The Dracula Dossier Director’s Handbook covers the present-day Legacies of the main members of the Crew of Light – Billie Harker, Tabitha Holmwood, Thad Morris and the rest, the descendants of the original group who battled Dracula. However, Unredacted reveals the existence of several other members of this fellowship who, for reasons sinister or editorial, were excised from the narrative. Once the players discover the existence of Kate Reed or Inspector Cotford, might they not try to track down their present-day heirs?

Here’s the first in a short series covering some other Legacies…

 

Anna Marshall

She’s in her early 40s, but looks and dresses younger; she lives in departure lounges and hotel lobbies. Her accent is transatlantic; her personality buried with her conscience. If you ask, Anna says she works in public relations, but she won’t give you her card. She’s employed by a small firm, ReVu, that specializes in crisis management public relations. They’re the people you call when you’re a celebrity who was just caught with a dead prostitute, or a tech company who just broke democracy. ReVu has a portfolio of special assets – they’ve got private detectives and hackers to dig up dirt on your detractors, botnets and troll farms to spread disinformation, and lots of blackmail material. The firm exists in the same space as companies like Black Cube or Cambridge Analytica; it’s headquartered in London, and definitely wasn’t founded by any ex-spies.

Marshall’s role is handling the traditional press (she has lunch with the Tabloid Journalist, DH p. 134) regularly, and trades barbs on twitter with the Journalist (DH, p. 120), but she usually stays under the radar. She tells herself that any day now, she’s going to leave all this behind her, maybe move into the charity sector (maybe Heal The Children, p. 150), but she knows she’s made too many enemies to just walk away. Also, damningly, she’s good at this.

She has no idea of her ancestry, although she might recall seeing a photograph of her great-great-grandmother Kate Reed in her parents’ place. Optionally, she inherited a brooch like the Westenra Brooch (DH, p. 284). She sleepwalks, especially around mid-March.

Innocent: For certain values of ‘innocent’, obviously. ReVu might get hired by any well-connected Character or Node to deal with trouble caused by the Agents. Likely clients for Kate include either Holmwood (DH, p. 43/44), the Hungarian (DH, p. 94), maaaaaybe the Psychic (p. 96), the Art Forecaster (DH, p. 103), the Drug Boss (DH, p. 113), the Petroleum Executive (DH, p. 127) and a bunch of Nodes like Nox Therapeutics (DH, p. 163).

Anna’s conscience isn’t completely dead; if reminded that objective truth and genuine goodness still exist, she might be motivated to assist the Agents. Getting her to read Kate Reed’s Diary (DH, p. 272), showing her the true extent of Dracula’s evil, or just a hefty Interpersonal spend might convince her to help the Agents.

Another possibility: Marshall hires the Agents as freelancers to track down dirt on some political foe; if the Agents need ready cash, a simple little breaking-and-entering side job might appeal. From there, they can discover the truth about their employer.

Asset: ReVu is an Edom cut-out, possibly founded by a retired ex-Duke (a previous Timnah, DH p. 53) or the MI5 Deputy (DH, p. 95). The company handles cover-ups and media monitoring, and occasionally employs vampiric mind control to flip a witness or guarantee a story gets buried. Marshall’s too junior to know much about ReVu’s connections to the Secret Service, although she does know the higher-ups sometimes have urgent meetings at Ring (DH, p. 173) or Exeter (DH, p. 167). If she knew about the Reed file that marks her as a Legacy, she might flip on her employer.

Minion: Marshall’s family have been part of the Satanic Cult of Dracula (DH, p. 55) for generations; she was initiated as a priestess of Dracula at the age of 13, left alone in the Red Room (DH, p. 187) overnight to bathe in the psychic influence. ReVu covers up the cult’s excesses; once Dracula makes his move, the company may be ordered to expose or discredit Edom, distracting “D” with political pressure and scandals while the vampire breaks free. This version of Marshall is likely irredeemable (assuming she’s not a full-on vampire); she expects to be an immortal handmaiden of the Count once he takes over the world.

Defining Quirks: (1) Carries an antique umbrella (2) At least three phones (3) Sleeps with the lights on

Investigative Abilities: High Society, Traffic Analysis, Negotiation

General Abilities: Network 15

“They say much of blood and bloom, and of others which I comprehend not, though I guess what they mean; but nevertheless they tell us all things which we want to know.”

— Abraham Van Helsing, in Dracula, by Bram Stoker

Through the persons of writer-creators Steven Moffat and Mark Gatiss, the BBC (and its pals at Netflix) has vouchsafed to us in this year of our Lord 2020 yet another tilt at the Dracula windmill, this time in a three-episode limited series. (Hereafter, “D2020“. Also hereafter, spoilers.) The specific merits of this iteration aside (which include a rich, Hammer-inspired camera palette and a credibly terrifying Dracula when he shuts up) it also — as with every version of Dracula, or of Dracula — provides a fair few gameable spins on the myth, and on vampires. For example, the bite of D2020 Dracula creates revenants (they look like zombies, but probably use mostly Feral stats (NBA, p. 150)); only a few of his victims survive Infection with enough personality to become true self-willed vampires themselves. The many, many boxes and crates (and habitrails, and fridges) of ferals work very effectively on screen, and likely works well at the table — it makes those warehouse fights more interesting, that’s for sure.

So let’s settle in and dip our fingers in the BBC’s goblet, shall we?

Dracula, hungry for learning

New Power: Drain Knowledge

When Dracula drinks any blood from a human in D2020, he knows their name and something of their background almost immediately. When he drains them, he picks up their entire knowledge base, possibly even including physical skills. (In episode 3, he complains of the taste of a physicist and a professional tennis player.) His language patterns shift, and he even (briefly) picks up a meaningless exercise habit from modern Londoners. Even by smell, he can detect members of a familiar bloodline and something about them.

Vampires with Drain Knowledge gain immediate, surface knowledge of any human whose blood they taste. A big sip (at least 1 Health) gives them the equivalent of a 0-point spend, or a few minutes’ Google search: name, background, emotional state, family connections, etc. Bigger drinks burrow deeper, uncovering closely held secrets; when the amount of Health consumed equals the target’s Stability (or kills the target), the vampire knows every aspect of the target’s thoughts and memories, including buried traumas or brainwashed secrets. (An Agent can resist giving up a secret with a successful Stability test against a Difficulty equal to 4+ their lost Health.) Even a quick gulp (2+ Health drained) provides language and social skills that allow the vampire to briefly blend into the target’s society (the equivalent of 1 point in High Society or Reassurance or another relevant Interpersonal ability); completely draining a suitable target provides technical skills if needed (e.g., a Transylvanian warlord can suddenly use Skype). As a rule of thumb, each point of Health drained past the first provides the equivalent of 1 point in an ability.

