Book Of The Spirits 564h1

Contents: Introduction Prologue: An October's Ending, Part Three ...pg. 6 Book One: Orientation Chapter One: Entering the Secret World ...pg. Z 4 Chapter Two: Protagonist Creation.,.pg. 30 Chapter Three: Basic Guidelines...pg. 68 Book Two: The Earthly Spirits Chapter Four: Gargoyles..pg. 9 8 Chapter Five: Manitou..pg. Z 34 Chapter Six:The Possessed..pg. 1 68 Book Three: Secrets and Mysteries Chapter Seven: Djinnqg. 198 Chapter Eight: Abominations..pg. 2 1 4 Chapter Nine: The Other Everlasting..pg. 226 Chapter Ten: Mysterious Worlds ..pg. 244 Book Four: Beyond the Basics Chapter Eleven: Qualities and Advanced Guidelines..pg. 258 Chapter Twelve:Storytelling..pg. 294 Chapter Thirteen: Legendmaking ..pg. 304 Epilogue Protagonist Proj?le Index

b

Foundation Two: Book of the Light

Worlds within Worlds A Series of Legendmaking Experiences

T h i s book features the

Welcome t o the third Foundation Book for T h e Everlasting, an overarching fantasy and

good versus evil

Angels (the nine celestial orders and the

Each Foundation is a stand-alone system,

(knights

of the round table who found the

believe. T h e whole purpose is to hav N o n e of this is real.

grail and received immortality); Demons

The Everlasting a

things fantasy and supernatural co

of enemies); and the W e r

(the darkest

setting itself is called the "Secret W o r l d .

(brutal, disease-carrying lycanthropes.) T h e book describes the light and dark sides of

Book of t h e Spirits and includes information o n occult and spirit related features of

the Secret World, including the Seven Heavens, N e w Camelot, the Netherworlds,

the Secret World. Participants may take the

and Wer communes.

roles of: Gargoyles (earth-bound spirits

dark elven cities, elven st

The Everlasting is an experience in

of legend); Questers

another for a much larger setting. T h e T h i s foundation book is entitled the

subtropolises,

holds, and modern day dungeons.

Important Warning

half-angels); Daevas (immortals who are much like gods

all four are fully compatible with one

described, including dragon lairs, dwar

struggle within the Secret World and covers:

supernatural legendmaking experience. There are four basic Foundations for the system. but

T h e fantastical side of the

within it are imaginary construc for your entertainment. Do not material contained here serious escapism t o an extreme is unhe potentially dangerous. Imagination replacement for reality; there is a re

of

o u t there and you are part

good that "consume sins" that wind u p

of it. Do

dreams o f fantasy compromise your

corrupting them); Manitou (totem spirits

and enjoy yourself in a safe manner.

ed with human or animal hosts becoming shapechangers and spirit-workers);

VESI (Visionary Entertainment Studios, 104 Bull Street, LaGrange, Georgia 30

and t h e Possessed (good people possessed

by elder nightmares that love t o corrupt humans, and evil people possessed by dream

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guardians that use hosts as expendables.).

All of these races are described in great detail, along with other "gentes" (races) o f magickal beings, including

Djinn (half-spirit

0 1994 by Steve Brown. Additional material 0 1997-9 Original material

beings) a n d Abominations (alien horrors).This foundation book also includes

Steven

information concerning the otherworldly

C. Brown. All rights reserved.

Reproduction without written permission the publisher is expressly denied. T h e

realms of the Astra and the Dreamworlds.

EverlastingTMand all material containe

by Steven Char1 Brown with the exception of quoted

herein are copyrighted

materials. T h e mention o f or reference to any

Other foundation books within this series include:

Foundation One: Book of the Unliving This book features: Ghuls (crypt ghouls that eat the dead); Revenants (the dead who come back t o life); Vampires (the traditional and the modern); Dead souls (ghostly spirits); and Reanimates (Frankensteins monster-type creations). T h i s book describes the horror side of the Secret World, including the Underworld and the subterranean realm of the ghuls.

Foundation Four: Book of the Fantastical

is n o t a challenge to the trademarks or co rights concerned.

T h i s book features: Dragons (these most ancient, fearsome and powerful of the eldritch move freely in human form); Elves (seven nation-races of these beautiful war-

of legendary creatures); Faerie (a race of dangerous and magickal creatures); Dwarves (both the

rior-magicians and keepers

ancient and the high-tech dwarves, along with agents

of

law

and chaos); and O r c s

magickally-created race of thralls from another world.)

p

erties, companies, or products in these pa

(a

Raven M i m u r a

Jack Awtry

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Jason Awtry

(Interior Illustrators a n d

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Photographers)

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oundation Book Three Interactive Legendmaking Experience

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(Layout Design)

Note on Quotations Illuminator:

AS always, thts book is dedicated to those who have always stood by me: Rufus J Brown, Linda M. Brown, D. Scott Brown, Ethel Maadox, Morris Kirst, Dot Kirst and GOD. I love you

Inventor and Artisan:

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The Everlasting

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n October’s ending *:* Part Three +:* oull be safe w i t h &nie. 1promise you. 111be back as w n as I can. hey, t h e guy has a pretty weird diet, so stay out of his refrigerators t h a t have a big X ’ on t h e doors, okay9” L u t h e r said, unsure about what was t o come. Oh, P a t t y and Jennifer would be safe with &nie. Nobody else knew about &nie, not b u t t h a t wasn’t t h e m a i n reason they even t h e fellowship would be safe no one would w a n t to mess with &nie.

...

--

o n t g e t yourself killed, macho man.” Patty leaned over into nger’s window and kissed him goodbye. 3 h e knew little t h e r or his friends, except that they weren’t exactly e was always there for her and he had saved her life. ing back her long brown hair which had fallen i n her face her r i g h t hand, she offered a slight smile before moving out

nifer stood erect, three feet from t h e car window, never n g as she gave L u t h e r her orders. “End him, please Luther. him from doing anything stupid. 1need him back i n one ce.” 3 h e trusted Thornas, b u t somehow she felt he was ver his head. h e had b e t t e r not wind up dead like osiff,Thomas’ former mentor. nest Roberts came down t h e steps t o g r e e t them, hanging greetings w i t h L u t h e r before L u t h e r drove ‘Welcome ladies, come on in. You’ll be safe here. H e you my word.” h e offered with a smile. h e could tell were a little unsettled by his appearance. T h e y were dable. L u t h e r and c warriors; &nest was not. h e had t o weigh well over 250 because he short stature: he was a plump m a n w h o at a desk job t h a n at defending people from threats. his face was soft, with bright golden-brown en-brown hair. h e was not one t o inspire terror in at least as far as Jennifer or P a t t y could

...

r a f e w minutes of introduction, &nest gave t h e m t h e tour tualIy, it looked nothing like a baseold nor dank. T h e place was as beautiful and any penthouse suite. ?he place had gold,

P a t t y and Jennifer sat for a minute, looking around, casting a w k w a r d glances at one another. Finally.

..

‘5, this is w h a t t h e i r kind do w i t h us mortals w h e n t h e really bad stuff goes down, w e g e t shipped off t o m e safe quiet place while t h e superheroes go off and try to g e t themselves killed?” Patty asked, half smiling, yet obviously serious. 3 don’t know. I was going t o ask you t h e same thing.” Jennifer replied w i t h a full smile causing P a t t y t o r e t u r n it in full. ‘ I ’ m sorry about Josiff.”P a t t y offered w i t h condolence. ‘Thanks. I never actually m e t him, b u t he m e a n t a lot t o Tommy. I did talk t o h i m a couple of t i m e s of t h e phone. h e was a nice guy from what I’ve heard. Did you know him?” Jennifer questions, as she looked around for &nest. ?“,”Patty stated, looking directly at lennifer, T v e never m e t any of t h e supernatural people that L u t h e r knows, though I’ve seen a couple of t h e m leaving his place w h e n I’ve come over t o that mill he calls his house. 1 know t h e ones H saw are of his weird supernaturals group, I don’t know if L u t h e r told you, b u t I can see things m o s t people can’t. L u t h e r calls it ‘being illuminated.’ 1just call it being on t h e road to insanity. I knew t h e day I m e t him, he wasn’t normal.” L u t h e r came back into t h e room. B o t h women dropped t h e i r conversation and put up polite smiles. ‘Thanks for p u t t i n g us u p ” Jennifer offered. ‘No problem, L u t h e r and 1go back a long way.“ &nest responded. “ h e r e you go,” he said, handing t h e m

‘Po

you know Thomas’?” Jennifer asked. P a t t y was busy looking around at t h e photos on t h e shelf behind her. “No, not really, but you’d think I do from all I’ve heard of him. L u t h e r tells me he’s a pretty good guy. 3ay’s he’s a little too ramhah Luther’s one to talk.” &nest said, sitbunctious, b u t t i n g d o w n i n t h e chair close by. h e saw a look of dread on Patty’s face.

...

. ..

“Patty, don’t worry. L u t h e r may be hot-headed at times, but he knows what he’s doing” &nest smiled, sipping his drink.

-

“feel free t o have t h e run of t h e place. Just avoid t h e kitchen in t h e middle, that’s w h e r e 1keep stuff for my special diet,” &nest said with all seriousness.

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‘If you need something from t h e store, don’t go out .I can have things bought to us. Okay’;)”&nest said w i t h a polite smile.

here &nest a d m i t t e d t o being t o agree. e r t h tone patterned ,walnut ing, comfortable leather furx r e e n televisions, and at least 35 rooms runmaze-like home including three kitchens, a c book collection, a game r m , a n indoor t h a natural underground hot spring t h e ultimate bachelor’s pad. After t h e oom near t h e front one of t h e ows, though these were shuttered, l e t t i n g t. The women took s e a t on t h e couch ir bags and brought t h e m

-

-

..

‘Yeah. ‘Thank you for your help,” P a t t y s t a t e d , turning back from looking at t h e photos of L u t h e r and &nest on a fishing trip. T h e photos looked like they w e r e taken back in t h e ’70s. b u t neit h e r L u t h e r nor &nest had changed a bit.

‘Yes, t h a n k you for your hospitality.” Jennifer added.

‘Tt is t h e least I could do, I assure you.” &nest said “‘f3O. you were telling Jennifer about how you knew L u t h e r was different when you m e t him.” P a t t y and Jennifer looked a t one another seriously.

“Oh,I wasn’t snooping,” &nest announced, “but I think i t is best t h a t you know, B can hear quite well. P heard you from the kitchen. 5,please don’t let me invade your privacy, I have no intention of doing so. B u t please do tell me about meeting k u t h e r . All I know is t h a t you r a n him over w i t h your car.”

...

P a t t y studied &nest for a minute more t o him t h a n m e e t s t h e eye. T h a t ’ s what he always says, t h a t I r a n him over. It was just a t a p B bought him a new t e n speed. P was leaving work and he was flying across t h e parking lot on his bike. h e really wasn’t looking w h e r e he was going and B didn’t have time t o see him. I backed out and heard a t h u m p W h e n I got out all I saw was t h i s poor guy laying under t h e c a r and his bike was crushed. Before l! could call 9n he got up and told me he was alright. I got t h i s weird vibe from him; it’s hard to describe, when I saw him. It was t h e feeling you g e t when you’re in a museum like t h e feeling 1got once w h e n 3[ was visiting some Roman ruins and medieval cathedrals a sense of ancientness. I don’t know: it’s hard t o describe. I g e t it from you too, &nest.”

...

-

@nest just looked at her,

‘’

with a slight smile of amusement.

Pat’?’ continued* Offered to Pay for his bike and he offered not t o Call t h e police t o make a report if I’d have lunch w i t h him. We w e n t to t h e Chinese r e s t a u r a n t by my office and talked. h e told me he was involved i n charity wdrk and I told him about my work with AX@?Jpatients. h e offered t o help US with a local fund drive and gave us a hundred thousand dollars of his own money. h e asked me out again how could B say ’no’ and w e kind of h i t it off from there.”

-

-

T h e r e s t of t h e afternoon t h e three talked about a lot of things. It turned out that &nest had just moved t o A t l a n t a a couple of weeks ago: he had been living in 4 a n Paolo, Brazil. h e took t h e m to a nearby restaurant w h e r e he ordered three meals just for himself. &nest proved to be full of surprises, and both Jennifer and P a t t y were charmed. Indeed, t h e story about &nest’s days as a t h e a t r e critic and of his harsh critiques of 4hakespeare was hilarious, as w e r e his stories about being a gambler in during t h e 1700s. But it was his depictions of life in antique times that intrigued t h e mortal women t h e most. h e had been there. h e was far older t h a n L u t h e r and T h o m a s combined. h e had s t o n e s going back to t h e Middle Ages, possibly earlier. B u t unlike L u t h e r and Thomas, &nest enjoyed talking about his life as a n immortal. R o m w h a t P a t t y could tell, compared to w h a t few details L u t h e r had told her, &nest had a far better life t h a n L u t h e r had ever known as a n immortal.

00

The black limousine pulled up in front of t h e old two-story mansion. hocated in an historical district, it was a n untouched place of dread. It was large, rickety and almost unnoticeable behind t h e mask of Magnolia trees and t h e huge haunting oaks standing on t h e front lawn. T h e right-hand wall of the house

covering t h e lattice of a gazebotoo. A foot t a l l w a l l set off t h e raised height of t h e yard from t h e old crumbling sidewalk t h a t was broken by t h e roots of t h e overshadowing trees. A rusted w r o u g h t iron fence surrounded t h e place, though it was hardly needed to keep out tresers. One light shone from a right downstairs window. M a r g e r e t emerged from t h e vehicle. ‘ T m worried that w e may be too late to stop holston. If you a r e right, gerge, and he working for a demon, t h e n 1[may stand no chance against him. Demons seem t o be able to uncover t h e deepest secrets one hop to conceal and holston may be t h e most powerful of our kind ir t h e city.” 3 h e t h e n c u t her glance t o Phillipe, t h e other vampii w h o was with her. ‘Phillipe, thank you for l e t t i n g us use your sanctum.”4he offered.

‘No,my dear, t h e

pleasure is all mine.” h e replied.

M a r g e r e t opened t h e iron g a t e until t h e others ed through. ”hopefully w e can stop him here. But why did you w a n t me be at Phillipe’s’? h e h a s no qualms \r/ against Phillipe, and he h a s no idea t h a t I ’ m helping you.” 4er< veiled beneath his ever)j/ looked at her with slight charming demeanor.

+. tip him off that w e would

They walked along t h e old pebble-filled concrete sidewalk toward t h e steps. ‘Because, he knows Phillipe and myself a r e no m a t c h for hin and suspects Phillipe will not take action against him since Phillipe is young and h a s never opposed him i n t h e past. From w h a t P hear, he thinks Phillipe is afraid of him and righ so.” 4 h e c u t Phillipe a sharp smile. ‘ h e knows he’d better deal w i t h me now, before I reveal w h a t I know about his dealings w i t h t h e Black circle; he’d better a c t now, before 1 escape. h e couldn’t grab me while I was w i t h t h e ghuls, not without ris ing a f i g h t with them, and even he doesn’t w a n t things t o e late out into t h e open.” 3 h e explained, c u t t i n g a glance to Phillipe. ‘What he doesn’t know is t h a t Phillipe owes me a big one as do you.” 4 h e paused t o look at gerge. ‘ T h e of us will have m problem taking him down, especially sinc are prepared. Phillipe is stronger t h a n holston knows, and a plan.”

.. .

...

They walked up t h e six stone steps to t h e wooden porch. wicker furniture and t h e porch itself were weather-beaten a had not been cleaned nor painted in decades. L “’how do you know he will not bring his demon creatures t a t t a c k the house.” 3 e r g e questioned, still unsure of t h e plan.

Book of the Spirits CB

t w a n t to draw a
-

hillipe led t h e m through t h e entrance room, placing their n the hall tree, and leading t h e m into t h e room t o t h e right rlor. To t h e left was a dining room, w i t h a doorway on t h e kitchen just t o t h e r i g h t inside another hallmiddle of t h e entryway was a n old staircase w i t h tique carpeting and a d a r k wooden banister and railings. Only couch, chair and love s e a t looked fairly new, and they were ually just reupholstered antiques. T h e r e was a n old television sole d a t i n g back to t h e sixties or early seventies, while e r e s t of t h e furnishings looked far, far older probably back t o t h e forties or even t h e thirties. T h e r e were ing out on t h e front. T h e r e was also a winde of t h e house, just to t h e right of t h e firewall. They m i g h t or might not see holston e, depending upon w h e t h e r he would rely on surprise t, and most likely he would. On t h e forth wall, there s a grandfather clock, a large wall shelf and a n trance leading into a room filled w i t h plants of all sorts.

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They took seats on the couch and waited. e a c h had brought a e w i t h them. Phillipe had a pistol, while 4erge and Margeret ght knives. Margeret knew hers w e r e empowered by her own gies and t h e wounds they would deal would be difficult t o not that she even for a vampire of holston’s ancient years any plan t o use them.

...

Death would be coming Soon. B u t for now

.. .time t o wait.

00 i t h James Brown’s energetic voice punching surrounded by throughout t h e sanctum, Vrodrick keyboards, monitors and all sorts of customized computers turned from one computer terminal to another terminal to his right. T h e place was a m a z i n g like a cross b e G e e n C(s laboratory i n a es Bond movie and t h e ultimate hacker’s den.

-

-

Vrodrick had just finished s e t t i n g t h e search parameters for -referencing t h e missing persons’ reports against individuals’ grounds cataloguing all possible demon-possessed in t h e .“dybbuks” was w h a t Revis had called them. however, of t h e dybbuks could be from all over t h e United 4 t a t e s , g flown in to carry out t h e i r master’s plan.

..

HE

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EVERLASTING Page 8

his work tracking recent financial outlays among suspected devil worshippers among t h e eldritch and mortal communities in hopes of piecing together some sort of p a t t e r n or noticeable plan. records, credit card information, banking records, hospital records, police reports, newspaper articles his computer was searching through it all. T h e search programs, Xeysorian (or r a t h e r “technoelven”) i n design, were far beyond human s t a t e of t h e art.

IE@

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T h e previous full day of research on new eldritch first turned up a f e w leads b u t nothing substantial. T h e only one of consequence was a m a n named &nest Roberts, whose profile was red lighted due t o t h e large amount of w e a l t h recently deposited into a new . W h i l e not enough to m a r k him as possible eldritch, it and t h e other red lighted profiles were further researched. W h i l e most eldritch are happy t o keep most of t h e i r money wherever they originally began t h e i r banking, many move some finances to i n t o w n banks whenever they a r e planning on s e t t i n g up a new dominion. What made him highly suspect as eldritch was t h e way his w e a l t h could be tracked backwards through t h e age of inheritances by w r i t t e n will t o men apparently unrelated t o him, w i t h a lapse of t h i r t y years before any reclamation of wealth. Vrodrick surmised t h a t R o b e r t s had t w o primary bank s t h a t he was flip flopping between as he changed identity. Further study revealed financial links to a second major and dozens of smaller yet multimillion dollar s in various cities throughout t h e world. Vrodrick tracked R o b e r t s back through four previous aliases -Jeremiah Bankman, &nest s l o m o n , &nest P e t e r s , and &nest McMuren. however, cross-referenced phone records revealed phone calls between R o b e r t s and I,ucher, with no other connection t o any eldritch in t h e city. A phone call to k u t h e r answered all t h e necessary questions, so Vrodrick moved on suspicious and curious about t h i s “old friend” of Luther’s, b u t satisfied t h a t R o b e r t s was not involved in Josiffs murder. L u t h e r was a good judge of character.

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Vrodrick turned on t h e terminal, different from t h e others surrounding it. T h i s large oval shaped monitor was no more t h a n a f e w inches thick, yet peering into t h e blackness on the monitor it seemed to have no actual glass screen and a depth of several feet or more. T h e keyboard, too, was different, having knobs and switches on it. Vrodrick flipped a switch, s t a r t e d punching a series of‘ keys, and t h e n began playing around w i t h t h e knobs while watching t h e screen. I n seconds a high-tech living room appeared, w i t h a m a n s i t t i n g i n a recliner, reading a book c a t c h e r in t h e R y e by t h e look of it. T h e m a n was handsome sort of except for his blue skin. h e was wearing a tee-shirt reading ‘Xill’em all and let God sort’em out,” along w i t h combat boots and camouflage pants. h e was wearing a fully loaded weapons belt, strapped with super-high tech devices. “’howdy Vro!” T h e m a n said w i t h a smile, dropping t h e book. “Good t o see ya.” “I,ooks like you’ve been playing in some video games, Phaeron.” Vrodrick responded w i t h a smile.

-

-

-

‘Yeah, lust havin’ some fun, Vro, lust havin’ some fun.” T h e m a n said, as he changed back into a teen w i t h long black hair and black shirt. ‘The cam0 pants and boots remained. T h e young man smiled,

‘5, what’s u p ”

‘Well, no time for any games today, I’m looking for info on a demon called Grostolis. Also, I need information on any new eldritch that may be in t h e city, including a guy named &nest Roberts. Ifyou run across anything on recent un-dead activity, let me know too. As usual, 1.11hook you up w i t h m e choice software and a new machine, if you w a n t one.” Vrodrick offered.

A blue light flashed got another call.“

over Vrodrick’s monitor. “ h e y , h a n g on, I’ve

h e h i t a key on t h e keyboard and t h e music paused midscream. n e monitor to his r i g h t became a video screen. T h e face of a paleskinned female elf w i t h golden hair appeared. Dressed in a gray-green cloak pinned w i t h a large silver broach in t h e form of a lion’s head bearing t w o large emeralds for eyes. B u t it was t h e elfs own eyes sparkling as brightly green as t h e emeralds t h a t first caught your attention. h e r regal nose, her unblemished elven beauty, and her straight posture revealed her to be a noble of some importance.

-

“Aesira’?” Vrodrick answered

with surprise, ‘hello.”

“hello Glorian,” t h e woman responded solemnly. Glorian was Vrodricks true elven name. ‘There was m e t h i n g in t h e way she w a s looking at him. h e had known her for a long time; it was not good news. “’f%rry t o interrupt,” Aesira said, seeing Phaeron on t h e monitor beside Vrodrick.

‘bey,I was leaving anyway.” Phaeron interjected. h e changed into a n Asian woman dressed as some sort of cyberninja, while t h e room around him turned into sci-fi space station w i t h huge windows and tons of computers. “Gotta go.” T h e n t h e transmission ended. ‘That’sokay, w e were done anyway.” Vrodrick answered, looking into her eyes. Aesira was his former lover and now his sisterin-law. 4 h e was trying to hide her distress, b u t it was plainly visible t o him.

.or what was t h a t T Aesira questioned. ‘PhaeronO h e ’ s what they call a ’simsu’ - a cyber-gargoyle of sorts. I’ve come to depend on him in handling some of my more difficult research. Anyway . ..it’s been a long time since w e ‘Who..

Vrodrick did not respond immediately. h e could only think of hi hotheaded yOunger brother, Trevan, w h o had long ago ed t h W a t c h +gainst Vrodricks wishes to protect t h e world fr Zurgoth, t h e dark lord of t h e North.

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“have you sent out trackers or t h e shadowalkers’?” h e asked. “No, t h e lords have not agreed t o do so.” h e r words filled

with

. ..

‘l3y t h e gods they had b e t t e r send t h e m out now all of ‘Tell t h e m tell t h e m t h a t I a m returning and they had find him before I g e t there or there will be hell to pay.”

.. .

‘You know that you a r e no longer a respected lord here, Gloria Your authority is no more.” f5he instantly regretted remindi him. ‘Yes, of course I know that,” he paused briefly, “‘butB still t r u e friends among t h e council. And I’ll see every noble w against w i t h his head on a pike before winter’s end.” ed calmly. h e thought he had left his old life behind, but to1 self t h a t he should have known b e t t e r t h a n t o believe t h a t wa possible. h e knew t h a t his brother was going on all t h e deadlies missions. h a d i t been Trevan’s choice or had t h e nobles directe their revenge against his brother to g e t t o VrodrickO

‘Iwill klo as you ask. monotone and solemn.

Pray that it is not

too late,” her voice

Good-byes were exchanged and Vrodrick prepared his t h i h e would t u r n over his dominion and sanctum to t h e fellavsh h e could mt expect t h e m to follow him on his foolhardy mi it was his brother w h o was missing (and most likely captiv some dungeon.. if not dead.)

.

No. his time w i t h t h e fellowship was at its end; his would have to come first. 00

homas had no problem finding Atlanta’s g r e a t t h e Vanir. T h e immortal godlings owned t h secret sanctum located i n Cumming, G too far north of Atlanta, yet far enough to be a n intrusion on t h e dominions of i daevas. h e pulled up t h e driveway a few yards before reachi fence. It was unmanned, but a voice came from t h e speaker 1u t h e left.

talked. 1 s everything okay’?” Vrodrick’s voice told her t h a t he already knew something had t o be wrong.

