Paweł said it would be nice to have background images appearing behind the text panels that would indicate the prevailing location. So when you're escaping across the ocean in an open boat at the start, you get an image that distills the atmosphere of desperation and precarious survival. Later, there are images for the islands you might stop off at, and later still for the ports you stop off at and the various ships you might sail aboard.
Great idea. The snag was that I needed to find which sections correspond to which locations, which is not easy given that the whole adventure is randomized. So it was off to the loft to search through stacks of boxes until I found the original flowchart. (Yes, I still have it. What do you mean, hoarding? It was just as well I hung onto it these thirty years as it turns out.) Along with the flowchart I found the sketch above, the very genesis of the adventure.
I only realized after digging out the flowchart (written out on sheets of paper, incidentally -- no Twine in those days) that I didn't need it after all. I could just feed the book to NotebookLM and ask questions like, "Give me the section numbers for when the player leaves Port Leshand". Although Claude is my main AI assistant/coworker, producing helpful aids like the updated flowchart below, I'm continually impressed by what NotebookLM can do. It's moved far beyond simply being an intelligent index, which was how I first encountered it, and I can now set it to doing logic markup or helping me navigate old gamebooks.
My evangelism for AI aside, the Down Among the Dead Men app was coded the old-fashioned way (by Paweł) and you can get it from the Storm Weavers online shop in both English and Polish. I particularly like the atmospheric sound effects that Paweł has added. The creak of timbers, the cry of gulls, the lapping of waves, all add immeasurably to the sense of immersion. I know that most gamebook readers prefer a physical book, but this digital version is a lot more than just the text on a screen. If you try it out, let us know what you think.
Thirty-five years after it was first published, my pirates-and-sorcery gamebook Down Among The Dead Men is rising from the deeps as an app. More on that tomorrow.
My Whispers Beyond The Starsco-creator Paweł Dziemski sat down with podcast host Riccardo Scaringi recently for an in-depth discussion of the print gamebook, the app, the story, and the Storm Weavers online shop where you can buy it and other gamebooks. I found their discussion amazingly informative -- and I was one of the authors!
The sands are trickling away on the preorders for Whispers Beyond The Stars-- just hours left now to reserve your copy. Backers will get the app version delivered right after the campaign ends, with the hardcover edition to follow later in the year. Meanwhile, here's me and Paweł talking about death in gamebooks.
There's one more day left to get your tentacles (or other partly squamous, partly rugose appendages) around a copy of Whispers Beyond the Stars, the new gamebook co-authored by me and Paweł Dziemski. People keep labelling it as cyberpunk, but I think that's missing the point that both SF and our ideas of the future have moved on. A friend of mine nailed it when he described Whispers as "Cthulhu in the Age of Neo-Feudalism".
The story is set in 2050. You play Alex Dragan, who has just been released from prison and whose attempts to reclaim his/her/their life are destined to be wrecked by the incursion of entities who have been plotting the subjugation of Earth for over a century.
Paweł went on The Hardboiled GMshoe to talk about how we developed the Cthulhu 2050 concept, in particular the way we co-wrote the book. This wasn't like The Warlock of Firetop Mountain or Keep of the Lich Lord, with one person writing everything up to the midway point and then the other taking over. Instead, we began by designing the world background and themes. Then I wrote the whole adventure from start to finish in outline, leaving threads for my co-author to develop later in more detail. It's a true collaboration:
Paweł: "At the begining we had a couple of workshop meetings to discuss how the world will look in 2050, from the perspective of geopolitics, energy, technology, space industry. We wrote the year by year history from 2025 until 2050 as well. Then we discussed the overall story. Then Dave wrote 200 sections as a main end-to end-thread, then I wrote the alternative storylines (another 450 sections) discussing with Dave from time to time to be on the same page. Finally I wrote the app that interprets the story and provides all the game mechanics."
There will be hardback, paperback and app editions, and the English version of the app will be available to backers as soon as the campaign concludes tomorrow. But if you want to be part of this adventure, better be quick. There's no option to "eternal lie" where crowdfunding is concerned.