In D2020, this seems like a free (almost unavoidable) power; if the vampire can control it, it costs 1 point of Aberrance per target or per scene.

Node: The Jonathan Harker Foundation

The third episode also shares a liter or two of DNA with The Dracula Dossier, not least its covert vampirological operation. In D2020, this secretive medical charity operates out of (and beneath) Cholmely House, a crumbling Victorian building in Whitby near the Abbey ruins. Named for the dead fiancée of Mina Murray, built on the infrastructure of the nuns’ order at the Hospital of St. Joseph and Ste. Mary (DH, p. 230), and backed by mysterious financiers, it conducts hematological research and searches for the body of Dracula, presumed lost at sea with the Demeter. Its staff includes doctors and mercenaries, and its facilities include a glass-walled prison with a remote-controlled sun roof.

EDOM: Obviously, this was the first version of the vampire prison, before EDOM built the holding facilities on HMS Proserpine. In some campaigns, this might be the only vampire prison, or a staging area for Proserpine transfers (DH, p. 178). This also fits a much smaller version of EDOM (even Dustier or more Mirrored than on EFM p. 58), one that has to contract out mercenaries (via a shell corporation) for security instead of depending on the SAS’ E Squadrons. Either way, its guards use the Special Operations Soldiers stats (NBA, p. 70).

CIA: Or the Russians, or the Chinese, or whomever. Some other agency runs the Harker Foundation, tasked to steal a march on EDOM by trawling the seas off Whitby for lost vampires — either prisoners escaping from Proserpine, or vampirized sailors from the Demeter crawling anoxically over the bottom of the North Sea. Or perhaps, as speculated on DH p. 178, Whitby is one of the magical gates to England, so anyone looking to snare a vampire does well to set up shop here. Either way, they have to keep things to one building and use deniable mercs to avoid MI5 or EDOM noticing.

Conspiracy: Boy, Dracula got ahold of a WiFi-enabled tablet pretty easily in that show, didn’t he? What looks like an idiot plot is actually the action of Dracula’s sleeper agents, left behind in Whitby to infiltrate just such a facility. He funds it through cut-outs, and allows it to operate on the “keep your enemies closer” school of thought, and as a way to release useful blood samples or lore into the British medical stream.

Connections: At one point, the Foundation canonically has a Vial of Blood (only a single tube rather than the jar on DH p. 284), and a Legacy (Zoë Helsing instead of Dr. Jacqueline Seward (DH, p. 47) but you can switch those out). Given the number of vampiric revenants lying around (nine in Highgate Cemetery alone), the Foundation may have synthesized any of the Seward Serum (DH, p. 51), Serum V (DH, p. 162), Blomberg Serum (DH, p. 282), or Luria Formula (DH, p. 114). If it’s EDOM, it’s part of Dr. Drawes’ operation (DH, p. 50); it may also employ the Pharmaceutical Researcher (DH, p. 128). Its charity work could overlap or partner with Heal the Children (DH, p. 150). Its mysterious backer might be the venture capital group (or government black budget) behind Nox Therapeutics (DH, p. 162), which might have memos or (apparently) even regular Skype session logs documenting their connection. Since we know it runs human trials on the surface, its tunnels potentially even hold Camp Midnight (DH, p. 252) or the British (or private-sector) equivalent. Given its connections to the Budapest hospital, the Hungarian (DH, p. 94) likely knows enough to set Agents (or the Journalist; DH, p. 120) on its trail.


Night’s Black Agents by Kenneth Hite puts you in the role of a skilled intelligence operative fighting a shadow war against vampires in post-Cold War Europe. Play a dangerous human weapon, a sly charmer, an unstoppable transporter, a precise demolitions expert, or whatever fictional spy you’ve always dreamed of being — and start putting those bloodsuckers in the ground where they belong. Purchase Night’s Black Agents in print and PDF at the Pelgrane Shop.

 

by Steven Hammond

Gen Con was a blast this year. I played a few games, talked to people I only see at Gen Con, and spent several hours helping out in the Pelgrane Booth. I had fun chatting with all the GUMSHOE and Black Book fans that stopped by. If you picked up a flyer in Indy, the discount codes on it will work until October 1. If you missed Gen Con, we love you too. The discount code WeDontAllFitInIndy will give you 20% off a 1-year Player subscription and it’s also good until October 1, 2019.

Summer wasn’t all play though. A couple of interns joined us and we cranked through the GM tools to get them ready for beta testing, which launched this week.

What are the GM Tools? They are a set of tools designed to help the GM offer a more immersive experience. Modeled after the GM matrices in the back of most GUMSHOE games, they

  • Help the GM keep track of characters’ ability ratings and pools, updating in real time as points are spent.
  • Remind the GM of character connections like Sources of Stability, Bonds and Network contacts.
  • Show the GM who’s been getting spotlight time recently, helping to keep the fun moving around the table.

Below is a short video that shows how the GM tools work in play.

 

The Tools currently support Trail of Cthulhu (and Bookhounds of London), Night’s Black Agents (and the Dracula Dossier), and The Fall of DELTA GREEN. The Yellow King RPG is coming soon with support for Shock and Injury Cards — we still have a couple tricky things to work out there.

Participating in the beta is easy. All Player level subscribers have access to the GM Tools via the “Campaigns” link on the left. Click that, then click “New Campaign” at the top menu to get started. Now you can invite anybody you want to play with. Anybody with a Free account can use the Play mode features when connected to a campaign.

Anybody who provides helpful feedback during the beta will get a free 1-year upgrade to the GM level. You can use our contact form to submit feedback. We are not only looking for bugs and usability issues, we are also looking for feedback on parts you like and new features you’d like to see added.

Take a look at the video and let us know what you think in the comments below.

I was listening to the new BBC podcast on The Ratline (it’s about escaped Nazis and post-war conspiracies, so it’s useful for both The Fall of DELTA GREEN and the Dracula Dossier), and was struck by one observation that there are very few survivors of WWII left. For that matter, most of those who were in senior positions in 1977 are retired or gone, too. Vampires may be immortal, but most witnesses are not. The larger the gap between the ‘present day’ strand of the campaign and those historical periods, the less plausible it is for various supporting characters to still be alive.

(On the bright side, Al-Qaeda is apparently enjoying a post-ISIS resurgence, so… I guess that’s good for espionage campaigns involving vampire-tainted counterterrorism operations.)

There are several ways (some used in the Director’s Handbook) to introduce an NPC from the 1940s or 1970s other than tracking them down in some retirement home.