A female voice, 6 g l i s h by accent and s t e r n by inflection, from t h e speaker. ‘ W h o a r e you’?”

“Look, I’m sorry t o bother you t h i s late, b u t it’syour brother. he’s missing. W e believe he has been captured near 4tiletro’s

‘My name i s Thomas Morgan, I ’ m here to see Marshall Bruncson.” T h o m a s responded. Book of the Spirits Q

Who a r e the seven daughters?” stood there like a s t a t u e w i t h his eyes moving back and locking on Marshall. ‘Yes, I[ knew Josiff. I[ know w h a t you have seen in your visions. Would you be.willing t o talk t o me in private? Marshall responded. his hands moved t o t h e waist, pushing back his black trenchcoat, revealing a n ancient longsword at his waist.

..

I a m alone, and I have ‘ T m not of house Vanir. L e t me i n . n led here in t h e way our kind a r e often led. My mentor, Josiff nd here as Abraham Escher, h a s been here was a moment’s pause. 9roceed.” T h e as drove up t o the main house.

“Yes. I[ can handle that” T h o m a s answered, still unmoving r i g h t hand resting upon t h e pommel of his own blade.

gate rose and

“No!You will discuss this before t h e r e s t of us. I do not need visions t o see t h e t r u t h of this m a t t e r . You dishonor t h e house w i t h your lies.” T h e woman looked from T’homas to Marshall, who seemed in u t t e r shock, as did t h e t w o other daevas. 4 h e knew. his secret was out. 4 h e knew he killed Josiff, even though Grostolis had supposedly clouded t h e prescience of all t h e other daevas, save for Josiff.

It was a large

three-story estate, modern in design on t h e side, but filled inside w i t h all sorts of ancient treasures g a t h illennia in addition t o every modern connce or luxury. “ h e r e were some forty daevas w h o m e t here thirty-six of w h o m were Vanir, t h e other four being e n t s who were being courted as potential . losiff a member of t h e Milesians, though he had never adapted their militant way of life. T h o m a s had chosen t o remain unafa t e d free from all t h e oaths and resuonsibilities reauired bv bership w i t h i n a household. Sertain’ly he had neve; seen t i e useholds t o be of any use.

-

Thomas parked his GTO i n t h e parking lot and walked along walkway toward t h e front door. “ h e landscape was beautiful immaculate with well-kept shrubs and trees. h e could Sense nearby: they were probably just unseen sentries bound t o ate. h e was stopped on t h e steps by four individuals men and one woman. P e r h a p s they were t h e only Vanir pret t h e time. Qach wore a n ancient sword on t h e i r waist. h e ognized one from his visions as Marshall. T h o m a s wore his own rd, but knew he could not face all four of t h e m in combat.

-

- his

T h e n it struck Thomas: this was Mariel. 4 h e was once Josiffs lover. T h o m a s did not know how she knew. Maybe t h e pair had ,i, renewed t h e i r relationship, or maybe they shared a soul bond t h e mysterious link t h a t sometimes appears between eldritch or more rarely among eldritch and humans. Regardless, she knew the r u t h . 3 h e had not revealed his treachery because she had known :i; tthat T h o m a s would come for his revenge and wished to give it t o him.

-

L L

+

’+(

Marshall took a step back, but as he did t h e t w o men d r e w their blades in a flash far quicker t h a n t h e human eye. Marshall countered by drawing his o w n blade, as did Thomas. Only t h e woman, sure of herself enough, did not even d r a w her own blade. S h e turned to face Thomas.

W h a t business do you have w i t h Marshall’?” T h e woman ,4he was muscular, a t t r a c t i v e , and intimidating. 4 h e looked i n her forties and had short, straight blonde hair. 4 h e was ost dangerous looking of t h e bunch. It was her eyes that

“Boy, you will have your duel, and you will have it here and now. Know that if you do not kill this traitor, t h e second duel against him is my own! h e either way, he will not live to see tomorrow. N o w fight!”

‘Thomas looked directly a t Marshall. “You know why 1have e here, murderer. I a m honor-bound t o do no less.” Marshall seen t h i s young daeva only in his visions, they had never m e t e t o face until now.

Marshall came at T h o m a s with blinding speed, but T h o m a s saw h i m coming. T h o m a s landed a blow t o Marshall’s left arm before pivoting out of t h e way of t h e man’s slash. T h e i r blades clashed innumerous times in a cacophony of metal. Marshall had t h e upper hand i n no time: like all Vanir, he was extensively

‘What do you

know of honor, little one9 You have no house, you e no loyalties.” One of t h e men spouted. h e was tall, athletic, h long curly black hair. his face was worn, b u t he was youthful a m a n in his thirties. h e fingered t h e pommel of his sword.

Thomas remained completely motionless, stoically so. Only his stare moved, replacing Marshall w i t h t h e insulting Vanir, ing t h e smile from t h e man’s face.

E

EVERLASTING Page IO

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trained and had won seaxneats ceremonial duels many times in t h e past. Only Thomas’ determination and g r e a t e r speed gave him t h e slightest chance against his well-seasoned foe. T h o m a s s w e p t r i g h t and s w u n g low, following w i t h a thrust. Marshall countered both strikes and sliced T h o m a s on the r i g h t shoulder on carrying his second parry through as a slash w i t h Thomas’ blade knocked out of t h e way.

Thomas swung around, moving backwards, crouching loui, w i t h an upward slash. Marshall countered w i t h a n underhand parry, knocking T h o m a s off his balance and to the ground. R a t h e r t h a n carrying through w i t h a strike, he backed off and allowed T h o m a s a second t o roll back up t o his feet before telegraphing a n overhand power swing t h a t T h o m a s was able to block. T h o m a s swept Marshall’s blade aside and carried through w i t h a riposte strike that glanced Marshall’s left side, b u t only slightly Marshall’s regeneration healed i t immediately.

from under

rostolis laughed. ‘You already have, fool. Ii know conscience is burning you. Laughable for a murd such as yourself. h o w many have you killed now Marshall9 W h y was Josiff or of your ow house so different from t h e r e s t 9 It doesn’t m a t t e knew you would be too w e a k in t h e end. l u s t as I know t h a t bitch, looking at Mariel ‘‘ and t h a t runt,” looking at T h o m a s ‘*knowtoo much and have t o die. You can all just give t h e convenience of doing so all at once.” T h e hideous face of t h e devil smiled a malicious smile. Grostolis moved down t h e steps. Already the t w o other daevas had moved down onto the lawn, taking up defensive stances, while T h o m a s had crawled to his knees.

-

Marshall d r e w his buck knife from t h e back of his belt w i t h his left hand while stepping a graceful half circle around Thomas, while t h e young daeva was still recovering his balance from his previous strike. T h i s left T h o m a s w i t h his back to his enemy for less t h a n half a second. More t h a n enough time for Marshall. Marshall carried through with a double strike of buck knife t o t h e kidney and sword through t h e chest, dropping T h o m a s to t h e ground.

”

Marshall stepped back and looked down on Thomas, bleeding but not dead. T o kill him m e a n t c u t t i n g off his head and storing it i n a jar until a method of t r u e method of destroying t h e godling could be found. Thomas should have won t h i s fight; Marshall felt t h e weight of it upon his very own soul, t h e weight of his dishonor. Marshall looked up at Mariel and waited for her to make her move. h e would spare this boy’s life, just as Josiff had requested.

‘1will

not g r a n t you t h e mercy you have shown t h e boy. You will stand before your fellow Vanir for punishment.” 4 h e said as she walked down the steps toward him. 4 h e stalked softly toward him with the elegant grace of a cat, weapon still not drawn, and w i t h t h e confidence t h a t only comes w i t h mastery of the blade. T h e t w o warriors on t h e steps beside her waited their turns, for if Marshall should win, they each would have t h e i r t u r n before l e t t i n g one of their own, one w h o possessed so little honor, from walking away. T h i s would be a fight between equals.

“3expect nothing from you. 4 h u t up and fight, crone!” Marshall yelled, as he danced toward her with his blade carving t h e air. Mariel d r e w her own blade and parried his strike in one motion. Thomas coughed up blood as he gasped t o consciousness. h e crawled still face down on t h e lawn toward t h e steps, hearing t h e battle behind him and watching t h e eyes of the two male daevas who were watching in tense silence. T h e n he saw t h e silently spinning red and w h i t e vortex open behind them. ‘T;huh, chuh Behind you!“ Thomas screamed.

...

Mariel paused at t h e same time as Marshall both looking toward the steps. A greater foe had come.

“No! No more blood on my hands! No more!” Marshall screamed as he leaped over Mariel, crashing down in front of t h e vortex just as Grostolis t h e many-colored demon, at least t w e n t y of his demon-possessed followers, and m e sort of nightmarish cyborg t h a t stood nine-feet tall lurched from t h e whirling glow of t h e

gate.

his jacket into t h e foreheads of two more. ‘3served y

as t h e bargain demanded. I[ will not betray my household.”

‘at’snot w h o II have killed. It is t h e visions that 1 have had since your return. You will not g e t away with it! Your plan will Go back t o hell!” Marshall spat as he leaped over t h e heads of era1 possessed mortals, landing in front of t h e demon. ‘You first.” Grostolis’ smile faded t o seriousness.

Q

time to look up just as t h e demoniacal deathme claws out of its fingertips and lunged w i t h unbelievable quickness right in front of him, placing itself i n fro its demonic master. Marshall parried t h e first claw strike, b u t a second one r e n t upward across his right side. Marshall moved backwards down t h e steps so as t o fight t h e monster on level ground. Marshall

had

+ popped retractable

’f

“This is my ’eviscerator’ Marshall. h o w do you like it!”Grosto laughed, as t h e nether-powered reanimate attacked t h e daeva relentlessly. Marshall struck it several times, but t h e overgrown bod pieced together mortal flesh and supernaturally advanced t e gy had t h e h e a r t and soul of a demon. along with its powers. T h e creature’s s t r e n g t h was astounding, and Marshall’s a r m s preternaturally strong i n their o w n r i g h t g r e w weary from glancing blows of t h e monster’s scythe-like claws.

.

I

-

Dybbuks s w a r m e d t h e steps around Marshall even as more poured out of t h e vortex. Thomas, Mariel, and the other t w o daevas attacked t h e hell-bound mortals vigorously, chopping t down easily. But there were too many of t h e m and the dyb lack of skill was offset by their deathwish fanaticism. ‘The d were berserkers and they would eventually w e a r t h e daevas T h e Vanir’s spirit guardians horrifying animal-hybrid t h i their own r i g h t solidified and fought tooth and claw besid masters against t h e demon’s minions.

-

-

ariel took to t h e air in flight and began wailing a dirge t h a t t many dybbuks into contortive seizures. One of t h e male Vanir apeshifted into a fiery form and struck down demonspawn ‘th a flaming sword. T h e other Vanir flashed between solid and solidified form, striking down enemies whose blades ed rmlessly through him. T h o m a s and Marshall were left fighting nitty-gritty hand-to-hand against t h e creatures.

death, whose touchcould kill mortals, had never face3 a demon before and expected his power only to significantly weaken t h e demon long enough for Marshall to kill it. It was only then t h a t he realized his mistake demons w e r e not truly alive. T h e icy energy of t h e grave ed from Thomas’ fingertips, through t h e demon lord, and into Marshall, while another wave of t h e d e a t h energy coursed throughout Thomas’ o w n frame. Grostolis bellowed w i t h inhuman ghastliness before dropping Marshall and staggering away weakened, but unslain, though Marshall’s sword was still impaling t h e demon.

-

stolis merely w a t c h e d and laughed for nearly a minute t i n g in several dozens more dybbuks. h e ordered his h t o break off its a t t a c k on Marshall and began lumberw a r d t h e daeva himself. T h e deathmech phased into t h e like a spirit and began fighting t h e phantom-form Vanir it had been fighting MarshaIl.

-

-

Grostolis was a powerful demon, and though still w e a k from his cent summoning. he was far more powerful t h a n Marshall: t h e itorous daeva did not stand much of a chance. Marshall began rling knives at t h e demon, but t h e blades bounced harmlessly t o und. h e rushed at the demon lord, summoning his o w n st powers. Glittering black spikes of solidified darkness ed from his flesh just as his skin became black as t h e abyss: he d as if he were covered i n deadly thorns. €$en Marshall’s blade became coated in this barbed armor of night. uttered a n incantation while gesturing with his free e dybbuks that were slashing at him had t h e i r weapons ected back at t h e m w i t h double force killing them.

up hellfire and bound it in t h e forms of a n axe hield, while tiny rainbow colored imps emerged from pockets flesh. Armed with needle-like fangs and poiall nether-things flew toward Marshall; half away by t h e daeva’s magick, but Grostolis’ ed up a small hole i n Marshall’s shield and of t h e imps flew in. They began g n a w i n g and cleaving away night armor, while Marshall ground t h e m to pulp with smack of his hand or grind of his arms. T h e master and und former minion clashed together and their battle shook he combatants to feel t h e vibrations and Thomas having called upon his o w n powers a minute earlier g h t i n g with his sword before seeing any results. T w o ed confederate dead finally faded into substance from e from a nearby c i v i l War graveyard due beckoning. ‘The confederates cleared a path among t h e t h cavalry sabers, knives, bayonets, rifles, and pistols. too. T h e demon lord injured Marie1 severely, pillar of hell flame. 4 h e lay unconscious nearby. had been decapitated and eviscerated by t h e all, t h e fire daeva, four Vanir spiritas remained standing in defense. Grostolis e axe and was holding Marshall by his a was driving his black sword into t h e s chest. T h i s gave T h o m a s his one chance t o strike. e a t e s t power, he skulked up on Grostolis

.

THEEVERLASTING @ Page 12

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T h o m a s collapsed to t h e e a r t h , drained by or perhaps reeling from his o w n d e a t h touch. h e crashed t o t h e ground beside Marshall, whose armor was dissipating rapidly. Around him t h e sound of battle continued to reign. h e could barely hear Marshall’s utterance.

.. .

‘I’m I ’ m sorry kid. I only w a n t e d t o be with t h e woman 1 loved,’’ w e r e Marshall’s last words before Marshall’s rapture t h e release of his supernatural energies upon dying.

-

T h o m a s did not understand: confusion gripped his mind. Flashes

1

k j .+

- prescient visions perhaps - blasted between his thoughts like

images in a rapidly flipped through photo album. No time t o understand w h a t they meant. It was only w h e n T h o m a s tried t o scream that he noticed that he was not breathing. ‘ W e are leaving. O u r work is done.” T h e voice belonged t o Grostolis. T h o m a s rolled his eyes: his head would no longer turn. ‘The Vanir mansion was on fire, and he w a t c h e d as t h e last of t h e dybbuks and some hell-bound eldritch he had not previously noticed r a n from t h e burning building carrying all sorts of valuables. Grostolis ed through t h e vortex, disappearing with his wounded deathmech and t h e remaining dybbuks.

-

-

T h o m a s felt himself growing colder. his touch had never been enough t o kill one of his own kind; i n fact, it is almost impossible t o kill godlings except through t h e i r innate vulnerabilities. had t h e demon had somehow twisted or amplified Thomas’ power’? h e could not know. Maybe Marshall’s o w n reflective power had done something t o his d e a t h touch. B e t w e e n t h e snapping images flashing through his mind, T h o m a s noticed Marshall’s spirit pull free from his body as a g r i m reaper ed from a shadow by the building. f5lowly t h e t h i n g approached, t h e n stopped and looked down at Thomas, not a t Marshall. T h i s had never happened before. T h e n t h e grim reaper turned slightly, looking T h o m a s over carefully, scythe handle planted firmly in t h e ground by Thomas’ feet. Gleaming reddish light reflected from t h e scythe blade and c a s t a glow on t h e monster’s frightening skull face. T h e Vanir e s t a t e was burning. h e couldn’t feel t h e heat. h e couldn’t feel anything. T h e n t h e blackness took him.

00

Part Four continues in the Book of the F a n t a s t i c a l

Behold! Human beings living in an underground den . , . Like ourselves . . . thqi see on1, their own shadows, or the shadows of one another, which thefire throws on the opposite wall of the cave. Plato, The Reaublic

-

You have found your way past the mundane world to a place where you found this book. Thinking that this all about, this curious Book

would be interesting, you purchased it. N o w you are reading i t and wondering what it

of

the Spirits.

It is about the world we live in - a spirit world - for we are spirits covered in flesh and bound by bones. O u r lack of pre-natal memories of the spiritual realm bears n o consequence upon its existence. Within this orientation you will discover that there are other spirits, non-human spirits, walking about this physically manifest world

. . . and

of their condition. A n d these eldritch beings are of a nature that allows h l l y experience the spirit world by leaving their bodies behind. Create as your protagonist one of these enti-

they possess great wisdom and knowledge them to

ties and step wholly into the Secret World. T h e unseen spirits all around you are watching and waiting t o see what happens.

Do you believe reality is more than what you see? We can divide normal experience into four domains: external world (society and the environment); the body (our interface with the world and source of sensations); the past (memories) and the inner world (thoughts, emotions, and fantasies). We take much of what happens in these four domains for granted, believing our reality to be solid. Our body is key to reality; the surface of the body is covered by specialized organs that convert physical energies of various sorts light, air pressure changes, mechanical forces impinging on the skin, and so forth - into nerve signals. Nerve cells (neurons) use an electrochemical process of communication with our brain. Our perception is based on these messages. The messages tell us the fixed identities and meanings of our environment - it is something we supposedly discover, not construct. (We don’t have to open our eyes in the morning and start arranging colors and shapes into forms, we simply observe them.) Yet our perception is at least partially constructed. The brain receives millions of messages simultaneously.These signals are raw material for the mental act of world construction; we arrange these raw signals into coherent forms by hanging them on the framework of reality we have preconstructed over the course of our lives. Our reality framework is made up of our assumptions, expectations, desires, and fears. The innocent dwells in a world of simplicity and beauty, while the consumer dwells in a world of products to be bought. These frameworks are more than attitudes; they determine our perceptions. For example, a hunter and a botanist walking through the woods together will notice vastly different features of the world. The creation of reality involves near instantaneous detection of the environment, the knitting together of signals, the brain’s discernment of meaningful signals based on comparison with memory, the discarding of uninteresting or unidentifiable features, and the highlight of potential threats or opportunities. Creating reality through our messaging and construction process takes 60 to 80 milliseconds, so the “present” - with its sense of stability, solidity, and meaningfulness - is actually an experience of the past. The body itself is subject to errors in of self-awareness as well, such as phantom-limb syndrome and natural illusions that fool the senses. The past is also a subjective, changing part of our reality. Each time we recall a memory, it is actively reconstructed. The memory is more like an oil painting than a photograph, with our mind as the artist. Our mind “paints” the memory using not only the actual past events, but also our current feelings and needs as well. Most people resist the idea that memory is an invention; the implications are profoundly disturbing. Despite this, psychological research has proven that this is the case with memory. Our inner world represents the very core of our being, just as Descartes (French philosopher) said “Cogito, ergo sum’’ - “I think, therefore I am.“ Yet pinpointing what is actually the substantial self, the “I” reveals only less understanding of what is the self. Our sense of self expands during dream to include an external reality, even other people. As children we have imaginary friends outside ourselves that are still part of ourselves. I cannot define myself as being the feeling of my empty stomach, my spiritual convictions, my dream about last Christmas, my memory of yesterday, or my fantasy of being a great musician. Thus, even defining the reality of the self is a “slippery slope.”

Do you believe reality is more than what you see?

This chapter and the two thatfollow it provide everything you need know in order to participate in The Everlas rokp layii

backgrou,

over what you say and do. It is your job to discover and act within the scope of your protagonist’s personality, interests, beliefs, I never heard strengths, weaknesses and motivations, even So mwical a discord, such sweet thunder. if you and your character are totally differWlliam Shakespeare, ent from one another; in fact, that is what A Midsummer-Niphti Dream roleplaying is all about. You should always HE. consider your protagonist a real person in a real situation and always have her act in accordance with her personality and beliefs. All roleplaying is handled through talking, gestures, and facial expressions. supernatural realm called Participants commonly sit together, often the Secret World. It is a world that is right at a table, but anywhere you are comfortthe& beside you all the time, just a sidestep able will do. You roleplay by simply stating away, but you cannot see i t . . . except your character’s actions and then determine through your imagination. This foundation if those actions were successful through book will lead you to the edge o f our the use of guidelines (rules.) T h e rest of it, mundane reality, to the threshold of a especially visualizing what happens, all magical world that is far more mysterious occurs within your imagination. and potent than our own. . , a world o f Your protagonist takes the form of a the supernatural where much personal reveboring list o f numbers and comments latidn may be found. ’ called a Protagonist Profik. While characters Through The Everlasting you can build are not handled this way in books and your own personal mythology, reflecting movies, this system works best for The your fears, doubts, dreams, loves, hatreds, Everlasting. T h e protagonist has different cou age, and strengths. You can display and types of scores that reflect her chance of stu your own convictions and assume succeeding in whatever actions you want oth& personalities. Interacting with other her to attempt. Once the chance of success par&cipants, you will see yourself reflected is determined, the guidelines are applied to in other people and other people reflected see if the protagonist succeeds. This is in yburself. Hopefully you will grow spiricommonly handled through either drawing tually, emotionally, creatively, and socially cards or rolling dice. There is almost from this experience and it will aid you in always more than one way to accomplish a your day-to-day life. Active escapism can given task, so always consider your protagprovide you with relaxation, enjoyment, onist’s strengths, weaknesses, and personalisocial-interaction, and cheap entertainment ty when choosing her actions. Go with so long as you do not become obsessive. whatever actions are, first and foremost, in -keeping with her personality and, secondly, those which she stands the best chance of performing successfdly. Protagonists and all other characters cannot address participants and vice versa. In t& middk of the jwrngl of our I$ I came to However, you can address other particimysey within a dark wood where the straight way pants yourself in discussing things about was lost. the system, such as guidelines or card D a w The Divine Come& draws. Otherwise, when you want your protagonist to say something to other charROk$ying is pretending you are Sm~eOne acters, you should always address the parelse. In The Everlasting, YOU roleplay a ticipants who are roleplaying the other hero called a Protagonist and pretend YOU are characters as if you are your character, and her while participating in the experience. In they in turn should always address you as mar-+ ways roleplaying is improvisational if they are their characters. actifig since you act in the role of another

-

EVERLASTING

takes place in a modern

b

dQalla2i ~ , axa g araGter -

lnferno

You can use accents, hand gestures, facial expressions, or whatever else you feel comfortable using in expressing your character. You should make your protagonist different enough from yourself that other participants will know whether you are speaking as your protagonist or as yourself. You can extend your roleplaying to involve some degree of Live-Action, if you wish. Live-action means that you actually move about and act in the role of your protagonist, just as any actor would in roleplaying a character. This is in sharp contrast t o sitting and talking as a method of roleplaying and it can be very useful in breaking up monotony and enhancing drama. Live-action does, however, have several limitations imposed for safety. Never use live-action for any scenes that involve violence of any sort, scenes that might be offensive or dangerous to you or any other person, or scenes that might cause harm to any person, place or thing. Never carry weapons (that includes fake weapons) since they can be mistaken for the real thing. Never physically touch anyone in live-action, but you can move about, rant and rave, cry, or d o whatever else you feel is appropriate. Never perform live-action in a public place or anywhere else where there may be people around who have no idea as t o what you are doing.

ommunal protagonists are protagonists that are traded from participant to participant with each new story. It may be interesting for protagonists to be divvied out to different participants each session, since this means less emphasis o n power-seeking and more emphasis on characterization. Each participant can bring new ideas and perspectives to the protagonists as they

take turns roleplaying them, while stil roleplaying the protagonists within the boundaries of who they are meant to be. Treating protagonists as communal property also makes it easier on participants when their protagonists get killed, since it makes those deaths less personal. In cases where protagonists’ deaths occur, the participants roleplaying the deceased should not get blamed for ”getting the characters killed”, since good stories are filled with deadly dangers that could kill off any protagonist. When a protagonist is killed, simply fill the empty slot left with a new protagonist. It is easy enough JUSt to rotation so that not all the protagonists are used during a story. This way, when a protagonist dies, another one can always be logically brought in without hesitation. Participants can brainstorm together over the types of characters they desire and then work together in creating the characters they choose. This prevents problems arising from two or more participants wanting t o control protagonists who are nearly identical. T h e greater variety provided by communal protagonists can keep things interesting by providing new roleplaying challenges each story to all the participants as they take o n new characters. Communal protagonists may also vary more in power and experience level since all participants get the opportunity to roleplay all the protagonists equally. Communal protagonists of differing supernatural races provide participants with totally different perspectives on the Secret World with each ing story. They can roleplay dashing and heroic questers one story, cruel and hedonistic vampires the next, and mysterious and feral manitou the next. A personalized system for trading off Protagonists is advised. It works best if the protagonists are assigned at the beginning and not try t o always play the same character. In fact, it is best if the protagonists are all listed as a rotation and a participant starts with one protagonist and then trades her off, taking the next protagonist listed in the rotation. With each new story, the participant takes the next protagonist in story, moving all the way around the

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One benefit that comes from using communal protagonists is that certain characters that are necessary to the story can be used regardless of which participants show up. Another benefit is that all the participants will care more about, and understand more about, every one of the protagonists. To this end, the protagonists' journals (see chapter 2) may be ed around and filled out by each participant as they take their turns with the matching protagonists. This is helpful since many participants do not care about their fellow participants' protagonists. Often they do not even bother learning their names, and could not care less who they are beyond the most basic stereotypes. It is best if the Guide keeps copies of all the protagonist profiles, though other participants might also keep copies if they desire. This prevents someone who is not coming back t o participate again from leaving with a protagonist.