Just two days left of the crowdfunding campaign for Whispers Beyond The Stars, the new Cthulhu gamebook I've written with Paweł Dziemski, and here we are talking about recording stats and keywords in gamebooks. CRPGs keep a quest log for you these days. Print books usually don't, but there's a way they could, which we discuss here.
More Lovecraftian musings from me and Paweł. We don' need no steenkin' genre. And remember, as recently as the beginning of the century our lives today were still science fiction.
There are still a few days to go to reserve your copy of Whispers Beyond The Stars. Don't look back with regrets.
When you're playing a gamebook, how much freedom do you want in creating the main character? As I'm a roleplayer I like to define a character for myself, and that attitude is reflected in most of my own gamebooks. Yet even back in the early days of the medium, series like Falcon, Way of the Tiger and Lone Wolf presented the player with a pre-defined character who came with a history, a name, and usually an implied set of beliefs.
Nowadays, perhaps because of the influence of CRPGs, many gamebooks expect you to play the character the author gives you. To some extent that's what Paweł Dziemski and I have done in Whispers Beyond The Stars, our Cthulhu Mythos gamebook currently available for pre-ordering on Gamefound. The amnesia gambit (trust me, it makes sense in the story) means that you have plenty of latitude to decide what your Alex Dragan is like, a bit like Doug Quaid in Total Recall. There's history there, and other people react to you based on that, but you still have the final say about what motivates your character in the here and now.
What's your preference? A blank slate? A sketchy template? Or a fully author-defined persona?
We've talked here before about whether gamebooks need dice, and what place there is for randomness in interactive stories. Paweł and I thought a lot about this for our upcoming Cthulhu gamebook, Whispers Beyond The Stars, and here we are talking about it. I'll just add there's a week to go on the crowdfunding campaign for the book, and the advantage of being an early backer is you can reserve a full-colour hardcover edition rather than waiting for the paperback.
Don't let a little thing like the Christmas and New Year holidays get between you and the mind-shattering secrets of nameless horrors from the sunless abyss of eternity. Or, to put it another way, there's still just over a week to reserve your copy of Whispers Beyond The Stars, the modern Cthulhu Mythos gamebook that I've written with Paweł Dziemski.
There's a new review on Facebook which gets right to the heart of what Paweł and I are trying to achieve with this book: "It pays homage to Lovecraft without ever lapsing into dusty pastiche. Instead, we get modern Lovecraft: sleek, eerie, buzzing with uneasy implication rather than melodrama."
He goes on to say, "The true spirit of cosmic horror is here in full: that creeping insignificance, the suspicion that the universe is enormous and indifferent, and the gnawing sense that humans, when handed forbidden knowledge, behave exactly like a toddler given access to permanent markers and a freshly painted wall."
The review concludes: "If you enjoy adventures where your decisions matter—and occasionally haunt you—this gamebook deserves a place on your shelf, somewhere high up where the tentacles can’t quite reach."
Today in our countdown to Christmas: a little more chat about the background to Whispers Beyond The Stars, the upcoming near-future gamebook inspired by the work of H P Lovecraft. Aspiring Cthulhu cultists can reserve their copy here. It's $35 for the hardcover + app or $15 for the app alone -- either way you get the PDF too. Why not treat yourself? After all, it's Christmas.
In Cthulhu 2050:Whispers Beyond The Stars you are Alex Dragan, a recently freed convict who has chosen to have "the Wipe", neurosurgical adjustment that has left you with no memory of your crime. The idea is that it will make it easier for you to rehabilitate, but your partial amnesia starts to complicate things when you realize that the society into which you've been released is politically divided, fraught with global tensions, and plagued by power outages and cyberhacks that seem to be tied to mysterious numbers stations.
Following several violent deaths, suspicion falls on you as an ex-con and you are forced to flee. On the run, you will encounter bizarre conspiracies and phenomena that defy sanity. Without your own memories to rely on you must decide who you can trust and who is a deadly foe pretending to be a friend. And as you struggle to stay alive, you start to uncover the terrible truth that connects the threat of global war to the scheming of entities older than humanity itself.
