ads – are tricky, as you’ve got to tell the story entirely in implications. (Using google image search can often find scans of old articles and clippings for a visual reference).

Third, have a purpose in mind. A handout might:

  • Tell a story: Usually, the story of how someone else suffered a horrible fate at the hands of the monster; you want to hint at what might happen to the player characters if they’re unlucky.
  • Suggest a line of inquiry or course of action: Mentioning a location, object, book or individual in a handout can be prompt to the players to investigate
  • Foreshadow the monster: This sort of handout is really just to add foreboding; it doesn’t need to tell the players much, other than “there’s something bad out there, and here’s one trait associated with it”.
  • Hint at unplumbed depths: Handouts are great because they give exactly as much information as you want, and no more. The players can’t ask more questions of a piece of paper; they can’t spend points of Interrogation or Intimidation to learn any more. Therefore, if you want to include vast conspiracies, lost civilisations, or deeper mysteries that are outside the scope of your intended game, use a handout to drop hints of those greater depths.

Here’s a worked example of how to build such a handout.

We’ll start with a Trail monster that isn’t in Hideous Creatures – the Masqut. They’re the reptilian denizens of the Nameless City of the Arabian desert – the things of whom it is written that is not dead which can eternal lie, and with strange aeons even death may die. The entry in the Trail core rulebook – and in Lovecraft’s story – doesn’t give much detail on the monsters. They’re like crocodiles or seals, they walk on all fours, some of them are mummified, they hate humanity, and there are more of them in a vast cavern underground. Oh, and there’s a spooky wind.

I’m immediately put in mind of Feejee mermaids and other monsters of taxidermy. Maybe an art dealer bought what he thought was an amusing fake, but was actually a real mummified masqut… and then, to highlight the underground nature of the monsters, maybe the earth collapsed under him. “Art” plus “underground collapse” makes me think of Paris and its catacombs; even if my adventure isn’t set in Paris, I can incongruously place this handout in the belongings of some victim of the masqut, prompting the players to wonder what Parisian taxidermy articles have to do with the disappearance of their pal the archaeologist in Arabia.

A quick google turns up this clipping (from https://parisianfields.com/2015/09/13/a-city-built-on-air/). That’s a mundane and explicable tragedy, but we can build off that – if we set up our incident as an unexplained coda to it, we can refer back to that earlier collapse and reuse some of the same language, giving us:

SECOND TRAGEDY IN PARIS

The collapse of another building in Paris is likely linked to recent rain storms and flooding, giving rise to fears that the foundations of the city are being eaten away. The most recent incident involved a warehouse owned by M. Salon, an art dealer and taxidermist, which collapsed into a hitherto undetected gulf below. M. Salon and two of his staff perished in the accident, and his newest acquisition, described as a ‘mummified cockatrice’, was also lost, entombed once more in the depths of the earth.

A little over-wrought, perhaps, but enough to disturb the players…

 
 
 
 
 
 
 
 

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Tactical Objectives in Trail of Cthulhu

Knowing that the Thing could surely overtake the Alert until steam was fully up, he resolved on a desperate chance; and, setting the engine for full speed, ran lightning-like on deck and reversed the wheel. There was a mighty eddying and foaming in the noisome brine, and as the steam mounted higher and higher the brave Norwegian drove his vessel head on against the pursuing jelly which rose above the unclean froth like the stern of a daemon galleon. The awful squid-head with writhing feelers came nearly up to the bowsprit of the sturdy yacht, but Johansen drove on relentlessly.

  • The Call of Cthulhu

The Trail of Cthulhu combat rules work perfectly well when dealing with small numbers of human-scale foes – a lone Deep One or Byakhee, a few cultists – but they’re less suited to coping with gigantic creatures like shoggoths, vampirish vapours or dark young, or hosts of horrors like ghoul packs or flocks of bat-things. Now, it’s perfectly reasonable to argue that such encounters are more the province of pure narrative, or out of keeping with the mood of the game, but sometimes – especially in Pulp adventures – you want to be able to blow up the shoggoth by luring it onto Professor Frank’s experimental electrical generator.

These rules are (very) loosely inspired by the Ashen Stars space combat system and the Yellow King RPG rules.