Sing in me, Muse, and through me tell the story. - Homer, The Odvssg!

ong lost are the days when people sat around listening t o stories told by traveling bards and tribal tale-keepers. These poets and lore-masters not only entertained us through our imaginations, they taught us about ourselves -- who we were, where we came from, and (most importantly) where we were headed. The countless myths of our cultures ed down through the ages, teaching each subsequent generation the central truths of our lives and what it meant t o be us.

we grown lazy and most of us our imaginations. It is far easier for us to just sit back and let others do the work for us. While technology has provided us with access t o knowledge, we no longer participate in our culture - we have become spectators. We have become so reliant upon special effects, glitz, and glamour packed into movies and television programs that we n o longer need our imaginations. Storytelling is all about reviving our imaginations. Through T h e Everlasting we can experience far greater wonders than even the most expensive, cutting-edge special effects can provide. All we have t o do is simply try. Storytelling is not a ive form of entertainment; it requires your involvement. It is your duty to share in telling stories with the other participants. Together you can tell tales that will hold personal meaning to you. Storytelling is a very simple process all you do is tell a story which centers o n your protagonist. It can be of any duration and focus on anything you want. In T h e Everlasting, it is common for one or more people to serve as Guides for a story. Guides create the story's plot and describe events and settings. It is the duty of all other participants t o assist the Guides by taking active roles in telling the story through roleplaying their protagonists and directing their actions. that the good of the story should always come before the good of your protagonist since all participants share the story. You can also assist the Guide by taking on some of the Guide's duties, such as roleplaying ing characters, handling card draws (or dice rolls) for ing characters and antagonists, or developing and running your own subplots within the stories. uv l l v c

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We spend our lives acting. - Lord, The Silver Metal Lover, by k i t h Lee

he whole purpose of

You can fashion your own Personal Mythology through storytelling, granting you insight into your life and world. You may even gain practical wisdom if you know how to look for it and apply it. You stand at the gate of dreams and hold the key within your own mind. Once you enter into the realm of mythic possibilities it becomes your duty to transcend the mundane, to create your own legendmaking experiences, and assist with those of your fellow participants. Legendmaking involves the use of allegory - giving a deeper symbolic meaning to your stones. People, places, objects and events often serve as symbols representing people, places, goals, fears, inhibitions, and other aspects of your own life. Legendmaking requires evoking mood, drama, and epic adventure. Rather than simply telling stories, you are crafting your own legends of epic heroes, villains, giants, gods, and dragons. Ethoi (see chapter 2) help you choose the sort of Hero’s Journey you would like for your protagonist to attempt. Work with the Guide in determining what you would like to get out of the Hero’s Journey and the type . _ of stories you are interested in creating. Help strengthen the believability of the setting and the characters, especially your own protagonist.

THE EVERLASTING is to allow you to build your own Personal In this modern, mythless age, we Mythology. . all need some dreams t o explore and some special wonder in our lives. Through a personalized style of storytelling you can find the magic within yourself; this process is called Lqendmaki?e. ways to - There are many . . pursue legendmaking, but the best place to begin is by consulting the list of inspirations contained in this foundation book, taking particular notice of Joseph Campbell’s works, especially The Hero with a Thousand Faces and The Power of Myth. Through legendmaking, you can explore your own goals, dreams, desires, shortcomings, nightmares, and fears within the context of make-believe stories. By placing yourself symbolically in the role of your protagonist, and by sending your protagonist upon her (and your) own Hero’sJourny, you can explore magickal places and experience wondrous things through your imag-

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here are rare and fleeting occasions during roleplay wren you reach an altered state of consciousness; your creativity takes hold and becomes so vibrant that you transcend mundane life. No drugs or alcohol are involved - it all happens through the intensity of your imagination. Most experienced roleplayers have had at least one experience of this sort, though many long time roleplayers have never even come close. Some roleplayers find themselves in these altered states of consciousness when they roleplay a setting or character for the first time, especially with a talented Guide and others who take the experience somewhat serious. T h e key lies in preparing yourself for new experiences and in letting your imagination become its own world. It also helps to prepare yourself mentally by relaxing and contemplating your protagonist and what the world is like for her. Ksualize your protagonist's world and what it is like t o be her each and every day. Think about all the magic and mystery in her life and make it your own. Try as we might to grasp and exploit this powerful, mystical state of wonder, it cannot be captured and canned. You must find it o n your own through your own legendmaking experiences. Hopefully, this foundation book will provide you with advice o n preparing yourself and inducing these altered states of heightened imagination as often as possible.

In describing system mechanics, the text within this foundation book usually refers to cards and card draws instead of dice and dice rolls. T h e purpose of this choice in terminology is to maintain clarity and simplicity for the reader. Wherever it refers to drawing cards, simply consider it rolling dice if you choose to use the dice system for T h e Everlasting.

T h e mythic experience can be a form of art - what participants create through their legendmaking represents thr art itself. The experience is performance art since participants are very much like actors, yet it is also like authorship since participants create not only their own roles and lines through improvisation, but their entire reality and everything within it. T h e stories created are works of art, just like plays or books. They are, however, of a more transient and fleeting beauty. Everyone should strive to make the legendmaking experience as artistic, grand, creative, entertaining, and memorable as possible. Each participant is responsible for trying their best to add something of value to the creation, while working with others as a performing troupe, integrating one another's desired concepts without rivalry or pettiness. Unlike other art forms, performers (participants) in the legendmaking experience represent their own audience unless new people are invited to watch until they are ready to participate. Perhaps one day a wider audience will enjoy and appreciate roleplaying, storytelling, and legendmaking. T h e only way we can achieve this wider appeal and dispel negative perceptions concerning roleplaying games is by presenting the mythic experience as fun, harmless, and creative.

While it is possible for participants to just sit down and begin storytelling without any sort of guidance, it is difficult without some sort of Guide. A Guide is a person who provides plots and storylines, directs story events, maintains the mood, serves as fmal arbiter of guidelines, and creates Odysseys, which are overarching stories composed of lesser stories. One person often best handles this large collection of tasks, but the Guide must give up the benefit of roleplaying a protagonist because she will be so busy guiding the experience. In T h e Everlasting, however, the Guide's roles are usually divided up amongst all the participants, so that no one person has all the authority and no one person directs the entire course of the experience, thus making T h e Everlasting Controllerless.This allows everyone t o roleplay a protagonist, and only the person directing the plot is limited in

actions. It is up to you and the other participants as to whether one person or several serve as the Guide. More information concerning the role of the Guide is included within chapter 12.

T h e greatest duty of the Guide is making stories fun and interesting. To do this, the Guide must first invent the premise of a story and what will generally occur. T h e objective is to come up with interesting plots while at the same time allowing other participants great freedom and input in directing the course of the stories. Giving participants total freedom in controlling their protagonist’s actions does this to a great extent. Visionary Entertainment will be publishing books of stories for T h e Everlasting, but the best stories are those that are tailormade for your particular protagonists. T h e following sections provide you with insight into story creation so that you can craft your own tales.

Stories are composed of four vital elements, which are: Plot, Subplots, Setting, and Characters. While other participants can develop ideas for each of these story elements, coordinating them into an actual story is the Guide’s responsibility. Plot: T h e Plot defines what a story is about, including the primary objective and the events which will most likely take place in the story. Plots should start out as simple one sentence ideas that describe a series of events, such as ”The protagonists will discover an old enemy is back in town, will track him down, and will discover that he has become a powerful drug lord.” T h e Guide plots out the “who, when, where and how” of the particular events. These events are

previous example, possible scenes might include: a situation where the protagonists find out about their enemy’s return from an informant, a scene where the protagonists track the villain to a guarded estate, a fight scene with the enemy’s minions, and a scene where they face their old foe in his drug laboratory. Subplots: Subplots are outlines of sub-stories within stories. They are basically the same as plots, but they often focus on individual characters rather than all the protagonists as a group. They can also focus on events of lesser importance that simply have nothing to do with the main plot. Setting: Setting defines the times and locations in which a story takes place, along with the milieu, mood, and theme of the story. Different scenes usually take place in different locations, so it is good to plan out the locations for ease in describing them. Milieu represents the type of fiction the story will be, such as horror, mystery, romance, fantasy, and so on. Mood represents the feelings conveyed within the story, such as terror, wonder, suspense, humor, and romance. Theme is the central lesson or concept that runs throughout the story, such as ”Death before Dishonor” or ”Bad Luck Runs in Threes.” By blending the many parts of setting, a Guide can create all sorts of stories, limited only by her imagination. Characters: Characters include Protagonists, ing Characters, and Antagonists. Some characters require only basic descriptions, while others need their personalities, aspects, and abilities fleshed out since they will most likely be involved in card draws with or against the protagonists. ing characters and antagonists can be recurring characters, meaning they will appear in more than one story. Recurring characters add a sense of realism and stability while providing connections between stories.

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tories usually follow a chronological format in a certain order: Exposition, Escalation, Climax, Denouement, and Reward. Once you have an idea as to the plot, subplots, setting, and characters, you can turn that information into an actual story. You create the story by breaking events down into individual scenes. Exposition: Exposition is the means by which protagonists are introduced to a story. It may occur in any number o f ways that hook protagonists into the story. Exposition allows participants to familiarize themselves with the setting and background of the plot. From there on out the events take place based upon the protagonists’ actions. Often Protagonists are introduced to a story through a ing character who comes to them for aid or by witnessing something of importance that directly relates to the story. Stories can also grow out of protagonists’ personal goals and interests. For example, if a protagonist took an interest in helping save the rain forest, it might lead into stories, if the Guide is willing to build on this effort. In addition, a Guide may assign a protagonist a personal motivation in order to get a story going quickly. Escalation: The main body of the story is composed of several scenes that will gradually build up tension as the protagonists learn more about what is going on. T h e danger and pace of action increase and eventually lead the protagonists to the climax. There can be any type or number of escalation scenes within a story. Often these scenes are determined by the actions of the

and reach the edge of victory, they must face their most difficult challenge in the climax. In addition to furthering the plot, escalation can include many surprises, such as plot twists, scenes focusing o n subplots, chance occurrences, and protagonist-driven events. These extra Scenes often make the story far more interesting, personal, and realistic. Climax: T h e C h a x of a story is the most thrilling scene, the protagonists may defeat their foe or accomplish some great task, but they may also fail utterly. Unlike in the movies, the good guys sometimes lose the battle in legendmaking. T h e climax comes near the end of the story, after many escalation scenes have built up to it. While many previous events in

up to that point may have the climax should top

greater than that during during the story. T h e outcome o f the climax is victory or defeat (be it partial or total) and a resolving of the story. Denouement: After the climax, things settle down and protagonists put their lives back into order again. During this time, loose ends are resolved and information is revealed, such as why certain events occurred. However, sometimes things remain mysteries and loose ends might one day serve as lead-ins to future stories, should the protagonists pursue them. Reward: Often the protagonists’ victories will go with any reward, but sometimes those who know of their accomplishments hail them as heroes. They might reap some reward, even if it is just a reputation. The participants award their protagonists experience points, which may be spent on improving their protagonist’s powers, abilities and other qualities, showing how the protagonists have grown from the experience.

a

n Odyssey is an epic story arc that links many

individual stories together as one over-arching story. It is similar to an ordinary story, but it is much grander in scale and takes much longer to roleplay since it is actually composed o f several individual stories. T h e Odyssey serves as the protagonists’ Herok Journgt, with the individual stories serving as steps to some great achievement and reward. Each protagonist has a special quality called an Ethos (see chapter 2 ) that reflects her mythic role in the Odyssey. Odysseys are described in greater detail in chapter 13.

While the following information is only a shallow overview of the setting for T h e Everlasting, it provides you with enough information for you to begin participating in the experience. You will learn much more through the rest of this foundation book and through other books for T h e Everlasting. Magick and the supernatural are very real within the Secret World. Supernatural beings are generally referred to as the Eldritch. Among the eldritch there are many beings that are immortal in one form or another; these immortals are called the Everlasting. This mythic system focuses primarily o n the everlasting within the Secret World, but also includes information concerning the other eldritch. In T h e Everlasting, you may take o n the role of vampires, elves, dragons, gargoyles, monsters from the Dreamworlds, corpse-eating ghuls, dwarves, modern day knights of the round table, animal totems, wizards, and other types of creatures.

damnant quod non intelliptnt (They condemn what thgt do not understandJ Latin proverb

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here are severa1 themes that run through U

The Everlasting, but none are as important as the following:

Prejudice and ignorance, along with a lack of understanding and comion, will ultimately lead to the destruction of us all. A mysterious and extremely disastrous event has occurred within the Secret World, releasing countless demons upon the face of the Earth. Few eldritch know how it happened. Most simply refer to the event as the Death Knell, for they believe it marks the end of the age of magick . , . a time when a New MytboloD will arise. Long ago you would never find the different races of immortals working together, but times have changed; their survival is at stake and they know it. It may already be too late for their kind, but at least they can fight the demons in a grand Ragnarok of their own making before they themselves expire. T h e demons, once locked behind powerful wards within the Astra (the psychic realms), now roam the Secret World freely. Many o f these “Beasts of Fear” are closing the gap between the Secret World and the Real World (the world ”normal” people like you and I inhabit.) Humanity is at risk and the everlasting are the only eldritch capable of (or interested in) standing against the dark forces of the Netherworlds. There is still great hope for the future. For though the everlasting gentes (races) know almost as little about one another as the mortals know, the everlasting are recognizing that they are bound to one another by some greater destiny. Groups called Fellowships are forming everywhere. In these fellowships, eldritch of all sorts are closely

working together in protecting both the Secret World and the Real World, since the eldritch call both levels of reality their home. Now their only hope for survival lies in overcoming centuries upon centuries o f hatred, mistrust, and ignorance,

The Everlasting is not about gloom and doom; it is about magick and wonder. Aside from the primary theme of the mythic experience, there are two secondary themes that will shine through in the course o f legendmaking: Loneliness is a way of &e. It is difficult watching the cycle of birth and death and recognizing mortals as ephemeral beings who are here for but an instant and then gone. Many immortals lose their sense of value concerning life and view the vast sea of mortals in which they live as nothing more than a herd of cattle, while others strive to hold onto each ounce of their precious humanity. Love does not come

easy for the everlasting; while some find solace in the company of mortals, most find that mortals can never truly understand them. There are many among the everlasting who seek out others of their own kind, for only they understand what immortal existence is like because they share it. It is easy to hold on so hard to the world as you know it that you completely lose touch with the world as it realb is. Technology is developing at an ever increasing rate; within the last two hundred years we have gone from horsedrawn carriages to space ships. We are rapidly moving towards becoming a ,global community. . . if we do not destroy ourselves first. For someone who has watched the slow growth of mortal society over the course of countless centuries, the events of modern day must seem to occur at a dizzying speed. Add to this the fact that few things around the everlasting last forever, especially people they love, and it is no wonder they wrap themselves in personal habit and rituals to add a sense o f stability to their lives. It is their countless quirks and habits that keep many of the

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everlasting sane, but sonic have taken their ritualism t o an extreme and they teeter on the brink of madness. The key to survival is adaptation and many of the everlasting have simply lost their edge.

side &om these three major themes of this mythic experience, there are several elements that can provide foundations for stories in T h e Everlasting. You must decide what you wish to place the most emphasis upon and there are several elements to choose from. Combine as many as you like in evoking the mood you like and in creating the stories you want to experience. Action & Adventure: Supernatural beings are rare, so the protagonists will probably spend more time fighting the mortal minions of their eldritch antagonists than they will spend fighting actual supernatural enemies. Gun battles, daring escapes, and wild car chases make for as much excitement as any head-to-head confrontation with the supernatural. Conspiracy: Within both the Secret World and the Real World there are many unseen forces at work. They lurk about in secret, conducting their hidden plans. Some protagonists may discover that they themselves are sometimes unwitting pawns in the master schemes of mysterious manipulators. Dark Fantasy: Rather than being about horror, T h e Everlasting merely views fantasy in a dark manner. Emphasis remains magick and mythology, but undertones of fear, shock, mystery, and evil sometimes arise as epic horror. Direct horror often comes too easy in roleplaying, but when hidden below much brighter and fantastical overtones it provides greater shock value and suspense. By balancing the darkness with light we can give the darkness greater depth and form. Exploration: Even among the eldritch there are great supernatural mysteries and

strange places yet to be csplored. Most the everlasting know only a small portion of what really exists behind the veil o f the Real World. There are many great mysteries left to explore. It’s time for a quest. Gothic: T h e bleak, brooding ambiance of all manner of gothic fiction (gothic horror, gothic romance, gothic science-fiction, or gothic fantasy) often finds its place among the tales of mystery and the supernatural found within T h e Everlasting. Gloom and the macabre can enhance the Secret World, especially when it comes to creatures of the night, mad scientists, and ghosts. Hardcore Realism: T h e greatest power of the Secret World is that it is invisible to all who cannot imagine its existence, For everyone, except the mystics, dreamers, and insane, only the Real World exists. Because of this, about ninety-percent of stories can take place soleIy within the Real World. In fact, the protagonists may question their sanity and their own preternatural nature. Historical Adventure: It is possible to roleplay protagonists at different times in history simultaneously. Through historical adventure, you can relive many of the world’s greatest historical moments and experience what life was like for our ancestors in ancient Africa, revolutionary , Victorian Britain, and in many other places and times. O u t of Space, O u t of Time: Since the Death Knell, many rifts have opened up between the earth and other places, times, and dimensions, allowing all manner of supernatural threats to from one world into another. All eldritch can sense these supernatural rifts and many seek them out, exploring new realms or protecting the world against the threat these rifts represent. Romance: Love is a very powerful force, serving as a valuable device in motivating protagonists and adding greater depth and realism to roleplaying. Romance helps offset the many dark undertones of the setting by casting the light of beauty and hope over a world filled with evil and despair. Romance adds a sweeping, epic quality to roleplaying that n o other element can provide, plus it can be lots of fun when handled in a mature manner.

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III Book of the Spirits @ Pag

World. Sympathetic villains and dangerous heroes can serve as useful tools in teaching us about how our own perceptions and backgrounds shape our views of right and wrong. Evil should never be glorified, but, by adding heroes with very human failings, pure good stands out that much more. Shades of gray will hopeful cause you and the other participants to think about your own protagonists’ motivations, values, and desires, along with those o f the antagonists, which can lead to more realistic rolePlay. Splatter Horror: Graphic violence should seldom come into play within T h e Everlasting, but every once in a while, when used in a mature manner, it can add storytelling value in the form of extreme horror, fear, and disgust. You must be moderate in your use of it, however, because it can be desensitizing. Surrealist Fantasy: Weird things often happen in the Secret World. Always stress the strangeness of events and the bizarre features in characters when visualizing scenes. Play u p the sense of unfathomable wonder of magick and the surrealism o f other dimensions.

You recall that Pickmaniforte wasfaces. I don’t believe anybody since Goya could p u t so much of sheer hell into a set offiatures or a twist of expression. A n d before Gcya y o u have to go back to the medieval chaps who did the gargoyles and chimaeras on NotreDame and Mont Saint-Michael. They believed all sorts of things- and maybe they saw all sorts of things, too,for the Middk Ages had some curious phases. I y o u asking Pirkman yoursey once, the year bPforey o u went away, wherever in thunder he got such ideas and visions. Wasn’t that a nasty laugh he gave you? - H.P Lovecrgt, Pickmani Model

THEEVERLASTING @ Page 26

homeless man you ed on the street earlier today really be a knight of the Round Table who has fallen on hard times in his quest for the Grail? Could the baying sounds you heard in the woods last night have been the cries of werewolves on the prowl? Could your neighbor-lady really be the sorceress you suspect? (She does seem a little weird. . and what were those strange lights coming from her windows late at night . . surely not the glow of a television screen.) There is a world . a daydream place . . . a Reverie. where

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Secret World just a sidestep away. Imagination is the key that unlocks the gateway into this magickal view of our world for imagination is magick . . . and magick is life. This place where magick is found in everything is called the Reverie. It is a realm that co-exists beside our mundane reality, overlaying it. T h e vast majority of mortals live their entire lives without seeing any real magick. Only children, animals, and a few adults gifted with vivid imaginations can perceive the Reverie regularly and even they can never perceive the full scope of it. Mental illness and use of hallucinogens can also allow people to perceive the Reverie, but they usually see it in a twisted and surreal manner. T h e Reverie is indefinable, but it might be said to exist in layers of ”depth.”The ”deeper” one peers into it, the more one loses touch with (and interest in) the Real World, and the more one becomes an actual part of the Secret World. T h e world becomes magickal and unlimited, but turning away from real life just to become lost in imagination is dangerous for a person’s sanity.

Now, he had not realized upon entering that all the trees were covered with costI, gems as theirfruit, Moreover, each one bad a agerent kind of jewel with various colors Ofgreen, white, yellow, and red. Thq all glistened, and their radiance made the rays of the sun in its midday brightness appear pale in comparison. - Arabian Niphts. "Aladdin and the Mapic Lamp " O n the Otherside, just beyond the Reverie, there are other worlds, forever ed with the earth. Few people know o f gateways for physically entering into these other realms, but they do exist . . . somewhere within us. The two realms most easily accessed, and most frequently explored by both mortals and the everlasting, are the Astra and the Dreamworlds. The Astra is a collection of realms entered through meditative out-ofbody experiences where thought has substance and ideas have form. T h e Dreamworlds are realms entered while dreaming where the subconscious rules and dreams define reality. Several sub-realms compose the Astra including: the Colkctive (the human collective unconscious composed o f universal thoughts and representing the largest o f the realms); the Menagerie (the collective for the animal kingdom); the Krdant Lands (the collective for the plant kingdom); the Inner Sanctums (each individual's personal astral realm); and the Netherworlds (unholy places where demons reside.) The Dreamworlds are, in many ways, wild reflections of the astral realms; they are composed o f unconscious thought, chaos, and some sort of vague omniscience that laces the substance o f dream. T h e same realms described for the Astra exist in more quixotic form within the Dreamworlds, but there is also Phantasia, a land of dream empires controlled by numerous dreamlotds (most of whom are mortal dreamers.) Another realm that is closely tied to earth, but more difficult t o enter (except to children and those lost in their imaginations), is fieryland. It is also known as Avalon, the Summerlands, and the Faey Kingdoms. Composed o f forgotten and stolen pieces of our world and others, it is a strange and wondrous place and home t o all manner of faerie creatures, including some that were once mortal.

Lastly, the most enigmatic of the kno realms is the Underworld Little is known about it by the living other than it is home to dead souls and other bizarre entities.