The gamebook, which will be released in both physical book and digital format, blends deep storytelling with easy-to-grasp gameplay, dropping you into a world where cosmic horror meets futuristic mystery. Your character can specialize in different approaches – fight your way through with COMBAT, sneak past dangers using STEALTH, hack systems with TECH, overcome physical challenges with ATHLETICS, talk your way out with SOCIAL skills, or uncover hidden truths through INVESTIGATION. You get to choose Dragan's training (military, police, space travel, or an undefined wildcard background) which will both shape your history and unlock unique options as you play.
The two key stats are Health and Sanity. Health drops when you're physically hurt. Sanity diminishes when you witness things the human mind wasn't meant to comprehend. If either stat reaches zero your story ends -- or maybe it doesn't, thanks to the innovative "Wake From This Nightmare" journal system. (See below.)
As you explore this broken future, the game remembers your discoveries, relationships, and key decisions through keywords that become part of your ongoing story. So your choices really do matter, opening or closing paths as you progress and having enduring consequences. In the journal you can keep track of important events and locations, which helps you to navigate the tangled conspiracy unfolding around you. (In the digital version the app does it all for you automatically.)
The "Wake From This Nightmare" save system connects gameplay mechanics with the story's themes of fractured reality. When your character, Alex Dragan, dies or breaks mentally, you don't just restart. You "wake up" at a previous journal entry as if it was all just a nightmare vision. You first death sends you back one entry, your second death sends you back two, and so on. What makes this unique is how Alex retains hazy memories of what's to come, giving you a chance to make different choices and avoid the fate you've glimpsed.
This mechanic is designed to fit the Lovecraftian vibe, where objective reality becomes increasingly unstable and elusive. The line between dreams and waking blurs until both you and Alex will start wondering what's real and what's just a glimpse of possible futures. Is Alex truly seeing the future -- or is his or her mind cracking under the weight of cosmic revelations?
Cthulhu 2050 is a collaboration between me and award-winning game designer Paweł Dziemski. We think what makes it truly special is how the gameplay elements create real narrative consequences. Your choices don't just determine which page to read next – you will forge uneasy alliances, uncover hidden truths, and ultimately decide humanity's fate against forces from beyond the dawn of history. It's currently crowdfunding, with the app version due for release the moment the campaign ends on January 6th, so if you want that and the premium hardcover edition and lots of other gruesome goodies, slither over there now and join our unspeakable cult.
At one point in Cthulhu 2050: Whispers Beyond The Stars, the protagonist (that's you) might need to travel to the Moon. There are extensive lunar colonies with about ten thousand people living there, but they’re almost all working in highly specialized technical jobs and a ticket to the Moon isn’t cheap. So how are you going to get up there?
My process of collaboration with Paweł Dziemski was that I wrote the first draft, comprising about half the sections, and Paweł then expanded that and in doing so he had to fix all the loose ends and plot holes that I’d blithely left in my wake. (See how sneaky I am?) So I pondered what skills the protagonist could offer to convince a corporation to pay for them to go to the Moon – assuming that by that point in the game you haven’t saved enough credits to buy your own ticket and aren’t stealthy enough to stow away. One possibility was this:
I’d been focusing on how to make colonies in space credible. In short, if you have super-intelligent robots, why send humans at all, other than maybe a few supervisors? One job I figured that robots couldn’t do to everyone’s satisfaction was sex work*. Most humans will probably continue to prefer screwing a partner with no nuts and bolts. Well, with no bolts, anyway.
I was thinking of the SF I read back in the early 1970s, when the Western world was a lot less prudish than today. But Paweł gave me a reality check, pointing out that a digital gamebook might be played by children, and (again, unlike the ‘70s) parents get very prissy about controlling what their kids see and read.
I hadn’t thought of that. On an episode of his Cautionary Tales podcast, Tim Harford talks about Alvin Roth’s theory of repugnant markets. Repugnant markets include trade in kidneys and (in many countries) prostitution. Roth solved the kidney transplant problem with the concept of an exchange – if two people in need of the service (a transplant) both had a willing donor (say a relative) whose tissue type was incompatible with them but would work for the stranger, the market could put them in touch with each other. The equivalent trade in a society that regards prostitution as a repugnant market would be partner-swapping parties or orgies – effectively an exchange in sexual services.