The Successor: The Agents run into a child, former assistant, confidante or custodian of the late NPC who knew them very well and can answer all their questions. The dutiful daughter who took care of her aging parent; the protégé of a senior spy; a student of the late academic who carried on her work. This successor may dismiss stories of vampires and supernatural strangeness as nonsense, but the Agents can glean vital clues despite their disbelief. (In particular, see “Cushing”, p. 92)

I’ve Got A Box Of Papers In The Attic: You’re looking for my mother. She died ten years ago… she never talked about her work for the government, so I can’t help you. Although, now that you mention it, there’s a box of her papers in the attic. She never threw them out. Said we shouldn’t look at them, but she had us drag them down once a year so she could relive old memories. Huh – actually, it was always on St. George’s day, and that’s today. What a co-incidence. I’ll go up and get them…” (The Acting Director of MI5, p. 80, uses this approach) 

The Transcript: The Agents discover a transcript or a recording of the late NPC – and  the mysterious interviewer is questioning them about the exact topic the Agents want to interrogate them about! Not only do the Agents get the information they seek, but they also have a new mystery to investigate – who was this other vampire hunter, who seems to have followed the same trail of clues as the Agents? And what happened to them? (The Late Con Artist, p. 84, uses this approach).

The Flashback: Combine any of the previous three with a flashback, perhaps using an adventure from The Edom Files. You need to talk to the MI5 Deputy who ran security in London in ’77. He’d dead – but when you dig into his files, you learn about another incident a few years earlier, involving the ballet…

Later in the campaign, dead NPCs can take a more active role:

I Have Prepared This For You: Not only do the Agents find the late NPCs’ papers/diaries/successor, they discover that the NPC anticipated that one day, someone would come looking, and that they’d need help. The NPC left behind a cache of supplies (Night’s Black Agents, p. 94), possibly including some Objects or handouts from the Hawkins Papers – and definitely including some lovely period gear. Escape in that lovingly maintained Aston Martin DB6, or take out bad guys with a WWII Sykes-Fairbairn knife issued by the Special Operations Executive back in ’41.

The Dream: One of the Agents dreams of the late NPC. It’s an unusually vivid nightmare – the two are in some building associated with the NPC (the old MI6 headquarters at Century House, a cottage in the Cotswolds, Ring Manor, a castle in Transylvania, a nightclub in Berlin) while a storm rages outside and some animal tries to break in (but what animal beats its wings against the upper windows like a bat, but scratches at the door like a dog?). Clearly, it’s just a dream, and none of the information obtained within can be relied upon… especially as Dracula can send deceitful visions by night. Or did the late NPC have some special grace from the Almighty to send one last message?

Necromancy: The campaign crawls with ways to raise the dead. There’s the Spirit Board (p. 279), the Online Mystic (p. 126), the Psychic (p. 96), the Solomonari (p. 74). Any of them could call up a dead soul, or even resurrect a corpse in some ghastly mockery of life. For the dead travel fast – and talk even faster, under interrogation.


Dracula is not a novel. It’s the censored version of Bram Stoker’s after-action report of the failed British Intelligence attempt to recruit a vampire in 1894. Kenneth Hite and Gareth Ryder-Hanrahan have restored the deleted sections, inserting annotations and clues left by three generations of MI6 analysts. This is Dracula UnredactedFollow those clues to the Director’s Handbook, containing hundreds of encounters: shady NPCs, dangerous locations, conspiratorial nodes, and mysterious objects. Together they comprise The Dracula Dossier — an epic improvised, collaborative campaign for Night’s Black Agents, our award-winning vampire spy thriller RPG. Purchase the Dracula Dossier starter kit bundle in print and PDF at the Pelgrane Shop.

Limited edition with bookplate

A Secret History Unearthed. A Legendary Horror Walks Again.

Only 100 copies of the limited edition exist. 50 are available to customers in the U.S. and Canada, and 50 are available to customers outside the U.S. and Canada. The limited edition books are faux-leatherbound with foil, and each one includes a sticky-backed bookplate signed by Kenneth Hite and Gareth Ryder-Hanrahan, which you can add to your book.

Presenting an epic improvised campaign for Night’s Black Agents Roleplaying Game. Do your Agents have what it takes to face the Lord of the Undead himself?

The Dracula Dossier follows in the fully improvisational path of the award-winning Armitage Files campaign. Players follow up leads in the margins of Dracula Unredacted, a rare edition of Bram Stoker’s masterpiece that reveals the terrifying truth behind the fiction. They’ll chase down the real characters from Stoker’s novel, their descendants in the present, and the British agents caught in the backblast.

Dracula's Castle_350Directors combine these leads and notes with pre-prepared elements in the Director’s Handbook, including:

  • Conspiracy nodes, eerie locations and vampiric beasts
  • More than 60 supporting characters in vampiric, heroic, or in-between versions
  • Different versions of the real Mina Harker, Abraham van Helsing, and the other stars of Stoker’s novel — and their modern-day successors, descendants, and survivors — who can drive the story in any direction the players look.

ZZ_Spread pages 186_187 (Carfax)

Players choose which leads to track, which scarlet trail to follow. The Director, using the clear step-by-step techniques in this book, improvises a suitably blood-soaked thriller in response to their choices. Clear advice to players and Directors on improvisation, with extensive examples and guidelines, helps you set the scene. Together, you will read and write your own unique version of the Dracula Dossier.

Follow the clues to end the story once and for all, and close Project EDOM forever. You will find, hunt, and kill Dracula, the king of the vampires.

If you survive.

 

Buy the limited edition

Authors: Kenneth Hite, Gareth Ryder-Hanrahan Stock #: PELGN05L
Artists: Stefano Azzalin, Francesca Baerald, Gennifer Bone, Jeff Brown, Tyler Clark, Dennis Detwiller, Nyra Drakae, Dean Engelhardt, Melissa Gay, Brittany Heiner, Jérôme Huguenin, Chris Huth, Christian Knutsson, Anna Kryczkowska, Erica Leveque, David Lewis Johnson, Pat Loboyko, Rich Longmore, Amanda Makepeace, Juha Makkonen, Angelus Nex (Tina X Filic), Olivia Ongai, Margaret Organ-Kean, Nathan Paoletta, Jen Estirdalin Pattison, Brittany Pezzillo, Jeff Porter, Danielle Sands, Biddy Seiveno, Patricia Smith, Ernanda Souza, Marc Steinmann, Ashley Vanchu, Alicia Vogel, Britney Winthrope Contributors: Heather Albano, Paul Baldowski, Kennon Bauman, Walt Ciechenowski, Justin Farquhar, Elsa S. Henry, Carol Johnson, Marissa Kelly, Shoshana Kessock, Shawn Merwin, James Palmer, Nathan Paoletta, Will Plant, Wes Schneider, Christopher Sniezak, Phil Vecchione
Cartographers: Olivia Catroppa, Chris Huth, Will Jobst, Gill Pearce, Joachim de Ravenbel, Simon Rogers, Ralf Schemmann Format: 368 page, full colour hardback

 

Take your players on the greatest vampire hunt in history—more than a hundred years in the making with the limited edition of Dracula Unredacted.