No longer will we have to seep into your world like pests through tracks in the baseboards. Once andjor all we will open thegates, Ly low the ramparts. - Pinhead, Hellraiser: Bloodlines

n the northern reaches of the earth there lies a lost land. It is a place that the eldritch wish would have stayed unfound and uned, but with it has been growing evermore greatly in just the last few years. This mysterious region is called the Doomlands, the Umbardor For, Urgul, and the Ljs Niru by the ancient races of elves, orcs, and dwarves. T h e area is roughly the size of Canada, but it occupies only Reverie-space, meaning it takes up no room on mundane earthly maps. This ominous land is dark, desolate, marked with craters, jagged, black mountains, and dry, gray earth. Yet parts o f it seem to have been altered into the opposite o f such lifeless extreme, such as jungle regions, a thick and overgrown forest, and rolling plains of dark green grass. In addition, frightening cities and villages filled

with orcs and nightmare creatures dot the territory. T h e Doomlands have also become home to some dragons that have returned from otherworlds. T h e Emperor of Doom, called Zurgoth, and simply the Dark Lord by his followers rules this land. This evil being is an eldritch of unknown race and origin. Some suspect he is a worldsinger, others think he may be a demon, yet others believe he was a mortal man who long ago learned the ways of dark magick, uncovered the secrets of immortality, and mastered the darkest forces within all the realms. A council of doomlords primarily serves this dark lord. Among the doomlords are three yugtuhul and one turncoat benedera. These dreamlords utilize

he moon as the very land

(See chapter 6.) The heart of the Dooml citadel called Ithul-Galhaz u$al Z Zurgoth’s Fortress of Great Sorrows. With vast, monolithic walls lies a city beauty and horror where the A assembles. T h e city includes the pal Zurgoth, the ”night palaces” of the lords, the encampments of several foul humanoids, and the homes of over 140,000 other nightmare creatures walk the earth freely. T h e legions of the doomlords are relatively small, co how large they intend for them t they make their move. T h e Doomlands wil no doubt grow in size and population, an the cities will increase in size and number throughout the dark land. A bottomless chasm ’Panning the southern length of the Doomlands, and ranging anywhere from five feet to seventy-five feet across, depending upon the location, separate the Doomlands from mundane reality. Eldritch capable of perceiving the Reverie can find places to enter the Doomlands, but only when entering o n foot. A large chain of mountains blocks the way, save for a few es. Automobiles, airplanes, helicopters, and other forms of mechanical transport cannot be used to spot the Doomlands due to the dream-reality nature of the region. Flight across the Doomlands through supernatural power is also dangerous because of odd wind currents and thermal

isides or tall trees, or even send them crashing into the ground. T h e air is like an invisible maze of strong wind patterns and the air is unusually thin at great heights as well. This is a magickal effect maintained for keeping out flying eldritch, particularly elves o n flying steeds. However, the doomlords’ own flymg forces seem to either know the pattern of wind currents well enough to fly freely or are immune to them somehow. It has also been suggested that perhaps the doomlords simply turn off the odd wind currents when their troops are flying through a region. (Flying intruders must make a Perception (I4 - Flying or Acrobatics) draw to fly any distance. Failure causes the fliers to land, while any successes allow for another draw. A disaster means a crash into something, age that comes from t Doomlands have he elves and dwarves have ces most involved in watching egion. According to the ancient hecies of the elves and dwarves, a new of nightmares would emerge in the and it is said to lead to the next War. Even now, countless nightmare es from the Dreamworlds are finding their way t o the south, entering the earthly own to the other eldritch.

This place had once been the seat of an evil older than mankind and wider than the known universe It was a place of pain and s@ring byond human understanding -John Gent, In the Mouth of Madness

- -

There is an alien world from which all manner o f threats have emerged onto Earth. It is a planet of unspeakable horrors, on which many sentient races of monsters live and thrive. These Abominations, as they have become known, have their own civilizations, cultures, sciences, technologies, religions, and motivations. From their homeworld, the abominations have launched their assault on the Earth. This alien world is known as Ogon, and it is a primordial force of evil and overactive entropy. It is a chaotic, blas-

expansive defiler of Nature from which true horrors are born. To the manitou, there is no good and evil, only natural and unnatural. Otgon represents all that is unnatural. Otgon is a planet roughly 115% the size of Earth, with slightly greater gravity, and an atmosphere similar enough to allow captives from Earth to survive on the alien world. T h e climate ranges from Polar Regions similar to those of Earth, to equatorial conditions that are more humid and warmer than common conditions o n Earth. T h e humidity level is high all across the globe, with low clouds and fog being common everywhere. There is only one ocean, which is slightly larger than the Pacific. Otgon’s flora and fauna are as diverse as those of Earth, but there seems to be a far greater percentage of predatory plants and animals. There are no mammals or birds on Otgon, but there are more reptilians creatures, carapaced creatures, insectoids (and of far greater size), arachnids, mollusks, and gelatinous creatures. Animals range from flying snake-like creatures, to living gas bags with tentacles, to twelve-legged two-foot tall humanoids, t o thirty-foot tall pyramidal jelly-like supra-intelligent floating creatures. Plants range in color from blue, to purple, to red, to yellow, to black, to gray, but there are no green plants. Fungi make up 80% of the vegetation. Some of the plants are fully mobile, and the majority of them are omnivorous, herbivorous, or carnivorous. There are cities all across the planet, with some that are even greater is size and population than the cities of Earth. T h e technology of the abomination races is both inferior and superior to human technology in many respects. T h e architecture across the globe is bizarre, frightening, and unwholesome in an alien way. T h e psychological shock of visiting Otgon could shut down the minds o f many mortals. T h e cities vary greatly in design and purpose; there are: Gigeresque nightmares, chthonic breeding pits, cities of living machines, monolithic mound cities built in ant-hill fashion, hive-like complexes for monstrous spirits, and unholy, primordial palaces standing two miles high. The most unthinkable horror concerning Otgon is that, like Earth‘s Gaia Principle or Mother Natire, the planet is alive and h l l y conscious. Indeed, it may be said that Otgon is a sentient, corrupt, predatory enti-

small gateways and temporary portals between Otgon and the Earth, but it has been in the last twenty years that the Ffth Defiler War has been waged between the mani t (agents ~ ~ of Earth) and the abominations (agents of Otgon.) T h e newest conflict is due to the opening of many interdimensional vortices and gateways, possibly because of the daevas’ pre-emptive assault o n the demons. There have been four previous ”Defiler Wars” between Otgon and Earth. These previous invasion, assimilation attempts lasted various lengths, ranging from as long as 2,000 years to as short as 170 years. This fifth war is showing no signs of diminishing, plus, this time, the demons are also o n the loose, creating many problems o n Earth that reduce the manitou’s ability to fight the abominations’ efforts. Some say this Fifth Defiler War might last for the next 500 years. This time, the invasion is not only taking place on the physical plane o f Earth; it is also occurring within the inner realms (Rstra and Dreamworlds) and the Underworld. T h e abominations have had the most success in the Underworld, under the leadership of the Shadow of Shadows - one of the three most powerful generals in the service of Otgon. T h e reason for Otgon’s interest in Earth remains a mystery, but it can be assumed that its goal is to kill Nature, replacing it with its own alien self, thus turning the Earth into a second Otgon. To this end, the legions of abominations have been moving onto the Earth, creating regions within the reverie called the Wounded Lands. These blighted areas are home to all manner of alien flora and fauna brought over from Otgon. There are permanent portals in these locations, allowing siltim, mgaloti, kruags, and other things to travel between worlds. T h e lands within these areas are like sores o n Mother Nature, and - like infections they spread over time. These wounded lands bear Otgon’s consciousness to limited degrees. Over time, the Otgon-controlled regions will increase in size and number unless the manitou are successfd in their War. Gaea’s warriors and defenders, the manitou, have been instrumental in waging the war against Otgon’s forces. There have been a rare few scouting missions to Otgon

which have provided what little is known about the realm. However, these reconnaissance missions were not without heavy losses, and the totems of manitou killed on captured and tortured.

Book of the Spirits @ Page 29

Do you believe in NurneroloD? Numerology is a system of divination and magic based on the concept that the universe is based on a mathematical pattern, and that all things may be expressed in numerological form. Pythagoras is considered to be the father of numerology, having discovered that the four musical intervals could be. expressed in ratios between the numbers one and four. H e observed that the numbers one through four add up to ten, which begins the cyde of numbers again, for all numbers larger than nine may be reduced to a single digit by adding the digits together. Pythagoras reasoned the entire universe could be expressed numerically, creating a mystical system expanded by other early Greek philosophers. H e is quoted, ”The world is built upon the power of numbers.” Both Greeks and Hebrews consider ” I O to be the number of perfection, comprehending all arithmetic and harmonic proportions, and -- like God -- it is tireless. Pythagoras believed that the heavenly bodies were divided into ten orders. According to the Kabbalah, there are ten emanations of numbers out of nothing. The emanations form the ten sephiroth of the Tree of Life, which contains all knowledge and shows the path back to God. Each primary number is ascribed certain characteristics and values, and a male or female aspect. Odd numbers are male, active, and creative, while even numbers are feminine and ive. In the Greek mysteries, ”888”is symbolic ’ of the “High Mind,“ representative of the Greek version of ”Jesus”or ”Iesous.”The number ”666” represents the ”Mortal Mind,“ to the Greeks, but in the New Testament, it is the number of ”the Beast.” The early Hebrews placed great importance on numbers, tying the letters of the Hebrew alphabet to them, and relating them to cosmic forces. The Merkabah sect of Judaism became deeply linked to this numerology, while German Kabbalists developed an interpretation of the Scriptures based on this mystical number system. In the 19th century, when scientific discoveries were made about light, magnetism, and electricity, the theory that numbers were energy patterns of vibrations became popular. In numerological divination, a l l numbers are reduced to nine roots between ”I” and “9.” Each number corresponds to a letter of the alphabet:

I

2

3

4

5

6

7

8

A

B

C

D

E

F

G

H

I

J S

K T

L U

M V

N W

O X

P Y

Q Z

R

I

9

Numerologists believe that one’s full name given at birth is the universe, which determines one’s character and destiny. Adding up the letters’ numbers and reducing the digits down to one by adding’the digits together reveals the number. By adding up the vowels, you can determine the “heart’s desire” and by adding up the consonants reveals some of one’s personality. All words may be converted into numbers between one and nine t o see if they fit or clash with one’s own numbers. Briefly, the numbers represent:

I: unity, creation, independence 2: duality, emergence 3: power, generative force 4: solidity, dullness 5: sensuality, pleasure 6: perfection, harmony, balance 7: mysticism, psychic, magic 8: material, success, justice 9: spiritual, mental achievement

Do you belipe in Numerology?

Book of the Spirits CB Page

all the joys and tragedies it holds, you can d o so through the medium of a character. Characters in T h e Everlasting are in many ways like the characters in books and movies, except you control the actions of your own character. Your character is called a protagonist, since she is a central character in the stories you create. Virtually all your protagonist's actions will affect the direction and outcome of stories. It takes anywhere from a few minutes to a few hours to make up a protagonist, depending upon whether or not you already know what type of character you want to roleplay and how much time you want t o spend adding details to your protagonist. Time used in creating a protagonist is well spent, since you will most likely spend many hours roleplaying that one character. Make sure the protagonist is someone you want to roleplay and someone the other participants can put up with regularly. It is a bad idea to create a protagonist who constantly irritates other protagonists (and more especially, the participants roleplaying them.) Your protagonist can be anyone you can imagine. Choices such as male or female, rich or poor, smart or dumb, weak or strong, and young or old are all yours to decide. There are guidelines when it comes to defining your protagonist's strengths and weaknesses, but this is simply an attempt to keep things fair and equal among the participants, so that one participant will not be roleplaying a protagonist far weaker or far stronger than the other protagonists. Each and every protagonist must be created within certain limitations, giving each protagonist her own distinctive strengths and weaknesses. Participants with maturity, humility, and a sense of fairness may simply create their characters "freeform" without using any guidelines. Never focus on making your protagonist as powerful as you can make her, because it is usually detrimental t o legendmaking and roleplaying. This is called powergaming and it is an immature attempt to kick everyone around and be the center of attention. While it is important for your protagonist to grow in actual power, it is far more important for your character to grow in wisdom. that your protagonist is important, but that the story is even more important. Do not get mad or upset when something bad happens to your protagonist, because bad things will happen. that it is all make-believe - don't take it too seriously - you can always create another protagonist.

THEEVERLASTING @ Page 32

sorts of Oualities, ICI

such as agility, fighting ability, intelligence, courage, etc. Many of these qualities have numbers, called Scores, which represent how much of a quality the protagonist possesses. The higher the score, the more the protagonist possesses o f the quality. While this is certainly not how protagonists are described in books and movies, in T h e Everlasting, scores make it quick and easy to identify the capabilities of a protagonist with just a glance. Scores also work well when combined with card and dice mechanics in determining a protagonist’s chances of succeeding when performing particular actions. Through using cards or dice mechanics you add a sense of uncertainty as to whether or not a protagonist’s actions are going to be successful.

See the chapters listed below for additional details concerning each genos. There are brief summations for character creation at the ends o f those chapters as well, making it easier for you to find the information you need.

Step One: Choose a Genos Gargoyle: See the details in this chapter and more details in chapter 4. Manitou: See the details in this chapter and more details in chapter 5. The Possessed: See the details in this chapter and more details in chapter 6.

Step Two: Create a Concept Invent the following details in whatever manner you desire: Background Lifestyle Culture of origin Loved Ones Current location Occupation False identities Religion Gender Sanctum

Step Four: Choose Persona Divide 15 points among four or more persona qualities with no score higher than 6, taking at least one quality from each of the following four categories: Optionally: Draw 2 cards, or roll 2 d I 2 , for the # o f points. Jacks count as 1Is, Queens as 12s, and redraw for each King drawn. (Note: T h e four names listed below are not the names o f the actual qualities, they are. merely categories. You must create and name the actual qualities.) Categories Sarnpk qualities @evelop new ones as desired) Beliefs Believe in Hell, Christian, Believe humans are worthless, etc. Outlook Pessimistic, Optimistic, Cynical, Bigoted, etc. ions Collecting Antiques, Sports, Getting Ahead on Job, etc. Relations Love wife, Hate a certain enemy, Protect mortal relatives. etc.

Step Five: Choose Aspects Step Three: Choose an Ethos Child Craven Crusader Enigma Explorer Fatebound Gloryseeker Healer Lover Martyr

Outsider Penitent Progenitor Promethean Prophet Schemer Scourge Trickster Wisdomseeker

Place a score of 6 in one aspect and divide 30 points among the remaining aspects, with no score higher than 5. Aspects include: Mind Aspects: Instincts, Intellect, and Perception Body Aspects: Dexterity, Resilience, and Strength Soul Aspects: Inspiration, Presence, and Spirit Optionally: Draw one card, or roll I d I 2 , for each aspect, divide the results by two, round up for each aspect score. Place the scores as desired, with one in each Aspect. Draw one additional card, or roll Id12, and divide the results by two, rounding up, and divide those additional points among any aspects that you see fit. Jacks count as I Is, Queens as 12s, and redraw for each King drawn.

Book of the Spirits CB Page 33

Divide 15 points among aptitudes. Optionally: Draw 2 cards, or roll 2d12, for the total # of points. 00

Divide 30 points among skills. Optionally: Draw 5 cards, or roll SdI2, and total them for # of points. 00

N o aptitude or skill (or combination of the two) may have a score higher than 5. Jacks count as I Is, Queens as I ~ sand , redraw for each King drawn. Aptitudes and their related 7 skills: Athletics: Accuracy, Acrobatics, Climb, Dance, Focus, Run, Swim Criminal: Espionage, Firearms, Legerdemain, Murder, Security, Stealth, Streetwise Humanities: Antiquities, Artistry, History, Language, Music, Religion, Research Influence: Deception, Eloquence, Empathy, Intimidate, Persuasion, Question, Romance Martial Arts: Blind Fighting, Block, Evasion, Grapple, Kick, Punch, Takedown Meke: Axes, Clubs, Knives, Flails, Polearms, Staves, Swords Modern Life: Alertness, Area Knowledge, Computers, Driving, Management, Profession (choose one), Social Awareness Naturalism: Animals, Equestrian, Herbalism, Hunt, Orienteer, Survival, Track h: Engineering, Life Science, Mathematics, Medicine, Physical Science, Psychology, Rationalize Sumrnatural (Not available to normal humans*): Arcana, Astral, Dream, Eldritch, Empower, Illumination, Intuition 'Human fantasts and magicians may have this aptitude. (See Chapter I I for descriptions of all the skills.)

Step Seven: Choose Distinctions Divide 9 points among distinctions. You may also raise one distinction by + I by lowering another distinction by -I. You can d o this as often as you wish, within the limits set. T h e protagonist may have negative distinction scores as a result. T h e protagonist may not have a distinction score higher than +5 or lower than -5. Optionally Draw one card, or roll I d I 2 , and add 3 to the result for the total # of points. Jacks count as I Is, Queens as I ~ s and , redraw for each King drawn. Distinctions include: Biography Psyche Eldritch Ties Resources Physique Servitors

Spirituality Supernature Temporal Ties

You may leave distinctions as plain scores or further define them by choosing particular benefits and drawbacks. T h e total

THEEVERLASTING @ Page 34

a distin ction must I balance out, equaling the score in that distinction. T h e protagonist may not have benefits/drawbacks totaling more than +3/-3 beyond the distinction score. For instance, if you have a score of 6 in a distinction you might have two benefits at +4 and a drawback at -2. You could not take three benefits at +4 and three drawbacks at -2 each even though this still balances out t o an overall score o f 6. Three benefits at f 4 combined equal +12, which far exceeds the +3/-3 limitation o n individual benefits and drawbacks since the overall score is 6.

Step Eight: Choose Preternaturae and Magick List the preternaturae (supernatural powers) common for the protagonists genos; these are listed below and cost n o points. 00

Divide 30 points among any additional preternaturae or magick available to the protagonist. (See the chapter for the characters genos for the preternaturae available to the character. T h e powers are listed near the end of those chapters.) Optionally Draw 5 cards, or roll 5 d I 2 , totaling the results for the # of points. Jacks count as I Is, Queens as 125 and redraw for each King drawn. Round to the nearest number ending in a five or zero for the actual number of points. T h e points for preternaturae do not have to be spent immediately. These points can be listed under the preternaturae section on the protagonist profile and remain banked until enough points are gained through experience to buy powers that cost higher amounts than possible at the start of the odyssey. (Note: The number beside the power is the potency of the power, one is basic, two is advanced, three is master, and higher indicates superiority to what is possible for most eldritch.) Gargoyle's Sacred Mysteries (preternaturae) Enhanced Senses ( 2 ) hitation (I) Sixth Sense: Sense the Sinner Sixth Sense: Spirit Sight Special Communication: Spirit Speech Summon the Monster Kion Powers (I): Thermal vision Plus: T h e following initial supernatural powers are based upon what their simulacra are composed of: Heavy Stone Simulacra Aspect Mod+ers: Dexterity -I, Resilience +2, Strength +2, Rapid Healing (I)

Light Stone Simulacra (covered in false flesh) Aspect Mod$ers: Resilience + I , Strength +I, Presence Rapid Healing (I)

+1

Wooden o r Ivory Aspect Mod$ers: De2 Rapid Healing (2)

Wax Simulacra Aspect Modfiers: Dexterity +I, Presence +I Regeneration (I) Glass Simulacra Aspect Modfiers: Dexterity +2, Resilience -I, Presence +I Regeneration ( 3 ) Alter Simulacra Manitou's Embodiments (preternaturae) Enhanced Memary (I) Enhanced Senses (2) Heightened Aspect: Dexterity +I, Instincts +2, Resilience +I Rapid Healing ( I ) Sixtb Sense: Worldsight Special Communication: Beastspeak T h e Possessed's Oneira (preternaturae) Dream Control ( 3 ) Heightened Attributes; Strength +I, Inspiration +I, Spirit +I Illusions (I) Personal Alteration (I) Rapid Healing (I) Sixth Sense: Dream Sense

Step Nine: Complete Final Details List Protagonis'ts Experience Level: This is 3 unless all participants decide to change the creation points allocated in character creation. Determine Speed score (Dexterity divided by 2, round up). Determine Life score (Resilience Strength Spirit). Determine Animus score (Inspiration Presence Spirit) List protagonist's Sustenance. Gargoyks I. Sin-eating Manitou: 1. Sleep, 2. Totem diet, and 3. Communion with Nature The Possessed: (host) I. Sleep (Yugtuhul) I. Negative Emotions (Benedera) I. Positive Emotions, 2. Shadows List protagonist's Torment with a starting score of 3. Gargoyles:T h e Abyss Manitou: Animalism The Possessed: Corruption List 10 Destiny points on your protagonist profile. List 0 Backlash points on your protagonist profile. Spend any experience points given to your protagonist by the Guide.

+

+

+

+

00

Book of the Spirits @ Page 35

I

There are three ways to create protagonists in T h e Everlasting 1. T h e point-allocation method, 2. Random card-draw method, and 3. T h e random dice-roll method. Guides should feel free t o mix and match elements of these systems as they see fit. As long as all protagonists are designed in a way that pleases the participants, anything is acceptable. Roleplaying a protagonist who is far more powerful than all the other protagonists is unfair to the other participants. Roleplaying a protagonist with no personality is boring. Protagonist creation should help you develop a better idea of what your protagonist is like, as a living, breathing, thinking individual. While combat readiness is important for survival, do not pump up the protagonists fighting abilities and physical aspects at the expense of all other aspects and abilities. T h e human average in an aspect is 3 and the common maximum is 5, though people who have trained all their lives in a particular area and who are the best in their fields may have scores as high as 6 or possibly even 7. All the participants must agree upon the maximum age of protagonists and how many experience points they have at the start of the first story. If you are roleplaying older, more powerful characters, your Guide may grant you some experience points to spend on the protagonist - otherwise you get no extra points.

Step One: Genos I was born long ago, L am the chosen lin the one I have lome to save the day, And won’t leave until L i n done - Lenny Kravitz, Are You Gonna Go My Way

mong the everlasting there are thirteen distinct gentes (races) that mav be used I

as protagonists by participants. Among them are certain immortal gentes that originated as spirits and that bear strong ties to the realms of the Astra and Dreamworlds. These are the Gargoyles, Manitou, and the Possessed. Each genos is unique, and rich in of culture and history. See the chapters listed below for additional details. There are brief summations for character creation at the ends of those chapters as well.

$a.vgO.ylQS The Sin-Eaters and Hunters of the Sacred Ones Gargoyles were once astral spirits called Celestines. They were discovered by the mystical cult called the Servants of the Flame, which captured many o f the spirits and bound them as their servants through words and symbols o f power. The gargoyles were given a physical form o f great strength and were appointed as guardians and watchers over the cult’s interests. T h e gargoyles are called the Sin Eaters, as they are attracted to evildoers like moths to a flame. Part of the curse imposed upon them by the Servants of the Flame is that they must touch people, gaining their memories of their evil deeds, and ing on to them the Curse of Absolution. Sometimes the gargoyles will be driven by the curse they impose upon a ”sinner” to carry out the punishment themselves; this often involves maiming or killing the evildoer. T h e punishment imposed by the curse is chosen by some higher power and the gargoyles are forced by their very nature to d o as is required of them. Often they d o not have to d o anything, as the curse often takes the form of backlash or some specific tragedy in the sinners’ lives. Gargoyles are a physical race of living stone creatures, though they are also spirits. They have their own personal outlooks on earthly life and their own existence. They have feelings, memories, distinct tastes, personalities, moral codes, desires, fears, hungers, obsessions, and personal goals. They are similar to humans in many respects, but they have n o sense of touch and cannot feel the world they live in, often making them seem cold-hearted and distant. Many lust for the horrgication, the taint of evil brings, as it

THEEVERLASTING @ Page 36

frees them from the prisons of their own bodies, letting them truly experience the world in which they live. For most the only time they feel is through their sin eating. The memories of sinners bear the ghosts of sensations they felt while committing their "sins." As their Horr9cation overtakes them, they become killers, rapists, thieves, and monsters that must he hunted down and destroyed by their own kind, freeing their spirits so that they can take on new uncorrupted bodies. Gargoyles are still spirits and are capable of traveling the Astra freely, even though they animate non-living bodies called their Simulacra. Many gargoyles can temporarily occupy other forms aside from their own simulacra. Marble, alabaster, obsidian, jade, and granite are the most favored stones used as simulacra, hut wood, ivory, horn, gold, lead, and glass are possible. Their bodies become flexible, allowing them to move and even speak like humans. Some gargoyles in recent times have taken to creating granite skeletons from single pieces of stone, and then they use modern special effects techniques to cover them with simulated muscle and flesh so that they can for human. Long ago the gargoyles would simply take o n statues carved into human forms. They would paint the statues flesh tone and wear wigs and heavy clothing. Gargoyles not only animate their bodies, they can also shapechange them. Their bodies, when uncorrupted by the horrification, typically are very beautiful and often human-like. They can consciously will the Darkness within the Light inside themselves

rI w 8 L

W

**----

Book of the Spirits CB Page 37

I

Eternal Animal Spirits Linked with Mortals

anitou are protective totems (animal spirits) and the living hosts they inhabit. T h e totems grant their hosts incredible preternaturae, called Embodiments, in exchange for their aid in protecting Nature. T h e totems are from the Menagerie - which they call the Sacred Lands within the Astra - which they call the Spirit World, where they are ruled by ancient and powerful spirits of their own ancestors. While hosts are mortal, the totems are not. A totem transfers from its old host, upon the host’s death, into a new host, whom it has supernaturally marked for possession. Once a mortal is possessed by a manitou, she takes o n animalistic features and mannerisms, and begins taking better care of her body. If she is in poor physical condition, she begins a strict exercise regimen and develops rapidly.