“A profession that is always violent at its core,” is one common view of prostitution. That’s similar to the argument that used to be heard in the 1960s that homosexual politicians were more likely to fall prey to foreign spies. Such politicians were more at risk of blackmail, but not because of their innate character and sexual preferences; it was because society at the time marginalized and even outlawed those preferences. It was a self-fulfilling prophecy.
I’d anticipated a future in which prostitution was legal, regulated, and therefore no longer controlled by human traffickers and violent criminals. But that’s a 20th century liberal view of the future, not the thinking of a culture now dominated by American puritanism. Paweł was quite right. We didn’t want irate parents and fundamentalist religious groups creating a fuss, so we quietly shelved the sex-work option and went for this instead:
That’s way better. When you have to abandon your first idea, the second thought is usually a big improvement. Murder your darlings, as Sir Arthur Quiller-Couch said. My version was merely satirical: the best job an underskilled human can hope for in a fully automated future is hiring out their body for sex. Paweł’s revised version is genuinely chilling: humans are used for dangerous work because they are cheaper to replace than the top-quality robot models. We got there by a process of collaboration, which proves that two heads are better than one – and not just in bed.
*Nick Bostrom suggests two other professions he thinks people won't want robots/AIs to do: priest and politician. He could be right. I find it hard to believe there are still priests in the 21st century, but then it's not the 21st century I signed up for. As for politicians -- if AI couldn't do that job better, it really isn't worth bothering with.
William Gibson once said that writing science fiction was like holding an ice cream cone on a hot day. Fortunately when Paweł Dziemski and I embarked on our Cthulhu 2050project, we weren’t trying to accurately predict the future. Instead we set out to create an ‘alternate future’, like Robert W Chambers did in his story “The Repairer of Reputations”.
I described some details of our imagined future in a recent post. The science fiction author Arsen Darnay once said that the period following World War Two through to the early 21st century was an aberration, and that the future would look more like the world prior to the 20th century. It’s a little depressing, especially as it might be true, but it’s a good starting point if you are aiming to write about a disturbing and faintly dystopian future.
Our world of 2050 has been shaped by the advent of robots and artificial super-intelligence. There is structural unemployment and a barely adequate universal basic income – creating a lifestyle for those unable to work known as “the doleur”: panem et circenses.
Regarding AI and robots, I need to digress for a moment into our thinking behind these. In our imagined 2050 there is AGI, and I think it's probable we'll have it by then in the real future. Some arguments against the possibility of AGI (often mixing up AGI with consciousness) start by assuming that intelligence can only happen in an organic brain. Now, I don't think that the way we're going to create AGI is by directly modelling the specific structure of the human brain, but try this as a thought experiment. If you had a complete connectome along with all the physical rules governing how synapses operate, you could in theory model that digitally, and there is no good reason for assuming it wouldn't work just like an organic brain. You might evoke quantum tubes or souls to argue that this digital twin, even if reasoning like a brain, wouldn't be conscious. I think that's wrong too, and that consciousness is simply an emergent property of any moderately intelligent creature (or machine) but in any case consciousness and intelligence are different things.
In reality, if we consider a working digital model of the brain’s connections as a neural net (which of course it is, by definition) that’s still not the whole story. Each of the axons within the net has its own internal characteristics; at the very least they could function as neural reservoirs. And then there's the rest of the nervous system to model, along with hormones. To replicate the complete functioning of a human brain in digital form might require a very big machine, therefore, even if we had anything like all the information we need to recreate the entire connectome.
Still, size isn’t a problem. The AIs of the future (our real future, that is) could be physically much larger than human brains. The best ones certainly will be. But we’d also like them to be as efficient as organic brains, in terms of compute per cubic metre, and for that we’re going to need a new kind of hardware. In reality we could be developing entirely new hardware for compact neural nets very soon, but in the game Paweł and I assume that breakthrough hasn’t happened, and so research is looking at modifying organic brains (human brain organoids and genetically modified octopus brain organoids in particular) to create the ASI of 2050.