At the start of an encounter, the players collectively choose one of the starting goals (Retreat, Drive Away/Break Through, Hide, Wound, or Lure). They then make ability tests as normal, trying to rack up successes collectively to meet the number required by a goal.

 

Goal Format

Here’s the format for goals.

Description. What you’re trying to do achieve by pursuing this goal.

Leads-In: What goals you need to achieve before attempting this one.

Leads-Out: What goals you can try for after completing this one.

Successes Required: How many successes you need to achieve this goal.

Abilities: What General Abilities can be used to score successes. One successful General Ability test grants one success.

The difficulty for these tests depends on the monster you’re fighting. In general

Human-size foes: Difficulty 4

Huge creatures: Difficulty 5-6

Cyclopean monsters: Difficulty 6-7

Great Old Ones: Difficulty 8+

Abilities may be tagged asRisky or Vulnerable.

Special: Any special rules that apply to this goal.

Effect: What happens if the group achieve their goal.

Risky & Vulnerable

If a character uses a Risky ability, then if that character fails, the monster gets to make an attack on that character.

If a character uses a Vulnerable ability, then that character gets attacked by the monster after the ability test, regardless of the outcome of the test.

The monster can attack as many times as opportunities present themselves – if six investigators attempt something Risky and fail, the monster gets to make six attacks.

Defending Others

Instead of making an ability test to accrue successes, an investigator can defend another investigator. This requires a test of Scufflingor Shooting; a kind Keeper might also allow the use of Athletics orDriving in some circumstances. Defending others is Risky – if the defender fails the test, they get attacked by the monster.

Switching Goals

If you change goal midway through an attempt, you lose all your accumulated successes. You can only switch to a starting goal.

Investigative Spends

If the player can justify it, an investigative spend might allow:

  • A different general ability to be used to generate successes towards the goal (I use Physics to tune the radio into the star vampire’s frequency – now I can lure it with Electrical Repair)
  • Increase the number of successes yielded by a successful test (Can I use Chemistry for a bigger bang from these Explosives tests?)

Armour and Vulnerabilities

Some Mythos entities are incredibly tough, or even immune to some forms of attack. Others are unusually vulnerable to a particular weapon or substance. Adjust the Difficulty for attacks using Shooting, Scuffling or Weapons as follows:

The monster’s magically vulnerable to this attack: -2

Low armour, big gun: -1

Most attacks: +0

High armour or partial immunity: +1

            Chances of injuring the monster are slim: +2

No chance of hurting monster: Ability cannot be used.

Example: (The Dunwich Horror) In the end the three men from Arkham—old, white-bearded Dr. Armitage, stocky, iron-grey Professor Rice, and lean, youngish Dr. Morgan—ascended the mountain alone. They began with the Hide goal, racking up some successes by trying to spot the invisible monster, then switched to Lure (“through the lenses were discernible three tiny figures, apparently running toward the summit as fast as the steep incline allowed.”) before finally attempting Banish on the mountain-top.

 

Tactical Goals

Flee

You’re trying to get the hell out of there! Everyone just turns and runs at top speed. It’s undignified, but it might keep you alive. Devil take the hindmost!

Leads-In: Any. You can switch to this goal at any time.

Leads-Out:

Successes Required: Successes are tracked individually. The first character to escape needs one success, the second needs two successes, the third needs three and so forth. Add one to the total needed if a character’s bringing a non-combatant along.

Abilities: Risky: Fleeing, Athletics

Special: You can reroll a failed test if you describe how your panicked retreat leads to some misfortune – you drop your weapon, you fall over a cliff, you get separated from the rest of the company.

Effect: You escape. There are no guarantees about your condition or situation when you make your escape – you may fainting, or get lost in the wilderness, or suffer some other humiliation – but at least you’re out of immediate danger.

 

Retreat

You intend to retreat in good order, staying together and leaving nobody behind.

Leads-In: None

Leads-Out: If you switch to Flee, you can keep half your accrued successes.

Successes Required: Two per investigator.

Abilities: Risky:Athletics, Stealth, Stability, Riding (to maintain discipline)

Vulnerable:Fleeing

If the group’s in a vehicle, then add Vulnerable: Driving, Piloting (but successes count double)

Effect: The group escapes the encounter with the monster.