THEEVERLASTING @ Page 38

T h e thoughts o f the totem and the host begin t o intermingle and eventually they become one, thus becoming a Manitw. Animals react to manitou as if they are animals of the same breed as their totems. Regardless of the breed of the manitou, all animals recognize and respect them, even if the manitou are normally predators or prey of the animals. Most manitou feel alienated and alone, since they do not fit well into the world of animals or the world of humans. One of the greatest conflicts among the elder totems is whether or not totems who became manitou should be allowed to re-enter the Sacred Lands after their work is done, since the manitou totems may have been corrupted by human thoughts and morals. Manitou fondly the time when the dragons ruled the earth, since the dragons never considered themselves above the animals, and never mistreated Nature like the humans have done.

00

step T W Dream Entities Who Possess and Corrupt Mortal Hosts he possessed are mortals who have been permanentlv taken over A

by entities from the Dreamworlds call& Orhelum Mortal hosts are drawn to small jeweled objects, called Soul-prisons, Phy Lrteries, and Amulets, by the entities within them. Through wish fulfillment and by sharing their preternaturae, called Oneira, with their hosts, the dream entities slowly take over the souls, minds, and bodies of their hosts. T h e dreadful dream entities slowly eat away at the life energy of their hosts, and eventually kill them and consume their souls. There are two ra

(Twenty Questions)

protagcmist

IOU Would

like to roleplay, you should decide upc who y‘our protagonist will be. T h e following twenty questions will give you a strong concept to build upon.

I. Is your protagonist male o r female? 2. W h a t does your protagonist look like? 3. H o w old is your protagonist? 4. H o w old does your protagonist look (if immortal)?

5. W h a t are your protagonist’s current interests? 6. W h a t are your protagonist’s religious beliefs?

7.W h a t culture was your protagonist raised in?

8. W h a t is your protagonist’s attitude toward life? W h a t is the meaning of have criminal ski battle against the yugtuhul. All ochelum hate one another, but they especially hate those of the opposite race. Yugtuhul are usually happy corrupting souls and wreaking havoc. While the benedera usually busy themselves by saving mortals’ lives and hunting down yugtuhul that are causing problems for the mortal world. Both the benedera and the yugtuhul hate demons and work against them. Ochelum rule their own private dream realms, and within their realms, they and their hosts are two separate beings. T h e current host is the only one able to enter the ochelum’s dream realm, since the former hosts no longer dream. They have many oneira, especially powers concerned with illusions, corruption, sleep, and dreams. Many have enhanced physical powers and the ability to generate energy.

life for her?

9. W h e r e does your protagonist live? W h a t does the sanctum look like? IO. Does your protagonist have a job? W h e r e does her money come from?

I I. How does your protagonist spend her free time?

12. Does your protagonist maintain a false identity? Who knows her true identity?

13. Who are your protagonist’s friends

and enemies? 14. W h a t have been your protagonist’s major victories and failures in life?

15. W h a t are your protagonis’s greatest strengths?

16. W h a t has your protagonist’s life been like?

17. Who has your protagonist wronged

side from the three entes of immortals,

?

t iere are also the races of 4 i n n and the

greatly?

18. W h a t evils have your protagonist abom-

inations described in this book. However,

abominations may not be used as protagonists. T h e remaining ten races o f the everlasting are also described for use as protagonists or NPCs (non-participant characters.) See chapter 9 for more details on the other everlasting gentes.

personally committed or allowed to continue unchecked?

19. W h a t are your protagonist’s fatal flaws?

20. W h a t are your protagonist’s greatest sins and virtues?

w

TVhile many of these que\tions can be answered A t a l a t a time, you need to have a firm grasp on who it is you are creating when you pick and choose various qualities and scores.

(Optional) The Ancient Ones do exist; thhly ensoul the archetypes. - Krsma K . Stepanrch, Faen, Wcca

n order to have real legendmaking, a protagonist must undertake a Herot journgr. This involves the protagonist leaving the comfort of her present position t o venture out and overcome great obstacles for some important reward. There are many variations on the Hero’s Journey and the Ethoi represent these variations. An Ethos represents a simple means of defining the mythological role of a protagonist. This information is used in choosing good storylines with appropriate trials, mood, goals, and rewards for a protagonist. A participant cannot change her protagonist’s ethos without the Guide’s approval, since ethos represents a central focus in the protagonist’s existence. Normally, a protagonist must complete her Hero’s Journey through side plots and one-character stories, though sometimes overall stories involving all the protagonists can aid individual protagonists in achieving their own personal mythic quests. Ethoi are mythical archetypes similar t o Carl Jungs personality archetypes. Ethoi represent the various sorts of heroes that exist throughout the mythologies o f all human cultures. Certainly not every type of hero has been covered, so you can develop a new ethos if you wish. To better understand the ordeals through which your protagonist must suffer, it is a good idea to familiarize yourself with mythological tales represented by your protagonist’s ethos. Ethoi are not an attempt to stereotype protagonists, limit roleplaying freedom, or reduce character individuality. Ethos does not affect a protagonist’s personality, nor does it require a protagonist to involve herself in particular activities. There are countless variations among each ethos. It is suggested that each protagonist within a fellowship have a different ethos. This helps make each character more distinct, providing each protagonist with her own Hero’s Journey unique to her. Upon completing the long and arduous Hero’s Journey, a protagonist reaps a number of rewards, especially personal power and selfunderstanding. A participant might also consider picking an ethos that reflects her own personal Hero’s Journey, which occurs symbolically through her protagonist.

THEEVERLASTING @ Page 40 L-* vs--.

antagonists and in choosing the types of stories that the antagonists would become involved in just in order t o complete their own personal quests. Guides should award Destiny points to participants whose protagonists work toward the goals of their ethoi, (typically I or 2 points per session.) 00

Child Tales of the Child involve personal growth; the hero moves from innocence and safety t o understanding and independence; with knowledge come pain and strength. T h e Child is weak and powerless within her current situations and often naive and immature. T h e Child must grow and eventually take command of her own life. T h e Child must turn loose of the things to which she clings, learning those things are unhealthy and limiting. Craven T h e Craven is not only a reluctant hero, she is a coward t o boot. She may or may not lack the skills and abilities necessary for success, but she definitely does not have the self-confidence and courage required. T h e Craven must come face t o face with her own impotence and overcome it by facing her fears and rising to the call of adventure. By striving, failing, and continuing t o try, the Craven will learn what she needs t o succeed. By learning t o risk everything she holds valuable to help others the Craven will be craven no more. Crusader Tales of the Crusader involve championing the ideas and ways of a particular group over all others. T h e Crusader often works for law and order, a particular society, or a religion. T h e Crusader must not only face outer forces that oppose her crusade, but also question her own faith and belief in her crusade. She must either realize her crusade is wrong or she must defeat her greatest foes so that her cause will reign supreme. Enigma Tales of the Enigma involve self-discovery; the hero is unaware of who or what she is, or what she has just become. These journeys are deeply internal, but by facing external threats, the Enigma learns more about the riddle of her own existence and will eventually attain full awareness. Self-awareness may be a curse as well as a blessing since the Enigma most likely has a darker side o f her soul that she must also explore. Explorer Tales of the Explorer involve the discovery of new and wondrous people and places. T h e explorer's journey is a very outward one in which the Explorer must triumph over great obstacles and forces that stand in her way. She attains power and knowledge and she expands the known world by successfully completing her exploration. She can bring back new knowledge and great gifts for others, but she can also destroy what she has discovered if she is not careful to protect it from the influence and eventual corruption that she brings with her.

Fatebound Tales of the Fatebound involve freeing one's self from a seemingly unalterable dark destiny. T h e Fatebound must first glean prophetic awareness of her ties to a dark fate. Often this understanding o f fate is a gradual process. Only by following that fate and getting closer to its ultimate culmination can the Fatebound hope t o understand her destined role. She must then either free herself from her fate by going against her normal behavior and belief, or embrace her dark destiny with her own free will. In either case the ultimate reward is self-understanding and enlightenment about the purpose of life.

Gloryseeker Tales of the Gloryseeker involve attaining great renown and becoming the greatest to ever live in whatever endeavor she undertakes to achieve glory. T h e Gloryseeker must test herself through various challenges and defeat all others who seek the same prize. If successful, the Gloryseeker either becomes wise enough to forsake personal glory for some greater goal or she achieves her dream of becoming the greatest to ever live.

Healer T h e Healer may start out as self-centered and selfish, but, either through witnessing suffering and developing empathy from it, or by suffering greatly herself, the Healer develops the driving goal of easing the suffering o f others. Some Healers spend the majority of their lives healing people. Some Healers work to heal entire cultures, nations, or societies. Some Healers, of a darker sort, believe they can ease pain only by bringing painless death to the weak or suffering. Other dark Healers "heal" those who have been victims by exacting vengeance for those who cannot themselves, thereby relieving the suffering o f those people. Lover Tales of the Lwer involve risking everything to find and protect the hero's true love. T h e Lover must first find her true love, then either her true love is lost or put in great peril. T h e Lover must risk losing everything, even her own life, to save her beloved. Tales o f this sort are always romantic and beautiful, though they can sometimes prove tragic as well.

Martyr Tales of the Martyr involve sacrificing one's self for the greater good. T h e hero follows some greater purpose that leads her along many dangerous paths. T h e Martyr may gain strength and power, but all her efforts short of ultimate sacrifice will not be enough in the end. In the end, the Martyr must give up everything, possibly even die, to achieve her goal. This is a difficult Hero's Journey since the ultimate reward is self-sacrifice for greater good. T h e hero transcends material existence, becoming something more than anyone can attain through worldly works. Through martyrdom comes glory, vast benefit t o the world, and divine rewards for the Martyr.

Book of the Spirits 6P Page 41 I d b

1

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Outsider Tales of the Outsider involve acquiring acceptance as a valued member of a society. T h e Outsider begins her Hero’s Journey as someone who is not liked or trusted. She may be a loner by choice, other of her society may have cast her out, or she may be a stranger in a strange land. Over the course of the quest she must prove her value to society by respecting it, by offering it something of value, or by protecting it. While others may see her as different at first, eventually they will come to understand that she is like them in many ways. Penitent Tales of the Penitent involve finding atonement for past transgressions. T h e Penitent must first come to grips with her terrible sins, whether they are against her or the world as a whole. She must then desire making amends for her terrible past by setting right the things she has made wrong. This process of atonement will lead to a great understanding of the value o f heroism and goodness and the Penitent will find forgiveness as her reward, from both herself and others. There is, however, always a dark side to the Penitent that can erase all the good she has done, setting things wrong again, so she must be ever vigilant against evil. Progenitor Tales of the Progenitor involve the creation of something of great importance. T h e progenitor is the creator and giver of life to anything ranging from worlds, to lifeforms, to organizations, to new societies. T h e creation process is never easy. It requires the discovery of a need for something followed by great effort in its design, creation, and eventual perfection or independence. T h e quest may end either with the birth of something of great significance that will affect the lives of everyone, or some time after the creation has ed beyond its childhood, making the Progenitor a mother figure as well as a life-giver.

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Promethean Tales of the Promethean involve finding and bringing back to the world a wondrous gift that will benefit everyone. T h e Promethean must first recognize the need for a particular gift and then she must search long and hard for it, over many obstacles, before finding the gift. T h e Promethean must acquire the gift once it has been found, either by facing more challenges or by stealing it. She must then return it for the benefit of all people. Thus, the Promethean’s ultimate reward is also a great reward for the entire world. Prophet Tales of the Prophet involve warning the world about cataclysmic events that will take place in the future unless something is done t o prevent the events. In many ways the world is destined for certain events and it is the Prophet who must instigate change so that the world can avert great disaster. T h e Prophet may take an active personal role against the coming h t u r e by attempting to directly stop terrible events from occurring. However, only by convincing others of the truth, and by getting their help, can the future take a new and brighter course. Preventing catastrophe is its own reward, but often the Prophet becomes a great leader by saving the world. Schemer Tales of the Schemer involve developing and implementing some great master plan for acquiring great personal power. This ethos is better suited for antagonists than for protagonists, but it is possible to have a Schemer protagonist, so long as the Schemer’s plans will benefit some greater good. T h e Schemer starts as a humble servant, becomes the master of his own destiny, and eventually becomes the master of many other peoples destinies. Her schemes are most likely things that will drastically alter the world for her own benefit and those she wishes to help.

who suffers greatly, pcrhaps sing everything but her life. T h e tragedy, however, gives her great inner strength fueled by rage and pain. She then vows to destroy that which caused her suffering, learns what she needs to know in order to destroy her enemies, and then begins the eradication. She ravages the force that caused her pain and eventually destroys it or succumbs to her own inner rage, becoming . that what she sought to destroy. Even if she defeats the force that caused her pain, she must stdl come to grips with her own rage. If successful, she finds happiness and learns to live again.

. .

Tales of the Trickster involve taking advantage of the naivete of others and rejecting tradition in favor of crafty common sense. T h e Trickster is charged with pranking and deluding all suckers, and takes hypocrites and dullards. T h e Trickster is sometimes best used as an ethos for antagonists, since Trickster pro other protagonists and their roleplayers. While the Trickster .,-. always works for her own advantage, her pranks are often useful in teaching her victims valuable lessons or in giving some special gift t o the world. Wisdomseeker T h e Wisdomseeker is the hero whose reward for the H Journey is knowledge, powerful knowledge, capable of creating a greater good. T h e journey itself is less external and more internal, as it is a test of the Wisdomseeker’s worldliness and wisdom. The Wisdomseeker must endure hardships and loss in order to grow wiser through the pain and suffering. T h e Wisdomseeker will face threats and she must outsmart them. T h e Wisdomseeker must face sin and overcome (or possibly accept) its blot upon the soul. T h e Wisdomseeker must face temptation and learn strength of will. T h e reward at the end of the Hero’s Journey will help t o enlighten the entire world through the spread of the wisdom.

Scourge Tales of the Scourge involve annihilating something. The Scourge is a force of destruction whose sole purpose is to destroy everything in her wake. She often starts out as a victim

Book of the Spirits @ Page 43

(Optional) Iin building a reputationfor honesty so that I caan blow it on something big. This isn't it. - Vladimir Taltos, Phoenix,

by Steven Brust

ome of the most important qualities L

protagonists have on their protagonist profile are their Persona qualities. Persona qualities define a protagonist's personality. They are meant to serve primarily as guidelines for roleplay rather than for use with card (and dice) mechanics. Persona qualities are almost never required draws, and, when they are drawn, it is always the participant roleplaying the protagonist who makes the decision as to whether or not she wishes to make a card draw. Persona qualities, are useful for participants who are just getting acquainted with their protagonists. They help distinguish protagonists through strong personality features and aid participants who do not know what their protagonists would do in particular situations by allowing the option of making persona card draws involving the appropriate qualities. There are four basic categories of persona qualities: Beli$, ions, Outlook, and Relations. A participant can choose anywhere from 4 to 9 persona qualities, but she must have at least one quality from each of the four categories. No persona quality can start with a score higher than 6. T h e objective is to establish a well-rounded, three-dimensional personality that reflects a protagonist's personality, behavior, motivations, and beliefs. Card drawing against persona qualities provides a greater opportunity for protagonist independence from her roleplayer, which can often provide participants with both good and bad surprises. Persona

THEEVERLASTING @ Page 44

qualitics allow a protagonist to remain true to her own personality rather than true to her participant's personality. Participants should not, however, overuse card draws for persona qualities, since the whole objective of roleplaying is for participants to imagine themselves in the roles of their protagonists. Think about your protagonist's personality, interests and motivations, then make sure you create an interesting protagonist you will enjoy roleplaying for some time. T h e protagonist's persona qualities will change over the course of stories, reflecting how events in her life shape her beliefs, purposes for being, outlook, and relationships.

persona qualities just to suit their own personal interests. In such cases, a Guide might actually request the participant to make a persona card draw. T h e participant may refuse, but, if the participant refuses, the Guide may increase or decrease a particular persona quality as she sees fit. You have two methods available to you in determining your protagonist's persona qualities. (Note: T h e four categories listed above Beliefs, ions, Outlook, and Relations - are not the names of the actual qualities, they are merely categories. You must create and name the actual qualities.) -

Point-allocation method You may divide 15 points among any four to nine persona qualities you wish, taking at least one quality from each of the four categories. Random card-draw method:

You draw two cards and total their values for the total number of points you divide up among the four to nine persona qualities you choose. No score can be higher than 6. You should take at least one quality from each of the four categories of persona qualities. Jacks count as I Is, Queens as I2s, and redraw for each King drawn.

Persona qualities range from 1 to 6, though it is possible t o develop higher scores through roleplay and protagonist development. T h e human average in a quality is zero, so a higher score would reflect a stronger than normal quality. Do not list qualities in which a protagonist has scores of zero, there is no need. Often a Guide can use a protagonist's strong persona qualities to involve her in a new story by appealing to her in some way. This makes it hard for the protagonist to turn a blind eye. A Guide should also watch out for participants who constantly go against their protagonist's

Random dice-roll method: You roll 2d12, total the results, and divide the resulting number of points up among the four t o nine persona qualities you wish, taking at least one quality from each of the four categories. Persona Scores Score

0 I

2 3 4

5 6 7

Description Human Average Moderate Strong Very strong ionate Obsessive Fanatical Zealous

$8'

,>-

-

_

F

Beliefs

Outlooks

Beliefs are persona qualities that define a protagonist's strongest political, religious, personal and social opinions, along with her morals, faith, and values. Belief qualities are core to how a person behaves. They are typically based on what she has learned from and about the world. A protagonist does not have to feel strongly about her beliefs in order to believe them, she may just hold to them out of tradition or logic. It is even possible to hold two conflicting beliefs. However, when situations arise that involve conflicting beliefs, the protagonist is forced into inner conflict and one quality will always be strengthened at the expense of the other through a contested draw.

Outlooks reflect how a protagonist perceives, and interacts with the world. This includes her level of optimism, proclivity towards certain emotional states, and her general demeanor towards others. Outlook qualities are often difficult to change.

Exampks: Okay to steal Mortals are weak Loyalty to household Christianity Honesty is always best Belief in Maya gods Belief in hell Belief in the Zurvan Obey mentor Obey mortal laws Belief in ghosts Paganism Belief in aliens Voudonism Atheist N o t bound by mortal laws Pacifist Belief in Fate Agnostic Neoshaman Must protect innocents Must respect elders Muslim Belief in Karma Betray those who do not serve your interests The world should be destroyed Murder without remorse, as it is your right Watch over mortal descendants

Examples: Hedonistic Modest Pious Kind Reclusive Naive Depressed Calm Level-headed

Shy Opportunistic Confused Sacrilegious Optimistic Cynical Proud Cowardly Energetic Impulsive Clear-minded Worldly Rebellious

Greedy Forgiving Honest Suspicious

Slothhl Brave Pessimistic Nervous Generous Fair Helphl Happy Gregarious Cruel Vengeful Prideful

LZY Carefd Haughty Scatter-brained Angry Paranoid

Relations Relations reflect love, hatred, disregard, and other feelings towards others. Relations are feelings a protagonist has for people, places, objects, and ideals. Relation qualities develop over the course of stories, reflecting the strengthening and weakening of relationships. Since relationships are often very complex, it is possible t o both love and hate a single individual.

Examph: Love sister Distrust faerie Suspect authority figures Overprotective of minions Jealous of a particular quester In love with a particular daeva Treat mortals as children Trust elders Obsessed with a particular dragon Attracted t o handsome strangers Care for family

Hate osirians Fear sorcerers Ignore children Love pet cat Protect friends Loyal to siblings Attack demons on sight Fear opposite sex Harm the weak Disgusted by ghuls Distrust the unliving

Dementia Some personality traits may relate to insanity; they are called Dementia qualities. These qualities may be taken as well with persona points. Dementia qualities represent strange behavior and can include anything abnormal, such as kleptomania, claustrophobia, sociopathic tendencies, necrophilia, and so on.

ver the course of many stories, a protagonist’s manv persona qualities I 1

will be tested and shaped by dramatic events &at shed new perspectives on things. Hopefully, a protagonist will be pursuing her own Heroi journgr, working towards some personal development that will ultimately lead to the accomplishment of the quest. Often a protagonist must develop certain persona qualities in order to complete her Hero’s Journey, though that is up to the Guide. For example, a Crusader might have t o develop a ”Piety of 7” and a ”Hatred of Infidels 5.” It is up to the Guide to choose these qualities, but the Guide should provide hints concerning persona qualities to the participant through stories. If a protagonist never seems to develop qualities that are applicable to her Hero’s Journey, side plots and stories can often bring out the important persona qualities.

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-

I

Step “ f i v e : Aspects Man

IS

the measure af all things

- Protagoras,2fra!ment

spects are characteristics by which protagonists may be defined. ?-liere are nine aspectslwithin T h e Everlasting; three are Physical, three are Mental, and three are Spiritual. All characters possess these nine aspects in varying degrees. T h e higher a protagonist‘s score in an aspect, the more of the aspect the protagonist possesses. Characters may have scores as low as one, with two to three representing the human aver-

age. Mortals may have scores as high as seven, if they are especially gifted. Mortals with supernatural power may have scores as high as nine, while eldritch may have scores as high as twelve, though some claim there are powerful eldritch with scores much higher. Aspects may increase and decrease with the development and age of the protagonist. They are difficult t o improve compared to abilities, since they are inherent to who the protagonist is, not just what she can do. You have three options in determining your protagonist’s aspects: Point-allocation method: You may place a score o f 6 in one aspect; it is the aspect for which the protagonist is currently best known. (For instance, if your protagonist has a score of 6 in Intellect, others will think of her as incredibly smart, while if your protagonist has a score of 6 in Strength, others will think of her as massively strong.) You have 30 points to divide among your remaining aspects. No aspect can start off higher than 5 through this point allocation except for the one you give the 6. You must place at least one point in each aspect. Random card-draw method: You draw nine cards, recording the number from each card separately. Divide each number drawn by two, rounding up. You may then match these results to your aspects as you see fit, placing one number in each aspect however you choose. You also receive one additional card draw. Take the number on the card drawn and divide it by two (and round up.) T h e number you get represents bonus points that you may divide among your aspects as you see fit. No aspect can start off higher than 6 through this method. Jacks count as I Is, Queens as 12s, and redraw each King drawn. You must place at least one point in each aspect. Random dice-roll method: You roll a Id12 nine times, recording the results from each roll separately. Divide each number rolled by two, rounding up. You may then match these results to your aspects as you see fit,

placing one number in each aspect however you choose. You also receive one additional dI2 divided by two (round up), which represents bonus points that you may divide among your aspects as you see fit. No aspect can start off higher than 6 thiough this method. You must place at least one point in each aspect.

Aspect Qescripti 6 % ~ The Mind: (Mental Aspects) For all tasks involving thinking, reasoning, memory, wits, intuition, observation, or any other mental effort, you must make card draws using the most appropriate mental aspect. Instincts (Inst) A protagonist’s Instincts score represents her common sense, combat reflexes, wits, acumen, judgment, intuition, guile, and gut instincts. Instincts also represents in animals and animalistic beings (such as manitou and the wet) the strength of their natural instincts. T h e Instincts score is used in combat to determine how fast a protagonist can perceive and react to a situation. Intellect (Int) A protagonist’s Intellect score represents her memory, analytical powers, comprehension ability, retention capacity, understanding, discernment, reasoning, problem-solving ability, learning ability, and thinking ability. It defines her general knowledge, ability to retain and recall names and faces, and other details, along with her power to solve mental puzzles and mysteries. Perception (Per) A protagonist’s Perception score represents her observation ability, alertness, awareness of her environment, ability t o recognize things that are missing or out of place, and ability to spot hard-to-notice things, such as concealed objects, faint smells, false accents, and disguises.

The Body: (Physical Aspects) For all tasks involving running, jumping, climbing, fighting, building things, tearing things down, resisting physical attacks, and k h e r types of physical performance, you make card draws using the most appropriate physical aspect. Dexterity (Dex) A protagonist‘s Dexterity score represents her agility, manual dexterity, pedal dexterity, hand-eye coordination, precision, reflexes, nimbleness, and balance. Dexterity reflects her ability to move and perform physical action. It also serves as the basic speed at which she can move.

Resilience (Res) A protagonist’s Resilience score represents her health, durability, toughness, and resistance to disease, toxins, and sickness. Resilience defines how long she can remain active before becoming fatigued. It also reflects the amount o f sleep she requires and how long she can go without food and water. Strength (Str) A protagonist‘s Strength score represents her ability to move weight around and generate kinetic force. I t reflects how much she can lift, carry, and throw, as well as the basic amount of force behind her punches, kicks, and other unarmed or melee attacks. Her Strength also reflects her ability to resist being knocked down or moved by force.

The Soul: (Spiritual Aspects) For all tasks involving leadership, intimidation, persuasion, creating or inventing things, resisting mental assaults, and other spiritual activity, you make card draws using the most appropriate spiritual aspect.