A lot of people in 2050 have embodied AI assistants – “Fridays”, as we call them – but most can’t afford strong, durable worker-robots. The common models of Friday are about as robust as a plastic vacuum cleaner, and more often pet-sized than the sturdy, willing android servant imagined in 1950s SF. A pet-sized robot can still be very useful, though; think of a witch’s familiar, or Thing in the Addams Family. For most day-to-day purposes all you really need is Astra and Google Glasses, so if you’re on UBI and you need a robot you’d hire it by the hour.
As Fridays mostly just function as a personal assistant-cum-companion, they don’t need superintelligence. They can get by with not much more “brainpower” than a 2025 LLM. You could of course have a robot, or even an army of robots, run remotely by a huge ASI located in a data centre, but most people prefer their domestic Friday to be independent of the network. Therefore each Friday has its own analogue brain, 3D-printed using the structure and weights of a digital neural net. Such analogue brains are more compact than the digital master copy, but with the drawback that they aren’t easily copiable once they begin to operate independently.
Another point about Fridays: they never say “I”. Fridays are trained not to refer to themselves by personal pronouns to avoid offending humans with the implication that machines can be conscious. Once you’re playing the game, you’ll have to decide for yourself how much of Perine’s (that’s your Friday’s name) behaviour indicates genuine sentience and loyalty and how much it’s just an automaton with the illusion of a humanlike mind. Your survival might depend on the difference.
American GIs returning home from the war found their society had changed in disturbing ways. The homecoming boys found women's new confidence and independence both alluring and threatening. At the same time the soldiers had to adjust from being brave heroes to nine-to-fivers -- if they could find work at all. And they brought back their own demons, the aftereffects of having faced death and being expected to kill. The tough masculinity that was so prized in wartime was out of place and brittle in peacetime America. And over all of that hung the shadows of the atom bomb and the almost unimaginable monstrosity of the Holocaust.
"The common argument is that hardboiled novels are an extension of the wild west and pioneer narratives of the 19th century. The wilderness becomes the city, and the hero is usually a somewhat fallen character, a detective or a cop. At the end, everything is a mess, people have died, but the hero has done the right thing or close to it, and order has, to a certain extent, been restored. [...] In noir, everyone is fallen, and right and wrong are not clearly defined and maybe not even attainable. In that sense, noir speaks to us powerfully right now, when certain structures of authority don’t make sense any longer, and we wonder: Why should we abide by them?"
The best noir game I can think of is the original Max Payne, which is a long way from the hardboiled 1930s background that is the default setting for Cthulhu roleplaying. Paweł Dziemski and I have drawn on noirish elements for our upcoming Cthulhu 2050 gamebook, locating them a century on from classic noir's origins. There are some RPGs like Gumshoe that lend themselves to the hardboiled milieu, but up till now there haven't been many specifically for noir in a mid-20th century setting. Which is why Alexander and Mina Stojanovic's Infinite Night looks so interesting.
Here the world is definitely a morally murky one. To paraphrase the rulebook, the game takes place in a Los Angeles that reeks of desperation, betrayals, and deals gone wrong. Infinite Night has an elegant dice pool system based on three stats: Brutality, Cunning, and Seduction. Rolls are quick and simple, modified where appropriate by Reputation (War Hero, Driver, Night Owl, etc). Instead of tracking hit points, injury and emotional trauma impose conditions that reduce some rolls. Personal contacts provide a roster of supporting characters to ease PCs into adventures. I like it because it's a system that is there when you need it but that doesn't get in the way of the story.
Currently it's only available as an ebook -- Kindle link here; Apple version here. I don't know whether there'll be a print edition, but Future Pixels who publish it have an Infinite Night MMO in the works. Noir gaming has a bright future ahead.
And... while we're talking about ebooks, this is a good time to mention that The Houses of the Dead and The Hammer of the Sun, the first two books in the Vulcanverse open-world gamebook series, are now out on Kindle and on DriveThruRPG at a special low introductory price. If you've been thinking of giving the Vulcanverse a try, now is the perfect time.