Limited edition without dust jacket

Only 100 copies of the limited edition exist. 50 are available to customers in the U.S. and Canada, and 50 are available to customers outside the U.S. and Canada. The limited edition books are hardbound replicas of the first edition of Bram Stoker’s Dracula with the Dracula Unredacted dust jacket and each one includes a sticky-backed bookplate signed by Kenneth Hite and Gareth Ryder-Hanrahan, which you can add to your book.

Dracula is not a novel. It’s the censored version of Bram Stoker’s after-action report of the failed British Intelligence attempt to recruit and control the perfect asset — the ultimate weapon — Count Dracula. Kenneth Hite and Gareth Ryder-Hanrahan have restored the deleted characters and redacted information, inserting annotations and clues left by three generations of MI6 analysts. This is Dracula Unredacted.

Limited edition with dust jacket and bookplate

 

This new edition of Dracula adds new letters and recordings, diary entries long thought lost, and documents suppressed by Her Majesty’s Government… until now. From the first tentative contact between British intelligence and the un-dead, to the werewolf of Walpurgisnacht, to the cataclysmic disappearance of Dracula in volcanic fire, read the story you’ve known for years… for the first time.
Dracula Unredacted does for the Dracula Dossier what Henry Armitage’s letters did for Armitage Files or The Book of the Smoke for Bookhounds of London.

 

 

 

 

 

 

Stock #: PELGN06L Author: Bram Stoker, Gareth Ryder-Hanrahan, Kenneth Hite
Artist: Jérôme Huguenin, Juha Makonnen Format: 488 pages, casebound, octavo sized

A Secret History Unearthed. A Legendary Horror Walks Again.

The Dracula Dossier is an epic improvised campaign for the Night’s Black Agents Roleplaying Game. Do your Agents have what it takes to face the Lord of the Undead himself?

The Dracula Dossier follows in the fully improvisational path of the award-winning The Armitage Files campaign. Players follow up leads in the margins

of Dracula Unredacted, a rare edition of Bram Stoker’s masterpiece that reveals the terrifying truth behind the fiction. They’ll chase down the real characters from Stoker’s novel, their descendants in the present, and the British agents caught in the backblast. Directors combine these leads and notes with pre-prepared elements in the Director’s Handbook. 

The Director can use these Dracula Dossier cards in whatever purpose best fits with their style of play. Some examples include:

  • For visual reference, to aid the players when they reach an encounter or meet an NPC
  • As part of a web of clues on a corkboard on the wall, with connected cards linked with string to build up a map of the Conspiracy
  • To generate random encounters – shuffle the deck, and see who or what the players encounter
  • To generate the latest Conpiracy victim – show the players which NPC’s life is at stake tonight if they fail in their mission
  • To add backstory when the players visit a familiar city
  • To generate the game’s Conspyramid
  • To deal a Tarot of Dracula, using the instructions included with the card deck

Buy the full 104-card printable PDF (if you’re a Dracula Dossier Kickstarter backer, you can download this from your bookshelf now)

Buy a 52-card print on demand deck at DriveThruRPG

The Land Beyond The Forest

dossier_draculaThe old woman confirms that she is, indeed, Mina Harker. She’s kept herself alive with vampire blood for more than a century, for if she dies while Dracula lives, she’ll become his Un-Dead slave. She contemplated ending her own life in 1940, before Edom could bring Him back, but she could not be sure if the operation would succeed and so clung to another few years – which turned into another whole lifetime, maybe more.

She knows about the check on Dracula, and suspects that it is connected to the work of Professor Van Helsing. He and dear John Seward moved to Germany after the events of 1894, and she suspects that John was still in love with sweet Lucy. Katherine Reed died in Germany in 1910, a supposed suicide. On killing vampires, she knows that the key is that the vampire must be weighted down with memories of its mortal life, or else carried over that threshold of eternity by another soul. It was not the knife that destroyed Dracula – it was brave Quincey Morris, whose death dragged the Count down into the afterlife.

Of course, the knife helped – and she gives the Agents a box containing her husband’s Kukri and Morris’ bowie knife.

Brussels. In a dark room, the agents learn that the Catholic Church has been funding a project began by Van Helsing in the early years of the 20th century, a countermeasure that has kept Dracula in check for a century. The countermeasure is based in…

Munich. In an underground complex near the Deadhouse, the agents are met by the old men who run Undertaking Brown, Van Helsing’s countermeasure. She rests her, in her rooms, as she has done for more than a hundred years. The keepers caution the Agents not to address her by her old name – she is Alraune now. She yearns to destroy Dracula, and she has the power to do so,, but they cannot risk letting her attack the Count in his place of power in Romania – the Count has too many allies and servants there. If Alraune were left off the leash, she would charge into Romania and be destroyed before she reached the mysterious Castle Dracula – wherever that is. Instead, she keeps Dracula from extending his reach beyond Romania; whenever he rattles the bars of his prison cell, Alraune is drawn to his presence and forces him to withdraw.

Lately, though, she has not been herself, and Undertaking Brown fear that the countermeasure is breaking down. The Agents explain that Dracula’s allies were trying to disrupt the link between Kate Reed’s ghost and Lucy Westenra. Now that the Hillingham Working is done, there shouldn’t be any more attacks of that sort.

Finally, the agents are allowed in to speak with Alraune. Thanks to his new psychic powers, Fitzy is able to see the spirit of Kate Reed, bound to her friend and ensuring that Dracula has no hold over the vampiric Lucy. “Alraune” demands that the Agents set her free, so she can hunt down and destroy Dracula; in this case, the enemy of their enemy is definitely not their friend, and talking to “Alraune” is like being trapped in a room with a hungry tiger. Still, they arrange to have her brought to the borders of Romania – if they can lure Dracula close to her, maybe she can be released to destroy her quarry without running into whatever traps and barriers the Count has prepared for her.

Romania. McAllister’s player quickly sketches out the farm (which turns out to be a farm with a newly installed CCTV system attached to a derelict church next to a graveyard near running water, because give a player an inch and they’ll take a precision-engineered anti-vampire stronghold), and spends Preparedness to ensure that he’s pre-arranged an emergency strategy with his family (if bad guys come, head thataway). Baptiste takes up position with a sniper rifle, Elgin sneaks in to recon the place, Fitzy finds a foxhole. There’s a dozen bad guys, including Elvis and several Edom Jacks.