Each aspect and ability is given a score that reflects the degree to which a protagonist possesses the particular quality. T h e higher the score, the greater amount of ability a protagonist possesses within that quality. T h e following score system reflects the value of scores. Score

0

I

2 3 4

5 6

7 8

Inspiration (Imp) A protagonist’s Inspiration score represents her creative capacity, ingenuity, inventiveness, originality of thought, and imagination. It represents the spark of originality within her and her ability to perceive and understand the extraordinary. It also represents her ability to think in an unofthodox manner and her proclivity for daydreaming. A protagonist’s Inspiration score is used to perceive and identify the supernatural; those with low scores in Inspiration almost never notice or recognize the supernatural.

Presence (Pres) A protagonist’s Presence score represents her charm, charisma, leadership ability, strength of aura, personal magnetism, and power to make a strong impression. Presence does not necessarily reflect appearance, though appearance may be one aspect of her Presence score, if you desire to treat it as such. Presence defines how much a protagonist can influence people and whether or not people are drawn to her.

9 IO

Description

No ability (if aspect, person is incapacitated) Feeble Below average to average Average t o above average Excellent Remarkable Incredible (human limit) Amazing (supernatural mortal limit) Superhuman (eldritch limit) Unearthly Beyond Imagination

Ihgoing to be just as nasty as you are-but I’m going to do it with more s t y k - Vanye1 Ashkevron, Matirk Pawn, ly Merledes Larkg,

bilities are qualities that represent what a is capable protagonist 0

of doing, based u[on her natural talent, trainin; education and Spirit (Spir) A protagonist’s Spirit score reflects her strength of will, selfdiscipline, mental endurance, self-confidence, freewill, coolness under pressure, ability to resist mental and spiritual assault, determination, and ability to overcome physical hardships through mind-over-body. It also represents the inherent strength of her soul and her will to live.

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experience. Unlike aspects, a protagonist does not have to have a score in an ability; a zero simply indicates no particular skill in an ability. There are two basic types of abilities - Aptitudes and Skills. Aptitudes are like “macro-abilities’’ in that they encom several skills, while skills are more like “micro-abilities.’’There are nine aptitudes common among both mortals and eldritch and a tenth aptitude available only to the eldritch (and certain rare humans.) Most skills can be fit into at least one of the ten aptitudes. Under each aptitude are seven of its skills that are most commonly used within T h e Everlasting.

The protagonist's score in an aptitude is her base score for all skills it encomes. So, if she had a score of 4 in Melee, all the skills listed under Melee are automatically at least 4 in score. (The skill scores are higher if you place any additional points in the particular skills.). You can improve the protagonist's aptitudes, thus improving all the skills listed for them, or you could improve only certain skills rather than an entire aptitude. It is easier to improve skills than aptitudes. Mortal characters usually have a maximum score of 7 in an ability, if they are among- the very best in the world with that particular ability. Mortals with supernatural power usually have a maximum score of 9. Eldrttch may have scores as hgh as 12. Most of the everlasting learn abilities, but forget them over time due t o disuse. You can determine your protagonist's abilities in one of three ways: Point-allocation method: You receive I5 points to divide among the protagonist's aptitudes and 30 points to divide among her skills. None of her aptitudes or skills can have a higher score than 5. So, if you were to put 5 in an aptitude, you cannot put any points in any of the individual skills for that aptitude, since even one point would put a skill over 5. You can have zeros in aptitudes and skills, if so desired.

Random dice-roll method: For aptitudes you roll 2 d I 2 , total the results, and divide the number of points gained however you see fit among the protagonist's aptitudes. For skills you roll 5dI2 total the results, and divide the number of points gained however you see fit among her skills. Just as with the point-allocation method, the protagonist cannot have a score higher than 5 in any ability. You can have zeros in aptitudes and skills, if so desired.

w

Xist of

4ptimdes a

T h e following list of aptitudes and the skills that fall under them is in no way comprehensive. Feel free t o add new aptitudes and new skills as you see tit. (See Chapter I I for descriptions of all the skills. T h e skills you might not understand simply by name are italicized and included within this section.)

4 (

Random card-draw method: For aptitudes you draw two cards, total the results, and divide the number of points gained however you see fit among the protagonist's aptitudes. For skills you draw five cards, total the results, and divide the number of points gained however you see fit among her skills. Just as with the point-allocation method, the protagonist cannot have a score higher than 5 in any ability. Jacks count as I l s , Queens as 12s, and redraw each King drawn. Note: Drawn cards may be placed back into the deck if the deck is then reshuffled for the next draw. You can have zeros in aptitudes and skills, if so desired.

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Athletics: Accuracy, Acrobatics, Climb, Dance, Focus, Run, Swim Criminal: Espionage, Firearms, Legerdemain, Murder, Security, Stealth, Streetwise Humanities: Antiquities, Artistry, History, Language, Music, Religion, Research Influence: Deception, Eloquence, Empathy, Intimidate, Persuasion, Question, Romance Martial Arts: Blind Fighting, Block, Evasion, Grapple, Kick, Punch, Takedown Melee: Axes, Clubs, Knives, Flails, Polearms, Staves, Swords x r 1 -r " I ivioaern Lire: nrertness, Know/e&e, Comriuters, vriving, . z / - I __.. Management, Pryession Icnoux T

-

one), Social Awareness Naturalism: Animals, Equestrian, Herbalism, Hunt, Orienteer, Survival, Track Sciences: Engineering;, L$e Science, Mathematics, Medicine, Plysical Science, Psychology, Rationalize Supernatural (Not Iivailable to Normal Humans*): Arcana, Astral, Dream, Eldritch, Empower, Illumination, lntuition *u.,-mcq-*qe+callu *-A -.,m;,-;.,-c m.,., -1,,nt;t,,rlo I 111a "'"y ala" L,.,, *Kcm L L L l l l a l l ICUILaOLa

6L L L a L L D

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Book of the Spirits CB Page 49

RationalEe: T h e ability of an individual t o convince herself and others that the supernatural does not exist. Romance: Flirting, seduction, charm, romantic and wit. Social Awareness: Knowledge of current events, politics, environmental issues, pop culture, subcultures, fashion, music, entertainment, social trends, and slang.

Unusual Skills T h e following skills may seem unusual. For more information see Chapter 11. Accuracv: Throwing things and hitting a target; not used for bows and guns. Alertness: Observation ability and watchfulness. Animals: Identifjing animals by theirfootprints, sounds, habits, and appearance; plus animal empathy and the ability to train animals. Arcana: Occult knowledge such as Kabbalah, Hermetic lore, Gnosticism, numerology, alchemy, and astrology. It does not grant any ability to use magi&. Area Knowledge: Knowledge of a particular geographical area. T h e smaller the area, the greater the character's depth of knowledge for the area. Astral: Astral projection along with traveling within and controlling the astral realms. Dream: Choosing your dreams, along with traveling within and controlling the Dreamworlds. Eldritch: Knowledge of the eldritch (the supernatural races) and identifying eldritch o n sight. Empower: Instilling supernatural power into objects and mortal creatures. Focus: Channeling internal energies (chi or ki) and controlling own bodily functions.

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Illumination: Perceiving the Reverie (the supernatural portion of reality) and sensing supernatural events. Intuition: A natural talent for strong feelings, hunches, and guessing ability that is often correct. Legerdemain: Sleight of hand, pick pocketing, and card tricks. Life Sciences: Knowledge of the sciences concerning living things, such as biology, botany, eugenics, entomology, ornithology, and zoology. Medicine: T h e healing arts, including diagnosing and treating various human injuries and illnesses. A character must have a minimum score of four and educational degrees in order to be a practicing physician of any sort. Murder: Planning, executing, and investigating murders. Orienteer: Determining direction and distance, plus plotting courses from place to place. Phvsical Science: Knowledge of the physical sciences such as astronomy, chemistry, geology, and physics. Profession: Must pick any one job, craft or form of skilled labor. Psvcholow: Understanding and predicting human motives and behavior. Question: Ranges from torture t o shrewd questions.

Distinctions are qualities that further define a protagonist as an individual. Scores ranging from -9 t o +9, (with zero being the average score), represent distinctions. A negative number indicates inferiority of some sort and a positive number indicates superiority o f some sort. There are nine distinctions: Biography, Eldritch Ties,Physique, Psyche, Resources, Servitors, Spiritualiv, Supernature, and Temporal

Ties. T h e nine distinctions may be left sim-

ply as scores, or you can take particular characteristics within each of the nine qualities, adding even more detail to a protagonist's Distinctions. There are two types of characteristics - Benefits and Drawbacks. Benefits are positive characteristics that provide advantages, while drawbacks are negative characteristics that provide disadvantages. Benefits and drawbacks are listed by point values that represent their worth. Protagonists may start an Odyssey with simple distinction scores and then get their individual benefits and drawbacks flesh out later. T h e only guideline is that you should not use this option to wreck stories. You may choose whichever individual benefits and drawbacks are appropriate for the protagonist, but the point values for the benefits and drawbacks within each distinction must balance out to equal the score in the distinction. In addition, a protagonist cannot have more than three points in benefits or drawbacks in a distinction beyond her score in that distinction.

worth of benefits in Eldritch, but would have to balance out the benefits with -3 points worth of drawbacks. A protagonist with Psyche -2 could have up to -5 points worth o f drawbacks for Psyche, but would have to balance out the drawbacks with +3 points worth of benefits. You can determine your protagonist’s distinctions in one of three ways: Point-allocation m e t h o d You have a positive balance of 9 points t o divide among the protagonist’s distinctions. Random card-draw method You draw one card, add 3 t o the results, and divide the total number of points however you see fit among the protagonist’s distinctions. Jacks count as I Is, Queens as I2s, and redraw each King drawn. Random dice-roll method: You roll I d I 2 , add 3 to the results, and divide the total number of points however you see fit among the protagonist’s distinctions. Regardless of the method used, you may take negative scores in some distinctions in order to gain more positive points for other distinctions. For instance, you could reduce Resources to 2, granting you an additional +2 points t o spend on Supernature.

Biography: A reflection of the protagonist’s affect upon history, the number of important historical events in which she has participated, her personal background, and how great and worthwhile her life has been so far. Positive Score T h e character may have participated in a positive way in many historical events. High scores indicate a hero found in folklore or a prominent figure found in history books, (though probably under an assumed name used at the time,) who did something to benefit people. It can also indicate that the character is a world traveler who has seen and done many things. She has many experiences to speak o f and her flashback scenes can involve many great historical events. ’ Negative Score: T h e character may have participated in a negative way in many historical events. High negative scores indicate a villain found in folklore or a prominent figure found in history books who committed great atrocities. It can also indicate that the character has never left her hometown, or that she has done nothing; score - worthwhile with her life. Characters with a negative are viewed as nai‘ve recluses as best and as despicable villains at worst.

Book of the Spirits @ Page 51

and/or s among her own genos and among the other eldritch. T h e character may have great respect among her race or among some other race. The character may also hold some position of authority within ”everlasting society” (the supernatural subculture.) T h e character may also be notable for her strong sense of

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Negative Score T h e character may have lots of enemies, detractors, and/or rivals among her own genos and among the other eldritch. T h e character may be a notorious villain among her own race or among some other race. T h e character may also be an outlaw or outcast within everlasting society. T h e character may also be known for being dishonorable. Physique: A reflection of the protagonist’s physical appearance, as well as any unusual physical characteristics that she might possess, such as permanent injuries, abnormal size, unusual appearance,

- Positive Score. The character is physically impressive. This distinction can take many forms, such as unusual physical knacks, like feigning death and contortion. It can also reflect strong attractiveness, a well-built physique, and great sex appeal. I t can also reflect excellent physical health, such as sharp senses, great endurance, and - Negative Score The character has detracting physical features. This inction can take many forms, such as ugliness, poor physical dition, and general repulsiveness. It can also reflect strong body or, disfigurement, and other features. It can represent physical pairments, such as poor senses, lost sense organs, paralysis, and t limbs. It can even represent sterility, immune system deficiencies, diseases, strong allergies, special medical conditions, and so on. Psyche: A reflection of the protagonist’s mental condition, ncluding memory, sanity, and personality quirks. Positive Score The character’s sanity is strong overall and she can cope with mental stress well. This can also reflect the ability t o learn quickly, a photographic memory, any sort of natural talent, or a very high score in one or more beneficial persona qualities, (usually a score of 7 or higher), such as courage, honor, cool-headed, and

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- Negative Score The character may suffer from mental problems of any sort. This can reflect fetishism, phobias, compulsions, delusions, neral inhumanity, paraphilia, or obsessions. This can reflect amne, berserker tendencies, anachronistic behavior, paranoia, weird personality quirks, and so on. In addition, it can represent a learndisorder or natural inability in some skill or group of skills. Resources: A reflection of the protagonist‘s wealth and propboth mundane and Supernatural. - Positive Score T h e character has things of value and money to live on. T h e character might even have a well paying job. The form the valuables take may be chosen. For instance, resources can take the form of: businesses, bank s, money hidden in mason jars, stocks, ancient treasures, a valuable dominion (a territory controlled by the character), a valuable sanctum (home), experimental technology, government weapon arsenals, jets, classic automobiles, antiques, medieval weapons, computer software, magickal devices, empowered weapons, and so on.

THEEVERLASTING CB Page 52

other eldritch lots of money. T h e character either has a small home of little value or no home at all. Most likely the character also has no dominion o f her own. Servitors: A reflection of the protagonist’s servants in of their capabilities and number. Positive Score T h e character has servants who assist her in one or more ways. T h e higher the score, the greater the number or quality of the servants. A character might have several normal human servants or two empowered servants with supernatural powers o f their own. T h e score can also reflect the loyalty of the servants. It is even possible for the character to control a cult or spy ring. Negative Score T h e character has very little help, if any at all. This can also indicate that former servants left the character, taking many of the character’s secrets with them. T h e former servants are most likely enemies now and have an advantage, since they know the character so well. The former servitors may be human, but not necessarily. In addition, the character may have servants working for her currently that are actually spies working for one or more of the character’s enemies. Spirituality: A reflection of the protagonist’s attunement to her spiritual side. Positive Score The character may have strong ties to destiny, may be a very spiritual person, may be blessed, may have good luck, and may have strong ties t o the Astra or Dreamworlds. Negative Score T h e character may have strong ties to a dark destiny, may be a spiritually tormented person, may be cursed, may suffer constant bad luck, and may have weaker than normal ties to the Astra or Dreamworlds. Supernature: A reflection of the protagonist’s inborn affinity with the magickal arts, as well as any innate supernatural talents or afflictions she might possess. Positive Score T h e character may be able to conceal her supernatural features more easily than most eldritch. The character may lack one or more of the weaknesses of her genos. T h e character may be a quick learner with magick or might possess a strong resistance to magick. T h e character may also have some minor supernatural power that is not powerful enough t o qualify as a preternatura (supernatural power.) Negutive Score T h e character may find it difficult to move among humans, as her supernatural features are blatantly obvious even to mundane humans. T h e character may suffer additional weaknesses that sometimes surface among of her genos. T h e character may be a very slow learner when it comes to magick or might be especially susceptible to harmful magick. T h e character may also suffer some curse that produces supernatural effects. Temporal Ties: A reflection o f the protagonist’s connection to, and power within, mortal society, including her fame, influence, and s. Positive Score. T h e character may have lots of fiiends, ers, and/or s among the mortals. T h e higher the score, the more important the positions of her friends, ers, and s. Among the fields that friends, ers, and s can hold positions within include: business, the news media, religion, politics, government, law enforcement, medicine, scientific research, the military, criminal society, organized crime, the court system, the music industry, the movie industry, the publishing industry, and academic research. T h e character may also hold some position o f authority

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x t e r may . . also share strong ties to her mortal family or some other family. Negative Score: T h e character may have lots of enemies, detractors, and/or rivals among humans. A negative score usually indicates the character is hunted regularly by humans. T h e character may be a target for capture or killing by certain groups of mortals, such as government agencies, law enforcement, cults, organized crime, and so on: Some group may also be spying on and watching the character so that it can act against her later.

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T h e following are just some sample benefits and drawbacks. Feel free to come up with some of your own. T h e Codex of Immortality will provide a large comprehensive listing of them. Biography - Unusual Origin (+I): T h e protagonist became eldritch by some incredible and unique means. T h e story of her unusual origin may be well-known among those of her own genos, as well as by her other associates. T h e protagonist is set apart as special in some way due to her unusual origin. - Historically Infamous (variable): T h e protagonist has had some sinister influence o n the development of human, or possibly eldritch, society. T h e degree o f influence she has played determines the value of this drawback as follows: -I for minor role at one time or another; -2 for minor roles throughout history; -3 for minor roles throughout history and one major role; -4 for lots o f minor roles throughout history and two or three major roles; -5 for countless minor roles throughout history and three or four major roles. T h e participant may decide if the protagonist is infamous or if she played her terrible part in history secretly. Eldritch Ties

- Good Friend (+I): T h e protagonist has a good friend among the eldritch. T h e eldritch may be of any sort of the participant’s choosing. T h e friend may be called upon for help, but may also call upon the protagonist for help. T h e protagonist may know a great deal of information concerning her friends genos because of the friendship. - Outcast (-2): T h e protagonist has very little in the way of connections t o her own gen. T h e protagonist knows very few of her own kind, or is ostracized from among them. She cannot come to them for assistance. Physique Ages Well (+I):T h e protagonist ages gracefully, making an aging card draw starting at age 45, with the difficulty being 6, instead o f 9. T h e protagonist still must make the card draw every five years. This benefit may only be taken by protagonists who have mortal bodies, such as manitou, osirians, and the possessed.

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and one moment of weakness can plunge the protagonist back to drinking again. If the protagonist is drinking currently, she probably does not want to stop, regardless of the negative affects drinking has own her life. She will probably have t o hit bottom before wanting to get better. Psyche - Indomitable Will (+5): T h e protagonist has such a strong mind that it is difficult for others to mind-control or influence her in any way, be it magick, preternaturae, or mundane brainwashing. T h e protagonist gets a -4 difficulty o n all Spirit card draws in resisting any form of mind control or direct mental influence. - Fears (-I t o -4): T h e protagonist is deathly afraid of something. T h e phobia is so extreme that even minimal exposure to the source o f the fear can deeply hinder the protagonist. There are all sorts of fears. How common the fear stimulus is, and the degree to which the fear hinders the protagonist, determines the actual value of this drawback. Here are some examples of phobias: animals (zoophobia), bacteria (bacteriophobia), beds (clinophobia), blood (hematophobia), bridges (gephydrophobia), bullets (ballistophobia), cats (ailurophobia), children (pediphobia), clothing (vestiphobia), confined spaces (claustrophobia), crowds (demophobia), darkness (scotophobia), death and dead things (necrophobia), dirt (rupophobia), doctors (iatrophobia), anything English (anglophobia), females (gynephobia),jre (pyrophobia), herghts (acrophobia), holy places (hagiophobia), insects (entomophobia), loneliness (monophobia), maks (androphobia), modern terhnology (technophobia), monsters (teratophobia), needks (belonephobia), noises (brontophobia), oceans (thalassaphobia), opm spaces (agoraphobia), plants (botanophobia), sharp objects (aichmophobia), skin parasites (acarophobia), snakes and other reptiles (ophiophobia), spiders (arachnophobia), storms (astraphobia), strangers (xenophobia), subterranean areas (troglophobia), thirteen (triskadekaphobia), trees (dendrophobia), and weapons (hoplophobia). Resources - Dominion (variable): T h e protagonist is a recognized master of a dominion. T h e points spent on the protagonist’s dominion determines its size, importance, and location. For +I a city dominion is a few blocks, while a suburban dominion is 2 square miles in area, and a rural dominion is 5 square miles in area. For each additional +I spent in this benefit the area doubles. A dominion is any geographic area which an eldritch claims as her own and has the power to control. In addition, several eldritch must acknowledge the protagonist’s claim to the dominion for it to become legitimate. According to the common social etiquette among the eldritch, no eldritch has any authority within another eldritchs recognized dominion. T h e master of a dominion is considered an autocrat within her dominion and it becomes her duty to oversee and protect mortals within the dominion from any supernatural threats within it. Other eldritch may exist within a domain, but they must either answer to the master, skulk about, or usurp control of the domain.

Book of the Spirits @ Page A

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or else she will suffer even more for it. Borrowing from other protagonists, for whatever reason, is not an option. T h e amount of debt is as follows: -I = $ I Million; -2 = $ 2 Million; -3 = $3 Million; -4 = $4 Million; -5 = $8 Million; -6 = $15 Million; 7 = $30 Million

- Cult (variable): T h e protagonist controls throngs of mortal worshippers. T h e size of the cult determines the exact cost of this benefit. For +3, the protagonist has only I 5 people who worship her, but they are always on the look out for new recruits. For each additional +I, the cult doubles in size as follows: +4 = 30 cultists, +5 = 60 cultists, +6 = I20 cultists, and +7 = 240 cultists. Cultists are not as capable or useful as minions, and cultists may turn against the protagonist, if they lose faith in the practices and teachings of the cult, possibly through deprogram-

- Apprentice Betrayal (-3): T h e protagonist had an apprentice who is now more powerful that she is currently. This former apprentice has a hatred of at least 4 for the protagonist and she will go out of her way to bring misfortune to the protagonist whenever and however possible. This could be because the apprentice betrayed the protagonist, or because the protagonist betrayed the apprentice some time during the past. T h e former apprentice is considered one experience level higher than the protagonist at the start of the Odyssey, but the former apprentice may grow in experience. - Hard-to-Kill (+7): The protagonist can somehow survive encounters which should kill her. At least 3 destiny points must be spent (Guide sets actual number of DPs), but if spent, the protagonist can somehow make it out of a situation which would otherwise cause to her true death. T h e Guide is advised to limit this benefit to functioning only a certain number of times before expiring, based on how readily the protagonist's participant abus- Insane Past Life ( - 2 per Past Life):The protagonist can recall a past life in which she was insane. T h e protagonist was not only insane in this past life, she Committed horrible deeds or witnessed things which are a strain upon the protagonist's current persona. The memories from this past life can cause her psychological problems and horrible flashbacks while awake and within nightmares. T h e Guide can allow the persona from this insane past life to attempt to gain some control over the protagonist by spending one or more of the protagonist's backlash points. This temporary insanity may last up t o the remainder of the scene, or the protagonist can spend twice the number of destiny points to end the temporary insanity. T h e insanity may take the form of Phobias, Obsessions, Hullucinutions, Fetishes, or forms of Inhutnunip

THEEVERLASTING @ Page 54

nist as follows: + I = 25 years; + 2 = 50 years; +3 = 100 years; +4 = 200 years; +5 = 300 years; +6 = 400 years; +7 = 500 years.The protagonist ages slowly over the extent of the lifespan. As such, she must make aging card draws far less often, as follows: + I = as normal; +2 = every IO years after 70; +3 = every 20 years after I 0 0 +4 = every 25 years after 120; +5 = every 30 years after 150; +6 = every 40 years after age 2 0 0 +7 = every 50 years after age 250. Supernatural Allergy (variable): T h e protagonist is extremely allergic to some mundane substance. T h e substance can cause the protagonist great harm; as such, the protagonist is usually repulsed by the substance as she wishes t o avoid with it. T h e substance causes I points of insidious, debilitating damage each turn for each - I taken in the drawback. A Resilience (11) draw is made t o resist the damage by one point for each success achieved. Exposure occurs through touch with most substances, but by smell if the substance has a strong odor. Damage caused in this manner can only be healed by rest and normal healing, not through rapid healing or regeneration. Some possible substances include: garlic, wolfsbane, crucifixes, dogs, rowan, fenel, silver, cold-wrought iron, strong perfumes, etc.

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Temporal Ties - Celebrity (variable): T h e protagonist is an adored public figure. The scope of how well the protagonist is known and how well she is adored determines the value o f this benefit. Local celebrity is a + I benefit, national is a +3 benefit, and world-wide is a +4 benefit. T h e protagonist automatically gets a - I difficulty when dealing with fans. For each additional + I in this benefit, the difficulty is reduced by an additional point. Thus, a +6 benefit for an international celebrity provides her with a -3 difficulty when dealing with fans all over the world. Some people will dislike the celebrity as much as others like her, so dealing with these people causes the exact opposite as the normal difficulty modifier. So, the previously mentioned benefit would cause a +3 difficulty when dealing with certain people. Being a celebrity means more than taking this benefit, it means the protagonist is a public figure whose life becomes paraded before mortal eyes through the media. Celebrity status combined with involvement in supernatural activities can lead to terrible consequences, so most eldritch avoid becoming celebrities. Criminal Record (variab1e):The protagonist has a criminal record. She cannot vote and will find it hard to get good jobs and loans. Many people who know about the protagonist's criminal past will not trust her, plus they will automatically suspect her if a crime is committed. For one point, the protagonist has a record filled with several crimes short of murder. For two points, the protagonist has a murder record. For three points, the protagonist has a record filled with numerous crimes and multiple murders.