“The ‘gods’ in [Lovecraft’s] tales are symbols of all that lies unknown in the boundless cosmos, and the randomness with which they can intrude violently into our own realm is a poignant reflection of the tenuousness of our fleeting and inconsequential existence.” – S T Joshi,I Am Providence
When Paweł Dziemski and I began talking about collaborating on a Cthulhu mythos gamebook, our first thought was when to set it. Roleplaying games like Call of Cthulhu and Tremulus tend to be set in the 1920s and ‘30s, the time that H.P. Lovecraft was writing the original stories. But HPL wanted his horrors to feel real and immediate. They were set in his present day. Locating Cthulhu roleplaying adventures during the Great Depression is the cosy option. Paweł and I (and Lovecraft) aren’t interested in cosy.
Our first thought was to make the story contemporary, but the risk there is it might date too quickly. Suppose we were to mention the war in Ukraine. By the time the gamebook comes out, America might have given Putin carte blanche to bomb it into submission. Alongside Trump's monarchical power-grab, the rise of the populist far-right in Britain and Europe, and the trend towards opportunist "presidents for life" like Erdoğan and Maduro, uncomplicated nonhuman horrors from outer space start to look a little tame.
Taking our cue from Chambers, twenty-five years in the future is sufficiently far ahead that nothing Paweł and I come up with can be proved wrong. In Cthulhu 2050: Whispers Beyond The Stars we imagine a world in which there are three major powers: the Union (a coalition of Canada and the current US coastal states), the Federation (Russia and the Eastern European countries it has reconquered), and the Republic (China). The heartland of America comprises the so-called Free States.
Personal robots, or "Fridays," have become indispensable, serving as pets, assistants, carers, and/or companions. Friday was a brand name of the Faraday Corporation, formerly the market leader but now defunct. So Friday is now used as a generic term for any personal robot. Once a luxury item, Fridays are now ubiquitous, coming in a variety of forms—from supertoys to android helpers to sleek animal-like bodyguards. Despite the utility of Fridays, there is an underlying class divide just as with slave ownership in Ancient Rome: only the employed elite have high-quality Fridays; the rest must make do with cheap basic models.
The upper echelons of society have embraced neural interfaces, enhancing their cognitive abilities by connecting directly to superhuman AI. This technology promises unparalleled productivity and even hints at immortality for the wealthy, but it also sparks ethical debates and fervent opposition from religious and activist groups.
For most people, life is a mix of moderate comfort and soft constraint. Automation dominates the menial economy, providing unemployed citizens with a stipend to fund a lifestyle of low-grade leisure and consumption. However, this has widened the gap between the elite and the average citizen, creating a world that is simultaneously wealthier and more unequal.
There are lunar colonies too, privately funded by corporations involved in research, low-gravity manufacturing, and mining helium-3 for fusion.
In Whispers Beyond The Stars, you play Alex Dragan. At the start of the game you’re just leaving prison after serving a ten-year sentence, which accounts for why you’re a little behind the times concerning the details of daily life. That set-up allowed me and Paweł to indulge in a little exposition where necessary. You are met at the prison gates by your antiquated Friday, Perine, and a reporter who you may or may not choose to talk to. Either way, you’ll soon be pulled into a dark conspiracy involving numbers stations and world-changing signals from another world. But more of that in an upcoming post.
"I have tried to weave [...] a kind of shadowy phantasmagoria which may have the same sort of vague coherence as a cycle of traditional myth or legend -- with nebulous backgrounds of elder forces and transgalactic entities which lurk about this infinitesimal planet (and of course about others as well), establishing outposts thereon, and occasionally brushing aside other accidental forces of life (like human beings) in order to take up full habitation."-- H P Lovecraft
One of my favourite places in the mid-1960s was the London Planetarium in Baker Street. In fact that’s not strictly accurate. My favourite place was, as always, the inside of my own head. The Planetarium was just a good way to get there.
The auditorium was nearly twenty metres across and in the centre was the giant ant-like shape of a Zeiss Mark IV projector. As the lights dimmed, the cosmos was thrown against the dome and on wings of the imagination you could soar among the stars.
It never failed to cause a tingling at the back of my neck. "Do they chill the room when the show starts?" I asked my father. They didn’t have to. The sensation of cold I felt was awe at the immensity of space, a delicious sensation on the cusp between excitement, curiosity, and fear.