McAllister drives up the long, winding laneway to his farm. Elvis comes out to meet him, and gets about five words into a monologue (“You’ve made the right decision-“) before the first grenade gets thrown. It explodes at his feet, and battle is joined. The Agents initially hold their own – Elgin manages to lock three Edom soldiers in a barn, giving the team some valuable breathing space, Fitzy proves a dab hand with lobbing grenades, and Baptiste grabs a Night’s Black Agents convention rules reference and quickly masters the sniping rules to considerable effect. Then countersniping takes its toll, Elgin ends up in a close-quarters knife fight with a Serum-using jack (by close quarters, I mean “rolling around in the mud at the bottom of the farm’s well”), and McAllister takes several bad hits. Elgin survives only by using his own dose of Seward Serum.

The Farmhouse Battle

The Farmhouse Battle

Fortunately, McAllister’s extended family show up, and it turns out that marrying into a clan of faintly sinister Romanian partisans has its advantages. The team retreat into the graveyard under Uncle Grigori’s covering fire, just in time for Dracula to show up – fortunately, on the far side of the running stream. Nonetheless, Fitzy tries hiding behind the fallen spire of the old church, figuring that if a crucifix is good, a six-foot-tall iron cross is better.

The Count threatens them again. “That one,“ he says, pointing at Fitzy, “has power. That one” – Elgin – “has a connection to Reed. You will bring me the bitch ghost, or you will all die. There is no escape. You think killing these men will stop me! I will raise up my whole country against you!”

The Count vanishes into the mist, and the wolves close in.

The next morning finds the Agents in a mountain cabin with several of McAllister’s relatives (“they heal you with old peasant cures. Also, because it’s the 21st century and Romania isn’t a land of racist stereotypes, one cousin is an army medic”). When the Agents (bar Elgin, who decides to lurk inside out of the sunshine to protect his pool of Seward Serum points) emerge, they find the hillside is littered with the bodies of dozens of wolves. Overhead, a huge storm rages across the countryside, and they hear rumours of gangs of Ruvari Szgany and other criminal groups causing havoc all across the country. The Romanian armed forces are on alert, including the forces at the nearby air force base, which the Agents suspect are agents of Dracula.

img_0664

Looking for the Castle

After a brief detour to collect the ghost engine buried by the Edom commandoes in 1940, the team go looking for Castle Dracula. They’ve already worked out that the castle can’t be any of the ‘real’ candidates like Bran or Hunedora, but it’s only when Elgin tries putting the brooch back on that they realise the truth: Castle Dracula is in the land of the dead. It’s in that spiritual subduction zone between life and death. It’s everywhere in Transylvania, in the blood and the soil of that troubled land.

As they walk through the forest, the air grows chill. The shadows lengthen, and the pale sunlight that sometimes breaks through the rainclouds seems to slow and weirdly congeal. And then, on the ridge ahead, they see the castle.

McAllister’s family are unwilling to cross the threshold, so the four Agents enter. The gatehouse and courtyard are empty, but there are signs of life, and an old man (one of the Silent Servants) opens a side door for them. The Servant indicates that the Master will come to them at nightfall, and shows them up to a dining room where meals have been prepared for them. There’s also a circle of candles, like the circle in Singleton’s house. Clearly, Dracula intends for Fitzy to complete the psychic’s plan and tear Kate Reed’s ghost from Lucy Westenra’s body, turning “Alraune” from a weapon aimed at Dracula’s heart back into one of his Brides.

After a few nervous minutes, McAllister and Baptiste go exploring. They find the library, the room where Harker stayed… and the room that leads to that vertiginous drop, the sheer wall that leads down to Dracula’s lair. It’s still daylight. Dracula should be sleeping down there… and they’ve got stakes, and the knives given to them by Mina Harker. Why not end him now?

In the banqueting room, Fitzy assembles the old Ghost Engine, while Elgin contacts the Undertaking Brown handlers and relays the location of the breach into the land of the dead – gambling that if Alraune knows where Dracula is, she can go there directly and take the King down. All the Agents need to do is occupy the Count until Alraune arrives.

Even though the pair of spies have ropes and climbing gear, the climb down the wall is still nerve-wrecking for Baptiste and McAllister. The castle walls betray them, with seemingly solid stones crumbling when touched, and ropes tangling and twisting at the worst moments. Still, they make it down and discover a huge chamber in the depths. Searching, they discover several coffins, including one huge sarcophagus made of stone. Engraved on it is the legend

DRACULA

They open the coffin.

It’s empty.

In the distance, a gate clang open, and wolves pour into the room.

Upstairs… “Did you not read the Irishman’s book? Did you forget I can walk abroad during the day if I choose?”

“Without your powers,” points out Elgin.

“And when that sun sinks beyond those trees,” says Dracula, pointing out the window at the setting sun, “I shall have the power to destroy your souls, unless you serve me. Call the ghost, and I shall set you free.”

Fitzy has, by now, assembled a circle of crucifixes around himself and the ghost engine. “You can’t touch me.”

“You think THOSE will stop me? Here, in my place of power? Look – the sun dies. The powers of darkness rule now.” He steps past the line of crosses and lifts Fitzy by the throat. “Summon Reed NOW or I dash your brains out on the floor!”

Fitzy, in a moment of beautiful confusion, responds “summon who?” His player had forgotten that Kate is Katherine Reed (the group had been referring to her as Kate).  Dracula, in a spasm of fury, hurls Fitzy across the room. Elgin uses his Seward Serum-granted speed and darts forward, grabs a sword from above the mantelpiece, and runs Dracula through.

The Count responds by taking down another sword, and driving it through Elgin’s chest. The thief dies.

“SUMMON HER!” he roars at Fitzy. Fitzy switches on the ghost engine, which shakes the whole castle and sends it falling to Hell.

Baptiste and McAllister, having escaped the wolves by climbing back up the wall, burst into the room. McAllister, for the second time, shoots Dracula in the face with silver. Baptiste, having injected himself with the second dose of Seward Serum recovered from the hospital in Edinburgh, slashes at the Count with Harker’s kukri. McAllister stabs with the Bowie knife. Dracula’s still a fearsome foe, but he spent much of his Aberrance on raising up wolves and storms across Romania, and he’s felt the bite of these knives before. He knows, too, that he doesn’t need this fight – the intruders are trapped in his castle. He can retreat, heal, and then destroy them one by one. He begins to turn to mist…

All through the fight, Fitzy’s used his talent to be a beacon. He’s summoning “Alraune” all right, but not into the binding circle of candles. Lucy Westerna crosses the Romanian border as a golden hurricane, a cloud of mist racing against the wind. Battered and wounded by Dracula’s occult defences, she has almost no strength left when she descends on the castle… but Dracula’s weakened too. The two mist-forms entwine, entangle, like drowning figures they fall through the floor, through the foundations of the castle… beyond the final threshold of death.