 

Hide

You try to observe the monster

Leads-In: None

Leads-Out: Retreat, Lure, Drive Away/Break Through

Successes Required: 0.

Abilities: Vulnerable: Shadowing, Sense Trouble, Preparedness

Special: You must move on from this goal once the enemy is aware of your presence.

Effect: You may apply half your successes from this goal to your next goal.

 

Drive Away/Break Through

You try to force your way past the enemy, or force the monster into briefly retreating.

Leads-In: None

Leads-Out: None or Wound

Successes Required: Target’s Health /4

Abilities: Risky:Shooting, Weapons

Vulnerable: Athletics, Scuffling

Special:Track the number of natural 6s rolled during ability tests. If the group wishes to immediately attempt the Wound or Hold Out goals after completing this goal, they start with one success in Wound or Hold Out for every six rolled.

Effect: The monster retreats. Add another d6 successes to the number required if the investigators try for the same goal again in a future encounter.

 

Wound

You attempt to actually damage the monster.

Leads-In: None

Leads-Out: Maim, Retreat

Successes Required: Target’s Health/4

Abilities: Risky:Shooting, Weapons

Vulnerable: Athletics, Scuffling

Special: If a character rolls a 1-2 on an ability test, their next action is automatically Vulnerable.

Effect: The monster’s hurt. This doesn’t affect the creature’s abilities, but it’s the first step in destroying the horror (and analysis of the ichor or blood spilled might provide vital clues).

Lure

You try to draw the monster towards a particular location.

Leads-In: None.

Leads-Out: Trap, Bind/Banish

Successes Required: 6

Abilities: Risky:Athletics, Shadowing, Riding

Effect: The monster follows the investigators to a particular location nearby.

Hold Out

You secure yourself in a safe, defensible place and try to hold out for as long as possible. This might involve barricading the entrances, securing all entry points, or trying to endure this monstrous siege.

Leads-In: Retreat, Drive Away/Break Through

Leads-Out: Trap

Successes Required: 4 per investigator

Abilities: Vulnerable:Electrical Repair,Mechanical Repair, Preparedness.

Effect: The investigators hold out until dawn, or until help arrives, or until the attackers depart.

Maim

You attempt to kill the monster. If dealing with a host of horrors, you try to slaughter the greater number of them.

Leads-In: Wound, Trap

Leads-Out: None

Successes Required: Target’s Health/2

Abilities: Risky:Shooting, Weapons, Explosives

Vulnerable: Athletics, Scuffling

Special: If a character rolls a 1-2 on an ability test, their next action is automatically Vulnerable and they cannot benefit from another investigator defending them.

Effect: The monster is destroyed, or at least discorporated.

Trap

You’re going to trap the monster in a physical or magical prison.

Leads-In: Lure, Hold Out

Leads-Out: Wound, Bind/Banish

Successes Required: 4; 6 if the monster is especially strong, fast, agile, can fly, or moves through alien dimensions; 8 if it falls into multiple categories

Abilities: Vulnerable:Athletics, Electrical Repair, Explosives, Magic, Mechanical Repair

Effect: The difficulty of tests in the next goal is reduced by 2.

Bind/Banish

You’re going to use eldritch sorcery or hypergeometry to dismiss the monster.

Leads-In: Lure, Trap.

Lure is only necessary if the monster can only be banished at a particular place (within a magical sigil, atop Sentinel Hill, in direct sunlight).

Trap is optional, but unless the monster is constrained, then it may be able to flee instead of being banished.

Leads-Out: What goals you can try for after completing this one.

Successes Required: Spell’s Inertia/2

Abilities: Vulnerable:Stability

Effect: As per the spell


Trail of Cthulhu is an award-winning 1930s horror roleplaying game by Kenneth Hite, produced under license from Chaosium. Whether you’re playing in two-fisted Pulp mode or sanity-shredding Purist mode, its GUMSHOE system enables taut, thrilling investigative adventures where the challenge is in interpreting clues, not finding them. Purchase Trail of Cthulhu, and its many supplements and adventures, in print and PDF at the Pelgrane Shop.

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