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less Paths

This Moor was an African, born in the interior o f Morocco, andfrom his childhood on, he had been addicted to witchcr$t and had studied and practiced every kind of occult science. Indeed, the city of Tunis itst$ is notonousfor this unholy lore, and he continued to read and hear kctures there until he became a master all kinds of sorcery and spells that he had acquired afferforty years o f s t u b -Arabian Nlphts,

reternaturae terious super-

ous gentes are descriptions of several preternaturae commonly found among beings of that particular sort. Each race of eldritch call the preternaturae common among their own kind by a particular name. Those names are as follows: Gargoyles: Sacred Mysteries Manitou: Embodiments T h e Possessed: Oneira Abominations: Defikments Djinn: Hubris

of Magick, ranging from

Kodun, t o

can learn more than one path of magick, though combining different paths can become very difficult. All osirians, and only osirians, practice Ureret (osirian Urmagick), the most powerful and pure magickal path known. Magick involves the use of two special qualities, Lore and Art. Lore represents understanding of a magick path, while Art represents the power to actually manipulate unseen forces in producing magick within the confines of a particular path. See chapter I I for details concerning magick and the guidelines for magick use. Further details are given within the Magician's Companion sourcebook. Point-allocation method: YOUreceive 30 points to divide between preternaturae and/or magick. Preternaturae are listed in the chapters for the different gentes. Magick costs 4 creation points per point in magickal art or lore in a path. You may have points in more than one Path. You must have a minimum of Art I and Lore I for a path to use magick within that path. For instance, having a Druidism Art 3 and Lore 2 would cost 20 creation points. (Art is 3 x 4 creation points and Lore is 2 x 4 creation points.) You may " b a n k creation points for preternaturae until you get more experience points so you can spend the points later on to buy powers that cost more than 30 points each if you wish.

In addition, within the Codex of

Immortality supplement there will be a Section that d e ~ r l b e generic s preternaturae that you may use in custom-deg supernatural Powers especially for Your own protagonist.

Magick Ma& the power to bend probabl~lty and the ability to alter both supernatural and mundane reality. Within T h e Everlasting, very real world ented and less like its fantasy counterpart. Unlike preternaturae, which are innate powers, magick is both a skill and an art gained through years of study, which near-

Random card-draw method: You draw five cards, total their values, then round the total to the nearest number ending in a five or zero for the actual number of points. Divide the points among preternaturae and/or magick however desired. Jacks count as I Is, Queens as 12s, and redraw each King drawn. Preternaturae are listed in the chapters for the different gentes. Magick costs 4 creation points per point in magickal art or lore in a path. You may Save creation points for preternaturae until you get more experience points so You can spend the Points later on to buy Powers that Cost more Po'nts than YOU start with, if you wish.

points. Divide the points among preternaturae and/or magick however desired. Preternaturae are listed in the chapters for the different gentes. Magick costs 4 creation points per point in magickal art or lore in a path. You may save creation points for preternaturae until you get more experience points so you can spend the points later on to buy powers that cost more points than you start with, if you wish.

(Initial Preternaturae that Cost No Creation Points) T h e following section defines the initial preternaturae and magick that all of particular gentes possess. Protagonists start with the preternaturae and magick listed for their gentes within this section at no cost. T h e protagonists get these supernatural powers in addition t o the 30 creation points they get for other preternaturae or magick. See the chapter for the protagonist's genos for the preternaturae available to the protagonist. T h e powers are listed near the end of the chapter. T h e points for preternaturae d o not have to be spent immediately. The points can be listed under the preternaturae section on the protagonist profile and remain banked until enough points are gained through experience to buy powers that cost higher amounts than possible at the start of the odyssey. Note, T h e number listed beside a power is its power level, representing its potency and the owner's mastery. T h e levels are: I = novice 2 = adept 3 = expert 4+ = master

Book of the Spirits 6,Page 55

(Gargoyle Preternaturae) Enhanced Senses (2):T h e gargoyle's five senses are superior to human senses. T h e senses are double in sensitivity in of spectrum width and range. The gargoyle can see clearly in near darkness, hear a pin drop at 50 feet, and smell a person's scent. The gargoyle is at -2 o n all her difficulties for card draws involving her senses. This power is always o n and is not turned on and off like other powers. Normal Perception card draws are requited. Levitation (I): This power allows the gargoyle to rise into the air and float about, as if she is weightless. No card draw is required to levitate. T h e use of this power costs I animus and levitation may be used for the remainder of the scene at no additional animus cost. T h e gargoyle may use her wings to propel herself through the air at speeds up to thirty miles per hour. Sixth Sense (Sense the Sinner): Gargoyles can easily spot anyone who has committed some sin worthy of feeding upon. They can estimate the gravity of the sin, but will not know the nature of it until they feed on it. N o card draw is required and it costs n o animus. Sixth Sense (Spirit Sight): Gargoyles can easily spot any spirits (astral, dream, dead soul, etc.j that are nearby within the Reverie and can communicate with them freely. No card draw is required and it costs no animus. Special Communication (Spirit Speech): Gargoyle can communicate with all astral spirits. They also know their own spirit language. It costs no animus and no draw is required to use this power. Summon the Monster Within: This gargoyle can reach into her own Abyss and pull out the monster she is doomed to become. This may be done by giving in to the Abyss in times of need, automatically gaining one point in the torment. No card draw is required to use this power, but an Abyss (9) draw is required to determine the effect. One success is automatically added to the result of the draw. T h e use of this power costs I animus and the effects last until the end of the scene. For each success, the gargoyle gains + I points in each of the following persona qualities: Violent, Cruel, and Evil. In addition, for each success, the gargoyle gains +I point in Resilience or + I point in Strength (participant's choicej including any increased Life points as a result. (However, no score may be raised beyond 12.) Any damage done while the gargoyle is in her monstrous form first comes off the extra life points gained from the form. Vision Powers (I): T h e gargoyle has thermal vision. Thermal vision allows the gargoyle to detect the heat patterns of creatures, even in pitch darkness. A subject's heat pattern glows against the cooler background and her shape may be made out. It costs one animus to use this power and it can last up to the remainder of the scene.

Simulacrum-based Powers T h e following initial supernatural powers are based upon what their simulacra are composed of: Heavy Stone Simulacra Aspect Mod$iers - Dexterity -1, Resilience +2, Strength f 2 Rapid Healing (Z) - T h e gargoyle heals at twice the normal human healing rate against all forms of damage, including insidious and debilitating- damage. - Healing- from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e gargoyle regains two points of Life per - - . success. Debilitating damage can be healed at a rate of one point per two successes (round up). While healing does not require any sort of special treatment, masonwork, stonecarving, and craftsmanship of other sorts might be capable of reducing the difficulty on the healing draw.

,Light Stone Simulacra (covered in M s e flesh of either wax or rubber) Aspect Modfzers - Resilience + I , Strength I, Presence I Rapid Healing ( I ) -The gargoyle heals at twice the normal human healing rate against all forms of damage, including insidious and debilitating damage. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e gargoyle regains two points of Life per success. Debilitating damage can be healed at a rate of one point per two successes (round up). While healing does not require any sort of special treatment, masonwork, stonecarving, and craftsmanship of other sorts might be capable of reducing the difficulty on the healing draw.

+

THEEVERLASTING @ Page 56 "

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Wooden or Ivory Simulacra Aspect Modifiers - Dexterity + I , Resilience +I Rapid Healing (2) - T h e gargoyle heals at four times the normal human healing rate against all forms of damage, including insidious and debilitating damage. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e gargoyle regains four points of Life per success. Debilitating damage can be healed at a rate of one point per success. While healing does not require any sort of special treatment, woodwork, carpentry, carving, and craftsmanship of other sorts might be capable of reducing the difficulty on the healing draw. Wax Simulacra Aspect Mod$ers - Dexterity I, Presence +I Regeneration (Z) -The gargoyle has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e gargoyle can recover from normal damage at a rate of one Life point per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 3 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the protagonist acts during that turn or not. It costs the gargoyle one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers.

+

Glass Simulacra Aspect Mod$ers - Dexterity +2, Resilience -I, Presence + I Regeneration (3) -The gargoyle has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e gargoyle can recover from normal damage at a rate of three Life point per combat cycle, per wound, and from debilitating damage at a rate of one Life point per minute, per wound. Healing occurs during the tenth turn of the combat cycle, whether the protagonist acts during that turn or not. It costs the gargoyle one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers. Alttr Simulacra -This power allows the gargoyle t o reshape the flesh of her glass simulacra into new forms. T h e gargoyle can make herself extremely attractive or monstrous. T h e degree of alteration the gargoyle achieves depends upon the number of successes she achieves on an Inspiration (7) draw. T h e gargoyle can even create body weapons. She can create horns, claws, tentacles, swords, clubs, and other non-projectile weapons. T h e body weapons are usable through the appropriate melee skills. Any weapons do one less point o f damage than their normal counterparts, but the body weapons are strong enough not to break from use.

(Manitou Preternaturae) Enhanced Memory (I): T h e manitou has an incredible memory that is even more detailed and accurate than an eidetic memory. Her memory allows her to instantly recall all major events in her a r r e n t and past lives with perfect clarity; looking through her mind‘s eye she can perceive the events as if she were there. T h e manitou can see, hear, smell, and feel every little detail and everyone’s exact words, actions, and appearances. Her memories may still be altered somewhat by her subconscious mind to suit her personal idea of what happened, but less so than the subconscious mind affects human memories. Enhanced Senses (2):T h e manitou’s five senses are superior to human senses. T h e senses are double in sensitivity in of spectrum width and range. T h e manitou can see clearly in near darkness, hear a pin drop at 50 feet, and smell a person’s scent. T h e manitou is at -2 on all her difficulties for card draws involving her senses. This power is always on and is not turned on and off like other powers. Normal Perception card draws are required. Heightened Aspect: Dexterity +I, Instincts +2, Resilience + I Rapid Healing (I): T h e manitou heals at twice the normal human healing rate against all forms of damage, including insidious and debilitating. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e manitou regains two points o f Life per success. Debilitating damage can be healed at a rate of one point per success. While healing does not require any sort of.specia1 treatment, herbalism and medicines can reduce the healing difficulty. Allows the manitou t o see all spirSixth Sense (Worldsight): its present within the Reverie. It costs n o animus and no draw is required t o use this preternaturae. Special Communication (Beastspeak): Manitou can communicate magickally with all animals and wakanda. They also know their own secret hieroglyphic language. I t costs n o animus and no draw is required to use this embodiment.

Book of the Spirits @ Page 57

(Preternaturae of the Possessed) Dream Control (3): The possessed can use this power at three varying levels of effect. They are, from weakest to strongest, as follows: One)The POSSeSSed has the Power to recognizeif a Per'On In the REM Of Or In Some Other If the In the REM dream state, the POSSeSSed can 'lose her eyes and peer into the subject's dreams by entering an altered

which her ConSCioUS and subminds into One a waking REM state. The Po'sessed must be wlthin a few feet of the subject to use this oneiros and she can take no other actlons while in this state. T h e possessed may be visible or invisible within the subject's dreams, depending upon her wish. If visible, the possessed may take whatever form she chooses and she may communicate freely with State

Of ConSCioUSneSS

ConSCioUS

outside force the subject cannot see, without having to enter the dream In Order to do so. The Possessed has Somnoman9~ like possess^ ln Of but her difficulties on card draws within the subject's dream are the same as they be if the POSSeSSed was In One Of her Own dreams. The

alter the dream as If

sublect

It

were her

'Ince

it

is her dream.

iLNe'Three) The Possessed has the Power to Pluck a 'leeper from her own dreams and place her into the possessed's own dream. T h e possessed may be a visible or invisible presence withthese dreams, her wish.The difficulties within the dreams are reduced by -2, while the subject have difficultiesescaping from the dreams, and the subject's attempts to alter the dream are treated as though it were not his dream. It takes an Inspiration (9 - Dream) draw to activate this power, and it costs one animus for the level one effects, two anifor the level and three for the level three effects. The effects will last for the entire scene. T h e possessed can pay the difference between levels t o move the effects upward in level of effect. Heightened Attributes: Strength + I , Inspiration +I,

IUusions(I): The Possessed has the Power to Produce slmP1e illusions. An illusion is real to one sense for each success that the Possessedachieves o n an Intellect (difficulty to ' ' 8 upon complexity of illusion.) All present, unless the possessed specifies otherwise, wltness the illusion as part of their reality. A subject may try to disbelieve it by voluntarily making a Perception (6 1 per additional sense beyond the first t o which the illusion seems real), but should have a reason for disbelieving. The illusion an but damage caused It* assuming it real to the touch, 1s damage- An illusory attack must seem real to touch and sight. T h e attack causes 2 points of illusory damage per success. If the subject has not disbelieved the illusion, she suffers the damage normally, and

'

+

THEEVERLASTING (P Page 58

an illusory attack can actually do is knock a subject unconscious. It may seem to kill a subject, but the subject merely awakes at the beginning of the next scene to find it was not real (provided she is not killed by some other attack in the meantime.) Illusory objects have the same capabilities and limitations as their real counterparts. For instance, an illusory gun, provided that it is real to sight, smell, and touch, would look smell and feel like a real gun. A subject will feel its weight, can pick it up, smell its gun oil, check the clip of illusory bullets and even fire it, doing illusory damage to someone hit who thinks the gun is real. If someone tried to put real bullets into it, it would seem as though fie bullets are actually the but they would actually lust fall Onto the floor where they would unseen, since the subject would believe the bullets are in the gun's clip, It costs one animus per scene for a particular effect. Personal Alteration (I): The possessed has the power to alter her own voice and appearance through Illuslon.The change can be used to make both subtle and drastic changes. The possessed can become extremely attractive or horribly monstrous. She also has the power to ~'trmsform"her flesh through illusion into new shapes, textures, colors, and so on. She can change her hair color and length and her eye color as well. T h e degree of success the possessed has in transforming is based upon the number of SUCcesses she achieves. Should the possessed get a Disaster, she disfigures herself, though this can be fixed through the use of this power. A Perception (9) draw is required to make a transformation. It costs 2 animus to create an illusory mask. Three destiny points may be spent to make any effects perpetual; otherwise the possessed may revert back at will or retain the changes until the end of the scene. Rapid Healing (I): T h e possessed heals at twice the normal human healing rate against all forms of damage, including insidious and debilitating. ~~~l~~~from normal damagewithout medical treatment requlres a simple Resilience (8) draw once per day. of Life per The Debilitating damagecan be healed at a rate of one per success. While healing does not require any sort of special treatment, herbalism and medicines can reduce the healmg difficulty. Sixth Sense (Dream Sense): T h e possessed can look into the dreams of sleeping people near by. T h e possessed opens up a her mind's eye, allowlng her D~~~~K ~ which ~ ~ ,like a to look in on the sleeper's dreams. No card draw is required and no to use oneiros.

In addition, the soul-prisons themselves have t h e following: Teleport (5): This OneirOS allows the soul-prison to teleport anywhere in the world, but only within the earthly dimension. It Costs no animus to use this oneiros, but it can only be used when the most recent host dies.

Your protagonist is almost complete. Once you have performed all card draws (or dice rolls) and have allocated all your creation points, then all you have left are minor details.

All characters have experience levels and your protagonist starts off at level "3,"unless all participants decide to change the points allocated in protagonist creation. You are advised not to start protagonists off with more points than they start with already, since they are already very powerful and should have room to grow over the course of the Odyssey.

speed Speed is a special quality that represents the number o f actions a protagonist can take within one combat cycle, (which is usually around IO seconds long, though the combat cycle may be anywhere from 5 seconds to one minute depending on what seems appropriate in the context of the scene.) AU protagonists start with a Speed score equal to their Dexterity divided by 2 (rounded up.) This score can be increased by magi&, preternaturae, or by other special means such as technology or potions.

Xife L$ represents the total amount of injury a protagonist can sustain before becoming incapacitated. Life is recorded as a permanent score, but there is a section o n the protagonist profik for her current Life (since injuries reduce a protagonists Life score until those points are restored through healing.) Each time a protagonist takes damage from an attack, she reduces her current number of Life points by the exact number of damage done by the attack. Should her L$ points be reduced to zero, she is incapacitated, becoming unconscious and (or) unable to do anything. Should her Lfe points 80 to a negative number equal to (or in excess her usual Ly'i score, she dies f she is mortal. However, 4 she is immortal, she simpb remains unconscious, unless the damage is caused by something to which the victim is vulnerable, in which case the immortal dies. A protagonisti base Ljfe points equal her (Resilience Strength Spirit). This score may be increased through preternaturae. Further details concerning injury and recovery of Life is covered within the Combat section in chapter 3.

4

+

+

Both preternaturae and magick require supernatural energy in order to function. A substance called Animus represents this energy. Animus is the substance of magick and life found within all living (and d i v i n g ) beings. A protagonist's animus score represent~how many animus points she can use and contain. It is equal to her (Znspiration Presence Spirit). This score may be increased through preternaturae. Animus is regained through various forms of sustenance (see below.) Whenever a protagonist uses a preternatura or magick, she must pay a certain number of animus points. (Basically the protagonist spends some of her personal energies so that her preternatura or magickal effect functions.) r f a character ever reaches zero animus, she becomes too weak to take any strenuous action and must gain sustenance soon, or else she will begin suffering insidious damage at a rate of I point per 8 hours. If a character's Life score is reduced t o zero by this means, if mortal, the character dies. If she is not mortal, she lingers in continual agony and (or) weakness forever (or unless someone brings her sustenance.) In addition to spending animus in using preternaturae and magick, all eldritch lose three points animus each day. This is the energy their bodies spend sustaining themselves. Animus points may be regained in a number of ways, described in the following section.

+

+

of

Each and every mortal and eldritch requires something to sustain their existence, this source o f replenishment is called Sustenance. Each genos of the everlasting requires particular forms o f sustenance. Some eldritch require food, water, and sleep, just like mortals, but others require more . unusual forms of replenishment.

..

Forms of Sustenance A protagonist can use certain forms of sustenance, based on her genos, to replenish animus spent using magick and preternaturae, as well as the 3 animus points lost each day simply through metabolism. T h e forms of sustenance are:

Gargoyles Sin-Eating: Gargoyles regain animus primarily through their sin eating and es o n the Curse $Absolution. T h e number of animus gained relates to the heinousness of the deeds. It is up to a Guide to set how many animus points are gained based on how much remorse the sinner feels, as different people feel different ways about which "sins" are more severe than others. T h e less the remorse, the greater the animus and the more serious the "penance." Here are some ideas: murder (first victim) IO, murder (per additional victim) 7, self-defense manslaughter 5, rape 6, inflicting of serious injuries 3, petty theft I

Book of the Spirits @ Page 59 7

-

a11iitoIU Sleep: Regain 1 animus per four hours of sleep Totem diet: Regain I animus per meal (up to 3 meals per day). Must eat what totem animal would eat (raw meat, rodents, insects, leaves or anything else appropriate.) Communion with Nature: Regain I animus for each success on an Inspiration (12 - Naturalism) roll, make one roll per hour o f meditation. Feel an intense union with the essence of Nature while in this state.

The Possessed (Host)

None: T h e Possessing Ochelum provides all the sustenance needed.

Sleep: All the possessed sleep a minimum of eight hours per day, many sleep up to I 3 or I 6 hours, though they gain no animus from it directly. (Yugtuhul) Negative emotions: Regain I animus for each success a victim gets on a persona roll involving a negative emotion (fear, doubt, hate, etc.) which the yugtuhul instigates. Typically the person provoked must draw I to 5 cards (diff. 9), with the number of cards based upon how strong the yugtuhul provokes the emotion. For each success, the victim gains one point in the negative emotion until no longer provoked, or until the end of the scene. (Benedera) Positive emotions: Treat as Negative emotions, described above, except that the benedera evokes positive emotions. Shadows: Regain I animus for each point of damage inflicted to a shadow from the Dreamworlds. Cannot gain more animus than the shadow’s Life score.

Mortals

(Listed for Comparison)

Food and water: Regain I animus per meal (up to 3 meals per day)

Sleep: Regain I animus per four hours of sleep Meditation: Regain I animus for each success o n a Spirit (I2 Focus) card draw, make one draw per hour of meditation.

T o r W p s t ts:

ngst and self-torture are a part of existence that the everlasting cannot escape. Each protagonist has her own form of inner conflict - her own ”personal demons” - based upon her genos. Each race’s Torment is a form of human inner-conflict, but the Torment is taken t o

an overpowering level that threatens the very existence of the everlasting who must suffer it. Torment is an extremely important quality in the life of a protagonist since it helps define the limitations and weaknesses of immortal existence. Each protagonist begins with a Torment score of 3. This score may be increased or decreased during legendmaking, based upon how strongly a protagonist resists the pull o f her darker side. Protagonists who give in often will find short term peace, but slowly eat away at their own souls, drawing themselves step by step closer to their own destruction. By giving in willingly, a protagonist gains destiny points (or some other tangible benefit), but her Torment score goes up by one point. Once a Torment score becomes thirteen, the protagonist is totally consumed by her Torment and no longer has the power to fight it (unless the Guide wills it so.) T h e protagonist then becomes either a ing character or (most likely) a short-lived antagonist. Torments come into play whenever a situation allows for the protagonist’s darker side t o become involved. Often the Torment serves as a source for pain or temptation, but it also provides the protagonist with some short-term benefits. You can choose t o draw extra cards with an appropriate aspect in performing some appropriate action by willingly increasing the Torment score. T h e extra cards equal the protagonist’s score in her Torment. You may also reduce the protagonist’s good persona qualities or increase evil persona qualities by a number of cards equal t o the Torment score, should you find the need to d o so in order for the protagonist to take some action she would otherwise vehemently oppose. Each time a Torment is called upon for one of these purposes, it is automatically raised by one permanent point. Torments can sometimes sugace on their own. In which case, the protagonist must make a contested card draw tofight her terribk urges. The card draw is the protagonist’s Spirit (d@culty 9) versus her own Torment (dfficulty 9). If the protagonist’s Spirit wins by achieving more successes, the protagonist resists her Torment, but if her Torment achieves more successes, the protagonist gives in to her dark urges. T h e degree t o which a protagonist prevails over (or succumbs to) her Torment depends upon the number of successes the winning side achieves over the other. If the protagonist‘s Spirit card draw is a ”disaster” (see chapter 3 for details),-the Torment score permanently increases by one. If the Torments card draw is a ”disaster”, the Torment score permanently decreases by one. Torments are powerful and tragic forces that are potentially fatal flaws for protagonists; yet, through their torments the protagonists gain a sense of humanity, a touch of vulnerability, and a degree of imperfection. Negative persona qualities appear and grow in strength as torment scores increase. In addition, the ethics (or morality) of the eldritch change or fade away as the torment increases its grasp. Within each of the gentes chapters there are details on the changing ethics and effects upon persona caused by the increase of the Torment. Through legendmaking, these character changes caused by Torment may be seen and explored.

THEEVERLASTING @ Page 60 * i I-

&-.

A-

6

ere is a listing of the Torments for the various

Gargoylian Torment: The Abyss Some gargoyles become especially good at sin eating and actu-

A protagonist may start an Odyssey with one legal weapon per positive point in Resources. A protagonist may start an Odyssey with one empowered melee weapon (and no other weapons) if she has a Resources score of 4 or higher and an Empower score of 5. A protagonist may begin with an automobile, if she has a score of one or more in Resources. A protagoor a couple of very expensive ones. Other equipment desired might be owned by the protagonist as seems reasonable for her background and Resources score.

ally enjoy it for the sensual experience it brings to their cold,

dark side of the gargoyle nature is such physical and mental nature. Gargoyles s are called, represent a means by on greater control over events and

selves to experience the world. All tr and cold purity, but most eventually spent in any of the following ways:

Manitou Torment: Animali making their lives a precarious balanc animal wisdom, instincts, and preter trol o f the host’s mind, the host may becoming more like the totem. Shoul pletely animal-like, the manitou will bec animal trapped in human form. Predat

human society which provides the manitou w needs to function. By becoming totally animal, no longer fulfd her duties.

ice roll. Up to three destiny points may be one draw or roll. be spent t o alter some minor setting detail inor coincidence to occur. be spent to alter some major setting detail

ay be spent to drastically alter some minor t more in favor of the protagonist.

Torment of the Possessed: Corruption physically, mentally, and spiritually. Their bodies eventually and their minds are slOwly Invaded and taken Over the lurking thoughts Of the ochelum+Hosts ‘Y suffer Outs when the ochelum their bodies, but the Soon begin Influencing their hosts’ thoughts and eventually integrate their own minds into those of their hosts. The hosts’ minds are consumed by the ochelum, and, shortly afterwards, so are their bodies and souls. Then the ochelum seek out new hosts and the process begins anew.