As the castle collapses, the surviving Agents stagger across the courtyard, and find themselves climbing a steep slope in a grey and mournful land. They stumble blindly up, out of the land of the dead. For a moment, they glimpse a fourth figure. Was it a dark-haired woman, pointing the way back to the light?

And then it’s strong rough hands, woollen blankets thrown across shoulders, the smell of sweat and cigarettes and garlic, as McAllister’s family finds them and brings them home.

CODA 1: A newspaper report relates how Ms. Ellen Mowbray, a long-term resident of a retirement home in Malvern Hills, vanished on the night of Dracula’s death. Other reports and rumblings from the clandestine world talk about a series of mysterious murders, said to be almost… vampiric. Someone’s cleaning house inside Edom.

CODA 2: Nearly a year later, a youngish man with a jaunty cravat knocks on the door of the stately home at Ring, ancestral seat of the Holmwood family. “The name’s Fitz,” he says, and there’s an unearthly light in his eyes. “I think you’ve got an opening for me.”

We Ask No Proofs, We Ask None To Believe Us: Fifteen hours of play over two days was an intense but immensely rewarding experience. I certainly had a fantastic time running it, and I believe the players enjoyed themselves. My thanks to all of them, especially Shane and Andy who both came over from the UK for the convention. Also, thanks go to Gaelcon (especially Janet) for organising everything and coping with a novel game setup. 

Running the game over the Halloween weekend added extra weight to the ghostly elements of the whole affair. The encounter with Cotford’s ghost was one of my favourite scenes in the whole campaign. Having only five sessions meant I was able to stick to a strong theme throughout; something to experiment with in future longcon games, perhaps. 

The following image, taken the following evening on Halloween  neatly sums up both my exhaustion and elation after running the game.

VAMPIRES!

VAMPIRES!

< Session 4 – The Prime of Miss Ellen Mowbray

The Prime of Ms. Ellen Mowbray

Confronting_the_count_inks_350A terrifying, elemental storm strikes Osmond Singleton’s mansion. The windows shudder as the wind hammers at them. The power goes out as lightning blasts transformers all over South London. Nearby, three members of the team – McAllister (who managed to dodge the MI5 street teams that were crawling all over Westminster), Fitzy (who’s still slipping in and out of reality, and isn’t sure if he’s still playing the role of Alfred Singleton or not…), and Elgin (who saw the Edom team clean up the mess at Hillingham and exit stage right) meet back at the pub recommended by Rev. Rogers. The last member of the quartet, Baptiste, is still locked inside the mansion, hiding inside a wardrobe as Dracula’s wrath roars around the city.

For a brief time, it looks as though the holy wafers, garlic and other supernatural blocks placed at every door might be enough to thwart the Vampire King.

Then one of the ancient yew trees surrounding the house is uprooted by the wind and topples through an upstairs window, shattering the seals.

Dracula coalesces out of the mist. Singleton pleads for his life, promising that he will complete the ritual tomorrow night, that he’ll bind the girl, but he just needs time. It is too late. The Count’s patience is exhausted – Singleton is only the first to die as the Count rampages through the house. Baptiste flees in the confusion and meets up with the rest of the team.

After fortifying the room against natural and supernatural threats, they discuss options – it’s clear that they’ve done some serious damage to whatever was going on, but they’re not sure what Dracula’s plan is, or what Edom’s involvement is. Hopkins told them that Edom was trying to bring Dracula back to England and that she was trying to stop this, but Dracula’s already in London, so what’s going on? What was the point of the ritual at Hillingham, and why were the ghosts of Lucy Westenra and Kate Reed being raised from the dead? (Also, they’re talking about ghosts now, not just vampires, which is a whole other White Wolf sourcebook of weird. Also, Baptiste stole several documents from Singleton, including Hawkins Paper 20, implying that psychic talents may also be in play.)

The discussion is interrupted by a scuttling noise from the roof. They quickly work out that it’s the Child Vampire run by Edom, CALIBAN. The barriers and crucifixes keep him out, and they switch to secure electronic means (WhatsApp) to continue their conversation, but Edom’s on the way. Soon, the front door of the pub is smashed down by MI5, and the team exit via the back, blowing Urban Survival and Surveillance MOSes to escape the dragnet.

They consider going to another safe house, but en route spot a military land rover with a familiar face in the back seat. It’s Oakes, the Edom Duke they spotted at Whitby. When he spots them approaching, he lunges forward and garrottes his driver into unconsciousness, then calls out over the radio that this sector is clear – clearly, he’s willing to talk to the Agents.

Plotting the Conspiracy

Plotting the Conspiracy

Oakes explains that he believes Edom has been compromised by Dracula, and has been since the 70s. There’s some force that keeps Dracula in check, some barrier that restricts his ability to act and keeps him trapped in Romania, and Oakes fears that elements in Edom are trying to dismantle that safeguard. He leaked information to Hopkins because he wanted to preserve his position in Edom – but it looks as though he wasn’t careful enough, as Whitby was a trap for his allies. He suspects he’ll soon be arrested or killed, too. He does offer some assistance – the team loot military radios with Edom encryption, giving them some material for Traffic Analysis, and also gives them the address of someone who might be able to help them more. It’s a retirement home in Malvern Hills, and their contact there is Ellen Mowbray.

The team fake an assault on Oakes, to make it look like they took him prisoner, and then head to Rev. Roger’s flat to hide for the night. The choirmaster has gone on a hasty holiday, but leaves contact details for some senior figures at the Archdiocese of Mechellen-Brussels who know more about the Un-Dead.

Next morning, they decide to gather more information about vampires. Step one is collecting the staked corpse of Inspector Cotford from its coffin at Coldfall Woods, and loading him into the Reverend’s car. They also collect the jet brooch from Elgin’s courier. The plan is to work out how to kill a vampire (Cotford’s corpse implies that a dead vampire doesn’t turn to dust, so what did happen when Quincey and Harker stabbed Dracula all those years ago.) Investigation of Cotford’s corpse is less than illuminating, so they head to an hypnotist that Baptiste knows from his MI6 days – she’s a therapist who specialises in PTSD, but has also been involved in debriefing assets and other unusual cases. Elgin’s brooch seems connected to Dracula, Elgin suspects he’s connected to the ghost of Katherine Reed, and recovered documents bear out the usefulness of hypnosis, so… it’s worth a shot.

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At the therapists, Baptiste and Elgin head upstairs, while the other two (three, counting Cotford’s corpse) wait in the car.

Elgin takes out the brooch and puts it on at the moment of sunset. The world seems to darken; the setting sun leaves a bloody smear on the sky. The lights of London recede, leaving the medical centre (and its car park) alone in a seemingly infinite darkness. It is similar to the effects of the ghost engine at Hillingham, but more pronounced.