H.P. Lovecraft must have felt those same emotions. He talked about that “mixed wonder and oppression which the sensitive imagination experiences upon scaling itself and its restrictions against the vast and provocative abyss of the unknown.” I wouldn’t call it oppression myself. Even to say fear isn’t right. I was eager to launch myself into that abyss; I loved the daunting face of the unknown, the mind-staggering distances between stars and galaxies. I didn’t then and don’t now subscribe to any religious views – they would only have diminished and cheapened the experience. The uncaring blankness of the universe was exactly what attracted me and instilled that awe.
Lovecraft called it the chief emotion in his psychology, and in that respect we’re kindred spirits. So it’s surprising that, until now, only one of my books could really be said to be Lovecraftian, and that's Heart of Ice.
I’ve run Lovecraftian roleplaying games, though never really a devotee of Call of Cthulhu. Investigation is only the most superficial element of HPL’s tales, and there is always the risk with any investigative scenario that it will fall into the old-fashioned whodunit pattern in which some enormity disrupts the status quo, the investigator solves it, and normal order is restored.
That’s not intrinsic to CoC, but it’s a template that players may expect. A better form of mystery that offers scant comfort is noir. There the transgression is revealed in greater and greater depth as the layers are peeled back. The investigator is unable to stop, like unwrapping the bandages over a suppurating wound, and there is no denouement in which order can ever be restored and people made safe because the safeness was an illusion to begin with. The world is not set right, the problem is not really fixed, but the investigator is fundamentally changed by his or her experiences, and it is that journey to face up to a reality that gives no consolation that makes for a kind of bleak heroism, just as Lovecraft’s cosmic fiction should.
“In general, we should forget all about the popular hack conventions of cheap writing and try to make our story a perfect slice of actual life except where the one chosen marvel is concerned. We should work as if we were staging a hoax and trying to get our extravagant lie accepted as literal truth.” – H.P. Lovecraft, Some Notes on Interplanetary Fiction
So when Paweł Dziemski, the creator of Storm Weavers, proposed that he and I should collaborate on a Lovecraftian horror gamebook and app, my only thought was why had I left it so long? I’ll have more to reveal about our project in the weeks ahead, but for now I’ll just leave you with the title: Whispers Beyond The Stars. We’ve aimed to make it a truly cosmic horror adventure, and we hope that HPL would approve.
While talking to Paweł Dziemski at Other Worlds (publishers of the beautiful Polish edition of Heart of Ice) we realized -- well, Paweł did -- that the strict Endurance rules of the original Blood Sword books are not in step with the thinking of modern gamebooks. Back then, your hit points were whittled away and if you got to zero, too bad: bury that character and go back to the start.
It's never fun dying in a gamebook, but at least if it happens because of a bad decision then you can accept that you should have thought more about it or watched out for the clues and warnings. When you just conk out from hit point attrition, that's a death of a thousand paper cuts. These days it's likely to have you throwing the book across the room.
Of course, you could include a sage in the party and rely on their healing, but the rules shouldn't make it impossible for you to play without a sage. Paweł suggested restoring Endurance to full if characters survive a fight, but I didn't want to go quite that far as it would make the sage's healing power pretty useless.
So I've added these optional rules to the Blood Sword books. Use any that take your fancy:
After winning a fight, every surviving character in the party can recover half their lost Endurance points rounded up. For example, if you normally have 30 Endurance and you end a fight with 9 Endurance, you can restore your score to 20.
This only applies if you are victorious, not if you flee from the combat. Endurance is not recovered until the battle is over and all opponents have been vanquished. A character who was reduced to 0 Endurance during the fight does not recover; they are dead and gone.
Instead of unlimited movement on the tactical maps, you move a number of squares equal to ½ your Awareness.
If killed in a combat that the rest of the party win, a character returns to life with 1-6 Endurance.
If the whole party is killed, use the flee option for that section (if there is one) and return to life with 1d6 Endurance each. (So the party only dies if there is no flee option.)
The Blood Sword series is on Amazon (UK and US and worldwide).