Under hypnosis, Elgin makes contact with Kate Reed’s ghost – and finds himself in the body of a woman again. He looks in a mirror, and there’s no reflection. He’s seeing through Lucy’s eyes – and she’s still alive, or Un-Dead at least! He can tell that she’s in Munich.

Outside, the activation of the brooch has called up another ghost. Over the radio comes a sepulchral voice – “Singleton? Is that you? Let me in, you damned fool. Open the carriage and let me in!”

The ghost of inspector Cotford has returned, and he wants his body back. When the pair refuse, the ghost attacks the car. Tyres pop, bulbs explode, the electrical system burns out, the windscreen shatters, but they keep the stake in the corpse’s heart and drive the ghost away with crucifixes and garlic. Putting that horrific encounter together with Oakes’ account of Edom’s past activities, they guess that Edom used a ghost engine in 1940 to resurrect Dracula. It seems that slaying a vampire’s body is only a temporary measure – its ghost can be brought back to reinhabit the husk again.

When the brooch is removed and normal reality reassert itself, McAllister gets a phone call. Caller ID says its Sarita, his Romanian wife, but the voice on the other end is English and mocking. “Call me Elvis. I’ve got your family here, and quite a fucking collection of power tools. This drill, for instance. Unless you’re here by midnight tomorrow, this drill is going through her skull. Understand?”

Another council of war, and frantic checking of flight times. They decide that they can cross the country yet again, visit Oakes’ contact, and then fly to Brussels and drive onto Munich and then finally Bucharest before the midnight deadline. It’s risky, and means leaving McAllister’s wife in Edom/Dracula’s clutches, but they want to assemble all the allies they can manage.

They arrive at the retirement home before dawn, and sneak into the room. There’s an old, old woman sleeping there, and they wake her.

“Mina Harker, I presume.”

Elgin's Notes

Elgin’s Notes

You Know This Because You Are Psychic: Fitzy was supposed to be a one-session temporary character, but the player decided to come back for the remaining two sessions, so I hastily wrote Psychic 2 as an investigative ability on his character sheet, justifying it as a result of Fitzy channelling the spirit of Alfred Singleton during the Hillingham Working. His actual abilities were never explored until the end of the adventure, but even just having it on his sheet justified having an out-of-work actor running around on a par with ex-spies and ex-soldiers. (Admittedly, Fitzy also had absurdly high scores in Weapons and Athletics as well as Disguise – stage fighting, of course, darling.)

Parallel Trails: You can never be quite sure in an improvised campaign which clue the players are going to follow next. Often, you end up throwing out the same lead several times in different forms. For example, the importance of Exeter as an Edom base got brought up dozen times in the first four sessions, and I was sure they’d check it out at least once on their many road trips, but they never got there. The Unredacted dossier hinted at Exeter; I mentioned it when they were discussing Harker; they saw Oakes and Hound driving back to Exeter; there was radio traffic in the Edinburgh hospital pointing there and so on.

Similarly, I dropped a bunch of leads to Munich – Elgin stole the brooch there, his psychic visions pointed there, various documents pointed there. I also intended for Reverend Roger’s connections in the church to point the Agents there. Given the pressures of time, the Brussels link was a mistake – I should have just had Rogers’ allies be based in Munich all the time, and dropped the Brussels element entirely.

In a longer campaign, I could have fleshed out Brussels into a full adventure, or at least a full encounter, as opposed to the stilted “Hello. I am Catholic Vampire Hunter Priest. There is nothing in Brussels other than me saying ‘go to Munich’” scene we got in the final session.

The GM in Repose

The GM in Repose

The Crook: The phone call to McAllister threatening his family is an absolute cliché, but it works. Pacing can be an issue in an improvised campaign; the Vampyramid helps by prompting escalating responses, but with only one session to go, I needed to force a confrontation, and this was a simple and effective way to do it. A full campaign could deploy something more subtle than this ‘crook’ (a shepherd’s crook is basically a hook that drags you forcibly along), but a convention game or one-shot needs a weapon like this in the GM’s back pocket. 

< Session 3 – Street Theatre

The Land Beyond The Forest – Session 5 >

Street Theatre

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Hawkes & Fitzy

The team retreats from Singleton’s house. They decide that they need some spiritual assistance, and contact a Network ally of theirs, Revered Rogers (any resemblance to Simon Rogers of Pelgrane is purely deliberate). Rogers meets them in a private room at a nearby pub, and brings along a bag of crucifixes along with two potential allies (and our second two temporary player characters – a Metropolitan Police detective names Hawkes and an actor called Fitzy.

(Elgin’s player missed half this session; the thief hid in Singleton’s house until he was able to escape and rejoin the rest of the group. He also had a weird vision-flash when he broke the circle of blue candles – he was in the body of a woman, dressed in modern-day clothes, and there was a man shouting at her in German.

A Message From Beyond

A Message From Beyond

When he recovered, he found he was holding a copy of Hawkins Paper 14, on which he’d circled several key words.)

Hawkes had discovered the Met’s extensive files on vampire-like attacks, dating back to the 1890s. She’d also discovered that officers who looked too deeply into any of these incidents tended to get transferred to dead-end jobs. Fitzy, meanwhile, was a former regular at Singleton’s decadent parties who had fled to Reverend Rogers after a troubling spiritual encounter with the occultist. Furthermore, Singleton just contacted Fitzy again, offering him a role in a ‘dramaturgical ceremony’ tonight (“the role of a lifetime, dear boy”).

After a lengthy discussion of options, the team decide to start by checking out Coldfall Woods. They quickly uncover a ruined cellar in some waste ground that matches the spot on an old map of London they found with the Dossier in Whitby. Exploring, they meet Richard Crinn (the Madman, DH p. 121), who Hawkes recognises as a known junkie. He rants about the three girls – one dead, one alive, one un-dead, and other cryptic nonsense, but the team are more interested in finding out what’s behind an Architecturally-suspicious wall than sifting through Crinn’s babblings. Hawkes calls some local social workers to take Crinn away, and warns them that he might be violent by night.

After some poking at bricks, the team smashes through the wall and finds a mysterious upright coffin and an even-more-mysterious partial skeleton entombed in concrete. Fitzy starts pulling bits of the skeleton out of the concrete, and has a psychic flash of the Norman Shaw building (DH p. 193).

The team drags the coffin out into the daylight, and – stakes and crucifixes in hand – open it. Inside, they discover the already-staked corpse of Inspector Cotford. A close examination finds that his throat has been torn open, and stuffed into the wound are several items: Cotford’s wedding ring, some photographs of his family, and a collection of teeth wrenched from a child’s mouth. They reseal the coffin and hide it again.

Fitzy gets some more details from Singleton about the arrangements for the evening. Fitzy will be playing Alfred Singleton, Osman Singleton’s putative grandfather. Enchanted by the idea of playing a sorcerer, Fitzy puts on his robe and wizard hat.

McAllister prepares some silver bullets and the team load up with crucifixes, holy water, and other counter-vampire measures.

Elgin contacts an ally in Germany and arranges for the mysterious brooch to be couriered to England.

Suspecting that the Norman Shaw buildings are central to Dracula’s plans (mainly because they’re central on the map), McAllister and Hawkes head there. Elgin heads to Hillingham;  Baptiste accompanies Fitzy back to Singleton’s. While Singleton and Fitzy argue over how to portray the original, Baptiste sneaks into the Psychic’s study and starts looting handfuls of clues.

At Hillingham, Elgin manages to get into the tent containing the mysterious machine and examines it. It consists of a portable generator, a computer console, and a contraption that consists of a jackhammer-like pillar of solid engraved silver, covered in occult runes. Elgin’s able to access some files on the computer console – they resemble heat maps, or images from ground penetrating radar. They seem to show parts of London as they were in the past, including ghostly tracks where people gathered. Zooming out, it looks like Edom have used the machine at other places around London, but there’s a big DO NOT USE sign on the map near Kingstead Ceremony.

Despite Fitzy’s increasing nervousness, he gets dressed in Alfred Singleton’s old suit and gets on the bus. (He also takes the drugs offered by Singleton.) He meets other actors playing the roles of Kate Reed, Lucy Westenra, Mrs. Westenra, Quincey Harker and other characters from the novel.

At Westminster, McAllister and Hawkes find the entrance to a maintenance tunnel, and hear spectral whispers in the darkness. Before they can investigate, Hawkes spots a man she knows to be an MI5 Agent (DH p. 122) watching them. The pair lay a trap for the Security Service office, and manage to ambush him.

The… performance? Ceremony? Séance? begins again. The machine starts up again, hammering the ground. Vibrating the old walls of Hillingham. The actors somehow become more like the characters they’re portraying, and seem almost possessed. The “scene” is the 17th of April – just after the death of Lucy Westenra (p. 202 of Unredacted for those reading along at home). As Single – as Fitzy approaches the door, he sees the other actor, the man standing next to him playing Cotford, change so he more closely resembles the corpse they found in the sealed coffin earlier that day.

At Singleton’s house, the blue flame returns. Baptiste witnesses another séance, but this time, the ghost in the circle is alternately a beautiful blonde woman or a hideous skeleton – it’s the spirit of Lucy Westenra!

At the Norman Shaw buildings, Hawkes and McAllister question the captured MI5 Agent, who’s clearly running security for Edom. They ask him if it was the Child Vampire who killed Dr. John, and he laughs at them. The Master is at hand – and mist starts to pour down from street level, coagulating into the shape of a tall man…

Fitzy tries to change the script (at this point, we were literally putting on a performance of Page 202 of Unredacted), but the psychic pressure is intense, and changing a single word requires a tremendous effort of will. In Singleton’s house, there’s a wrenching sensation as Lucy’s vampiric ghost becomes more and more manifest. The blue flames of the candles are now these blazing blue columns of fire, impossibly tall.

Under the Norman Shaw buildings, Hawkes and McAllister face down Count Dracula. McAllister fires a blessed silver bullet at the Count, injuring him, but it’s nowhere near enough to stop the vampire. He advances on the pair. Crucifixes hold him at bay; he snarls in fury and snaps the downed MI5 Agent’s neck with a casual gesture, like a man kicking a dog. “You will suffer for this insolence. Your families are mine! Your friends, mine! Your country, mine!”

Just before the actor playing Quincey Morris can announce that Lucy is dead, Elgin shoots the machine, knocking it out of phase. Fitzy collapses; everyone at Hillingham goes silent, apart from the actress playing Lucy. She just starts screaming and screaming, this banshee keen that doesn’t stop.

DraculaAnd back at Singleton’s mansion, the summoning circle is empty. The blue flames have all gone out. Baptiste listens from his hiding place as Osman Singleton orders his remaining followers to bar all the doors and windows and bring up the garlic from the cellar. “We have failed HIM, and he will not forgive. Bar the doors and pray, and we might survive the night!”

 

Spiritual Subduction Zones and other weirdness: I wanted a twist on the both the regular damned vampires and the telluric-bacteria vamps presented in the Director’s Handbook, but I also knew that the campaign works best if you can preserve the earth-tremor connection to Dracula. What I came up with was a breed of vampire that exists on a spiritual borderland between life and death.

A subduction zone is a geological term – it’s the place where one continental plate slips beneath another, causing earthquakes. This setup posits that the physical and the spiritual, life and death, are like continental plates, usually moving in parallel with one another, but in certain places, life can slip beneath death, opening a route to some spiritual underworld. This subduction, this violation of normal reality, causes both psychic and physical feedback that manifests in many ways, including earthquakes.

Vampires are spirits that have crawled out of such a subduction zone. They shouldn’t be alive, so reality keeps trying to drag them back down into that spiritual underworld. Vampires drink blood to cling to life. Staking or beheading a vampire isn’t enough to kill it, as they’re unquiet ghosts inhabiting a body. The only way to kill it is to carry its soul into the underworld, usually by weighing it down with other ghosts. That’s why the vampire Cotford was buried with tokens reminding him of his family – their ghosts would carry his spirit down into the afterworld. That’s why grave goods work.

Certain vibrations can also create artificial subduction zones; resonate the old stones of a building or the bedrock of a region at the right frequency, and it pushes the physical a little into the spiritual realm. That’s why, for example, hauntings are associated with running water. The mundane explanation is that people mistake the gurgling of some buried river or the drip of some leaky pipe for ghostly sounds, but what’s really going on is that the vibrations caused by the running water happen to resonate at the right frequency to push that site into the spiritual realm a little, allowing ghosts to form. 

Edom doesn’t have earthquake machines – they can make earthquakes, but that’s not their real purpose. They’ve got ghost engines, machines that resonate at the right frequency to create subduction zones. They used one of these to resurrect Dracula in 1940 – they opened a subduction zone, and Dracula’s spirit was able to crawl out of the spiritual realm and back into his body. (He was carried down into Hell by the ghost of Quincey Morris; if none of the company had died there, then no amount of physical damage would have stopped Dracula from returning the next night. Edom had to pull him out of Hell in 1940 to bring him back.)

Ghost engines can also be used to call up ghosts, or at least create conditions where ghosts are almost certain to manifest, as the team saw at Hillingham.

< Session 2 – There Was An Explosion Adjacent To A Helicopter

The Prime of Miss Ellen Mowbray – Session 4 >

 

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