Up to three DPs may be spent to counteract DPs spent by others. For instance, if a protagonist were to spend three DPs to alter Some minor event, another character can spend three points, thus preventing the event from being altered. Once an attempt has been countered, the event cannot be altered through further attempts. participantscan pool destinypoints to spend them on certain effects beneficial for the entire fellowship.

Book of the Spirits @ Page 61

r -

rstiny points are commonh granted by a Guide to particiants for doing things that improve the experience or story, or which make things easier for the Guide. Participants who sit back and take little interest in legendmaking do not earn and receive destiny points. Some specific ways o f acquiring destiny points include: exceptional effort in roleplaying or legendmaking, photocopying protagonist profile sheets for everyone, cooking a meal for all the participants, or keeping a log of each session. Guides should be careful not to give away too many destiny points, since doing so will de-value them greatly. Destiny points are meant t o represent some sort of exceptional contribution. Most often a Guide will award an average of one destiny points to each participant per session. Those who make exceptional contributions might receive up t o three DPs, possibly even as many as seven, if they were to d o something from which everyone else will greatly benefit, (such as buying pizza for everyone.) There is one other far more dangerous method by which a protagonist can gain destiny points - by killing another eldritch (though not all eldritch have destiny points, since they can spend them just like protagonists can spend them.) When an eldritch kills another eldritch, they experience a phenomena referred to as the Rapture. T h e participants may divide up their victim's DPs among their protagonists however they see fit, though (if there are enough) each protagonist should get at least one destiny

ks

Protagonists begin with a destiny pool of IO points Additional points may also be gained by increasing the protagonist's Torment score at an exchange rate of I point of Torment for 3 DPs. Trading away destiny points at the start of an Odyssey may not lower a Torment score, bur DPs can be traded in later on t o reduce a protagonist's Torment score, though this is very costly.

Barklash points, also called BPs, might be called "anti-destiny points" or "bad karma.'' Whenever someone does something that goes against the laws of magick, or against their own nature, they suffer terrible consequences. It is almost a "you reap what you sow" law for the Secret World, (though some of us believe it affects people in the Real World as well.) A protagonist's backlash points may be spent by the Guide or other participants (in certain cases), but not by the participant roleplaying the protagonist. Backlash points turn the protagonist's successes into failures, turning one success into a failure for each BP spent. T h e Guide may also spend the backlash points t o cause the protagonist some temporary (or possibly permanent) bad luck or curse. A participant can spend the backlash of a character she is acting against. A participant can spend only three backlash points per turn. This means that if a participant wanted to do so she could spend three backlash points belonging to one enemy character or one backlash point for each of three enemy characters. Backlash spent by a participant must be spent before the enemy makes her card draw, unless the enemy's draw is made hurriedly so that the participant is not given a chance to spend the BPs beforehand.

THEEVERLASTING Q Page 6 2

All protagonists, except d Dragons start the odyssty w

ts Backlash may be gained by using magick or preternaturae to intentionally harm someone who does not deserve punishment. Guides should use discretion in how to interpret this in handing out backlash points. T h e greater the harm to an mnocent, the greater the backlash. T h e degree o f innocence of the victim can also help determine the exact number of backlash pomts. Causing an innocent child t o break a leg might generate 2 backlash points, while killing a murderer might generate no backlash points. Harming someone is not limited JUSt t o physical magick, other magick, such as spiritual and mental magick can also cause backlash. Some immortals can also gain backlash points by means appropriate for their gentes, as follows:

Gargoyles gain backlash points by killing people who are not meant to suffer that fate as part of the Curse of Absolution. Until they have Abyss scores of 7 they suffer backlash points for inflicting any intentional harm for their own pleasure. Manitou gain backlash points whenever they intentionally oppose or harm Nature, or neglect their sacred duties to the Natural Order. Ochelum (the Possessed's possessors) gain 5 backlash points each time they kill one of their hosts. Benedera also gain 5 backlash, if they choose hosts who are not criminals, violent, or inclined towards evil behavior.

(Using Backlash) Guides are encouraged to make use of backlash points for legendmaking purposes, not for getting revenge against participants. Guides may grant backlash points to participants caught cheating (though after a few warnings through Backlash, it is better just not to invite the cheater to any more sessions.) Backlash may also be awarded whenever participants create other disturbances. Guides should certainly not abuse this privilege or else the other participants may get upset and not invite the Guide to any more sessions. Participants should be ready to accept the effects of backlash. Whining about backlash being unfair is pointless, since it is meant t o be unfair. Participants who do not like backlash should avoid getting backlash points in the first place. T h e following chart lists the effects of spent backlash. Backlash Points

I I

Backlash Possible Instant failure in some minor action Two temporary points in a Dementia oualitv

I 2

Run of bad luck

2

Instant failure in some serious

Instant Disaster in some minor action action

Loss-of-~s o m e t h x f minor value

2

C'

~~

all

LLLC

"+,

yL""""'"'"'

l . C l l l l .

~

3

Instant Disaster in some serious

3

action Instant failure in some crucial action

-

~~~

m ~ i pagainst first level villains and redraw all failed card draws as many times as they want. They can even

__

~

3

One permanent point in a

3

Temnorarv nuisance-like affliction

4

Instant disaster in some crucial

Dementia quality

- -~

action Loss of something of great value

4 5

-..

Suffer serious estrangement from a close loved one

6 7 8

Gain one torment Doint Permanent nuisance-like affliction Suffer some serious temporary ~.

9 IO I3

personal injury __ Temporary serious curse or minor vulnerabilitv

Loss of someone of great value Permanent serious curse or minor vulnerability

Experience Points Character Level -150 t o -200 0 -SI 1 -100 t o to -1 2 Oto I00 3 I01 to 200 ._ 4

a YOM live and learn. O r yotr don't live long. -Robert A. Heinlein

-so

t is your Guide's

decision as to how and powerhl your protagonist can be

reward their cool heroes with ancient artifacts o f immense power at least two or three times an hour. . Seriously, the important thing t o is keeping protagonists in balance with one another. One protagonist should not be more powerhl than all the others, nor should one be the runt of the litter (unless all the participants wish it t o be that way.) Protagonists should not equal their antagonists in power individually, since several protagonists usually go against one antagonist. Only foes that can defeat protagonists individually are worth sending against groups o f protagonists. Guides may grant participants extra experience points t o spend on increasing the initial power level of their protagonists. T h e following chart reflects the actual experience level of characters based on their total experience points. If you are interested in starting with a very weak protagonist then feel free to reduce the experience level to one or two. By doing so you reduce the amount of starting creation points, cards drawn, and dice rolled for qualities. Sometimes roleplaying a weak protagonist is lots of fun, since she takes longer to develop into a powerful hero. You do not even have to grant starting protagonists all the basic preternaturae for their gentes; they may gain their basic powers over the first few stories.

old

0

at the beginning o t a n Odyssey, though you have some input in the matter. Protagonists start out at third kvel. Experience b e l s are used t o rate protagonists in their overall capabilities. Experience levels have no direct effect except allowing a Guide t o gauge how tough to make antagonists and other opponents. Many people believe experience levels are uncouth, &,and clearly outdated. Despite this they work well in The Everlasting, not as a system of character improvement, but as a form of measuring the experience and power of characters so that Guides may gauge the challenges posed by particular antagonists and other foes. Weaker protagonists are often more interesting than powerful ones, since participants can usually relate to them better, seeing them as more human. Powerful protagonists are often boring and two-dimensional. However, participants who crave mega-powered superheroes should go ahead and roleplay them since T h e Everlasting is as much their experience as anyone elses. In fact, power-mongers can go ahead and give their protagonists 13s in

201 to 400 401 t o 700 701 to 1.000 1,001 to 1,400 1,401 to 2,000 2,001 to 3 , 0 0 0

3,001 to 4,000 4,001 to 5,000 5,001+

.-

5 6 7 8 9 IO I1 12 13

Characters Greatness Human-like Completely Inexperienced Weak Typical Moderately powerful Veteran Powerful ~~_ _ __ Verv Dowerful Extremely powerful Incredibly powerful . _ Awesomely powerful Vastly powerful Unearthly powerful Demigod-like ~~

Participants should receive anywhere from one to four experience points per session. They will also receive anywhere from two t o seven experience points per story. It is suggested that participants receive an average of two per session and four per story. This w d allow participants to improve their protagonist's qualities at an ample rate of speed. T h e number of points rewarded should be based upon the activity of the protagonists and the effort made by the participants in roleplaying (and not necessarily how good the roleplaying actually was, since beginners will obviously not have as much expertise as those who have participated for a while.)

Book of the Spirits @ Page 63 i

While the guidelines simply spell out that a set number of experience points instantly provides a character with an increase in a particular quality, it should not work that way. T h e improve. ment of aspects, aptitudes, skills, magick, distinctions, and preternaturae should all be accompanied with a verbal or written narrative. The narrative should tell how the character improved the quality - be it through formal education, self-training, private tutoring, personal study, or lots of practice. For protagonists, any improvements made can be listed in their personal journals, and, if desired, may be explained during a session. There.is n o need for keeping up with hours of study or cost of education, this is all left up to the participant's creative storytelling.

Experience Points Table Quality

EP Cost

Aspect (up to 9 score)

current score x 5 current score x 7

Aspect (IO to 12 score1 Aspect

(I 3+ score)

-

current score x 12

7

ADtitude (1st Dointl Aptitude (2 or higher score)

current score x 7

Skill (1st point)

4

~~

~

Skill (2 or higher s c o r e 1-

-

__

Persona (1st point) Persona (2 or higher score)

0

Preternatura

variable*

Magickal Art (1st point) Magickal Art (2 or higher score)

current score x 8

Magickal Lore (1st point) Magickal Lore

12 or higher)

Positive Distinction (1st Dointl Positive Distinction (2 or higher) Negative Distinction (improvement)

~~~

current score x 4 current score x 2

12 10 current score x 7

3 current score x 5 current negative score x

-5

"See the gentes chapters for some preternaturae specific to various gentes along with their experience point costs. Participants may use the generic preternaturae system included within the Codex of Immortality to design their own preternaturae as well. A preternatura has a base experience point cost listed in the generic preternaturae section that is added to the character's preternaturae affinity experience point cost listed in the character's genos chapter.

THEEVERLASTING CB Page 64

Christopher is creating a protagonist for a new Odyssey. H e thinks about it for a while and decides that he would like to roleplay a manitou. H e reads through chapter two of this book and then scans chapter five a little. He likes the idea of roleplaying a bear totem. Christopher goes through the list of twenty questions and answers them with little difficulty, since he's an experienced roleplayer and has a fair idea of what he wants his protagonist to be. H e chooses "Sirus Furran" as his protagonist's name, at least that is the current host's name. T h e totem is simply called "Bear," though Christopher pictures this "Bear" as being a grizzly bear. Christopher creates the background for his protagonist. Sirus stands 6 ' 4 and weighs 320 pounds. H e has long light-brown hair, a thick beard, and deep brown eyes. H e is very burly, muscular and looks to be around 30 years old, though Bear is far more ancient. H e was a bookstore clerk, but quit his job after the enspiritment with Bear. As a manitou, he now travels the country protecting the earth from Otgon's abominations. Bear is a member o f the Eterah, the "shamans of Orenda." Sirus (and Bear) is called "Stoneback among his fellow manitou, and he now works with a fellowship in tracking down threats. His mortal ties have mostly been severed since becoming a manitou, but Sirus maintains some connections to his mother and stepfather, Connie and Darryl Jones, as well as with his sister, Dakisha Jones. Sirus' most serious enemies include a leviathan named Turgulurkol, a group of siltim, and an osirian currently known as Xarin. Sirus tries to live like a human, but is finding himself more at home in the forest than in his apartment. H e believes in his fight against the defilers, but the Bear side of him fears that it will never again be allowed to enter the spirit home of the animals once its tasks are complete. Christopher decides that Sirus seeks wisdom, but is not really a "wisdomseeker." H e also considers him a "healer," since he is a shaman. However, Christopher chooses "Martyr" as Sirus' Ethos. H e believes that Bear and Sirus share a common quality - their desire to save and protect others - no matter what the cost. Once this was true of Sirus, in his love for his family, but now Bear has awoke Sirus to his duty to the world. Sirus fears death, but having the memories of previous hosts' deaths within himself, he has memories of glorious deaths and is ready, if necessary, to give his life in the service of the greater cause. H e knows that Bear will move on to the next marked host, whom Christopher declares is an I8 year old senior and starting fullback named Jon Phillips. For Sirus' I5 points in Persona qualities he chooses Serve Orenda 3 (from the Beliefs category), Calm 3, Aggressive 3, and Solitary 2 (from the Outlook category), Hunting I (from the ions category), Love Family 3 (from the Relations category). H e asks the Guide for 5 more points and the Guide agrees. Christopher boosts some scores, changing Hunting from I to 3 and Serve Orenda from 3 to 5.

For Sirus’ Aspects, Chi known for his great phy aspects as follows: Instil Resilience 5 , Inspiratior being a wise warrior, which his Aspects suggest. Christopher divides the 15 Aptitude points for Sirus in the following manner: Athletics 2, Humanities 2, Influence I, Martial Arts 2, Melee I, Modern Life I, Naturalism 5 , and Supernatural I. For Sirus’ Skills he divides the 30 points as follows: (The scores take into their base aptitude scores.) Climb 4, Run 3, Music 5 , Research 4, Intimidate 4, Block 4, Grapple 5, Punch 5 , Axes 4, Alertness 3, Equestrian 3, Astral 4, Eldritch 2, and Illumination 3. Sirus’ scores reflect that he is a very skilled combatant, yet he is not totally combat-focused. H e has good scores in a few Humanities, meaning he has other interests aside from fighting his enemies. H e has a good score in Music in particular, so Christopher decides to amend Sirus’ persona qualities, adding Play Guitar 3 as a new ion. When it comes to Distinctions, Christopher decides that Sirus has enough money to get by on without working and that he has many s among the eldritch, particularly manitou, elves, dragons, and dwarves. H e has also traveled the world over the centuries, but he has not been involved in many historical events, since his interest was not human affairs. H e is tough, big, and very muscular in build. Sirus is a well-grounded individual who is a very spiritual person. Christopher divides the 9 points he gets for Sirus’ distinctions as follows: Biography +I, EldritchTies +I, Physique +3, Psyche +I, Resources +2, and Spirituality +I, but he decides that the scores he has are not enough. So, he makes Temporal Ties -2 (reflecting Sirus’ being hunted by mortal agents of the leviathan and the siltim) and Supernature -2 (reflecting that Bear’s presence is so strong that many animals and people feel uncomfortable around Sirus.) This gives Christopher an additional +4 points t o spend as he sees fit. H e changes Biography from + I t o +2, Eldritch Ties from +I t o +3, and Spirituality from +I t o +2. Christopher records all the initial Preternaturae for a manitou on Sirus’ protagonist profile; he automatically starts with all those powers at no cost. The preternaturae include: Totemic Memory, Enhanced Senses (2),Heightened Aspects (Instincts +2 and Strength +I), Rapid Healing (I), Sixth Sense (Worldsighr), and Special Communication (Totemic SpeechJ Sirus’ aspect scores are now: Instincts 7, Intellect 3, Perception 3, Dexterity 4, Resilience 5, Strength 7, Inspiration 3, Presence 3, and Spirit 4. For the 30 extra points he has t o spend on preternaturae and magick, Christopher decides that Sirus does practice Chantway, the magick of the manitou, (since he’s of the Eterah), so the points should go into Chantway Art and Lore. H e boosts Chantway Art t o 3 and Chantway Lore to 4, (which is equal to his highest Soul-Aspect, Spirit. This is important since no magickal Art and Lore can be raised higher than the magician’s highest Soul-Aspect.) Chantway is described in chapters 5 and I I. Christopher finishes the final details for Sirus. H e records his experience level as 3, since the Guide decides that the protagonists should not start out too weak or too strong. H e records Sirus’ Speed as being 2, since his Dexterity o f 4 f 2 equals 2. H e records Sirus’ L$ score as I6 by adding together his Resilience 5, Strength 7, and Spirit 4. H e records Sirus’ Animus score as 10 by adding together his Inspiration 3, Presence 3, and Spirit 4.Christopher lists Sirus’ sustenance as Food, %ep, and Communion with Nature. H e lists his Torment as Animalism 3. H e also records a ten under destiny points and a zero under backlash points. Since the Guide awards no experience points, he lists a zero under experience points.

” d

” I

7”

ig

Y“

i

protagonist over the course o f the Odyssey. H e decides to start by writing in his protagonist journal about Sirus’ last encounter with the dreaded leviathan known as Turgulurkol, telling the story from Sirus’ own point of view.

There are some specific minor details for each genos that are not covered within this overall character creation system since they do not apply to all protagonists. Look over these particular details, which are included within the chapters on the various immortal gentes.

You are advised to use an actual journal or same type of notebook in which you can write about your protagonist’s life as if actually living it. By treating the journal as though it was actually the protagonist’s journal, you can develop a deeper understanding of your protagonist. Recording the major events in your protagonist’s life that happened before the beginning of the Odyssey provides background information for the Guide to use within stories. T h e stories also provide insight for-other participants into what the protagonist’s life must be like. Recording how your protagonist spends her time between stories is also a very usehl storytelling device that allows Guides and participants to keep things happening, even between actual legendmaking sessions. Writing down your protagonist’s innermost thoughts, especially her dreams, goals, relationships, beliefs, and moods can make your protagonist come alive for all who read about her. Keeping a protagonist journal is extremely creative, providing you with a very personal side to the legendmaking experience. Journals can also serve the needs of the entire groups of participants, allowing them to grow in their writing ability and in their knowledge of one another’s protagonist. Journals can make Odysseys very interesting, as character relationships become more and more complex. You might consider turning down the corners on specific pages of your protagonist’s journal that either should or should not be read so that other readers will not accidentally learn too much about your protagonist. Your journal can be an actual prop as well, representing your protagonist’s actual journal that she keeps. The journal could be stolen by enemies or shared among friends and apprentices. Lastly, keeping a journal is a usefd way of ing the time during legendmaking sessions whenever your protagonist is not involved in what is going on. You can work on the journal when you have nothing else to do. This way, all participants can continually participate, even if only by making journal entries. Do not, however, let writing journal entries interfere with actual legendmaking.

You can fully flesh out your protagonist in your journal by defining her Aspects in descriptive ways. Such details help bring your protagonist to life and provide Guides with useful information that they can use in describing how things affect your protagonist. Aspect descriptors work equally well with ing characters and antagonists. For example, Michael describes his gargoyle protagonist’s Instincts in the following : It is through years of combat experience serving in the militaty thmtcghout many human lifetimes that my Instincts haw became so honed. Being abk to -act, and react quickcr than any opponent, can mean the dtjermce bmucm 1 9 and death in bank.

-

-

You arc mcouraged to give depth t o your protagonist by writing up details in your journal concerning her skills and distinctions. Darticularlv how she acauired, developed, and uses

f you are not roleplaying communal protagonists you should go out of your way in keeping your protagonist somewhat mysterious to other participants. Protagonist profile sheets should be kept secret. exceDt from the Guide. Guides should let someone else see their protagonist’s profile. Only you and the Guide need know the actual quality scores, background, ana so on for your protagonist. Of course, much of the information will surface during legendmaking, but that is the point. The material can be used within stories for dramatic effect and to peak curiosity. However, if protagonists are long-time friends and associates they wiIl likely know some information about one mother. You and your fellow participants may repreSent this closeness between individual protagonists by sharing m=+tSin a m n l t n r S of informstion with one another.

Do you believe in the Ouga Board? The Ouija board is a device marketed as a game, which answers questions through a form of divinatory automatism. T h e Ouija was invented by an American, Elijah Bond, in 1892. T h e name ”Ouija” comes from the French and German words for ”yes” (oui and ja). Bond sold the patent for the Ouija to William Fuld, who is considered the modern day father of the Ouija. Fuld founded the Southern Novelty Company in Baltimore, Maryland (and later known as the Baltimore Talking Board Company), and marketed the board as ”Ouija, the Mystifying Oracle.” In 1966, Fuld sold his patent to Parker Brothers game company of Beverly, Massachusetts. T h e device has been marketed ever since by Parker Brothers as a game for entertainment purposes only. -~ Critics of the Ouija, who include authorities in most denominations of Christianity, claim that it is a dangerous tool of the Devil. Even Edgar Cayce, a renowned psychic who could recall many past life experiences, called the Ouija a ”dangerous toy.” Advocates of the Ouija claim it is only another legitimate form of divination and communication with discarnate entities. The Ouija board features the letters of the alphabet, the numerals zero through - nine, the words ”yes” and ”no,” and symbols for the sun and moon. T h e “indicator” platform pointer rests on three felt-tipped legs with a clear center point for reading what is spelled out. While many people believe the movement of the Ouija board comes from the subconscious minds of the people who have their fingers - on the indicator, some believe the spirits of the dead or other discarnate beings are responsible for the movement. Supposedly, there have been instances of Ouija pointers flying . - off the board, spinning out of control, and acting free o f touch as if controlled by spirits. Some people who have played around with the Ouija claim that they . . were harassed later o n by spirits ed through the board. Precursors of the Ouija date back to ancient times. In China, even before the birth of Confucius (c. 551 B.C.) there were similar devices that were used for ing spirits. In Greece, during the time o f Pythagoras (c. 540 B.C.) divination was performed with a table that . moved on wheels; it pointed out signs, which were interpreted as revelations from the ”unseen world.” This rolling table was used until the 19th century and is similar to the indicator of the Ouija in function. As early as A.D. 200 the Romans were using similar devices. Even the Mongols - were using- similar devices in A.D. 1200. Some Native American cultures used squdilar boards for finding missing people and objects, and for divining- information from the spirit world. In I 8 5 3 the planchette came into use in Europe. It consisted of a triangular or heart-shaped platform on three legs, one leg of which was a pencil. . . s moved the device over paper to draw pictures and t o spell out messages from the spirit world. T h e Ouija itself saw a great deal of popularity at various times throughout the last century, particularly after W W I , when the Spiritualism movement was especially strong. Could the Ouija board be an actual interface with the spirit world? Could any of us make with ghosts and things best avoided whenever we desire ?

Do you believe in the Ouga Board?

Games lubricate the boa$ and the mind. - Benjamin Franklin

P

Book of the Spirits ,@ Page

pidelines. T h e primariputpose for this zhoice in jargon is to point out to those parkipants who would be considered ”rules lawyers” (you know who you are) that there Ire no rules. Therefore, you cannot complain about and twist the ”rules” to suit your own needs. T h e participants acting as a group make the ”rule” by either modifying or adopting the guidelines. T h e decision is therefore not that of Visionary Entertainment, nor that of one lone participant. that the emphasis in T h e Everlasting is upon roleplaying (not ”roll-playing”), storytelling, and legendmaking.

In life there are very few absolutes; most events are based upon probability. There is a good chance the sun will rise in the morning. There is a chance you will find love before you die. There is a good chance you will get hit by a car while crossing the street if you do not look both ways first. There IS even a slight chance you will win the lottery if you play it. Your actions and many unseen factors determine the probability that something will occur. Two ways of handling probability in legendmaking is through the use of either cards or dice. In T h e Everlasting, playing cards, tarot cards, 12-sided dice, or other types of dice may be used to mirror luck and the unknown factors of chance involved. A participant must choose the system she wishes to use, such as the card system or the dice system.

of cards (or roll a of dice) equal to appropriate

Draw a number number

Aspect score

You get one success for every draw (or roll) that is equal to o r greater

than the

Difficulty number.

Standard dfficulp is 9. (Higher for difficult actions, lower for simple actions.)

Skills modify the difficulty number. Subtract the skill score f r o m the difficulty.

If

you

do not have

the particular

skill, it defaults to its Aptitude.

It reads

in throughout book as follows: Aspect (Base D z j i c u l ~ Ski19

-

Example: Action Attempted: Attempting to

look

into the Reverie. D r a w r e q u i r e d Inspiration

(I I

-

Illumination) draw.

If you did not have a score in Illumination (a Skill), this would default to Supernatural,which is Illumination’s default Aptitude.

I f using the card or dice system in T h e Everlasting, then participants will be called upon to draw cards or roll dice whenever their protagonists take actions in which elements of chance are involved. A participant should use good judgment in recognizing what her protagonist is best capable of doing and roleplay her within those boundaries. For instance, if the protagonist is so weak she cannot pick up a book without breaking a sweat, do not have her attempt to throw a car at someone because she will obviously fail and it would be unrealistic for her to even attempt such a feat. This does not, however, mean that heroic efforts should not be made; in fact, they are encouraged. T h e Guide will determine whether or not a protagonist is capable of performing an action when it is questionable. In cases where the action is simple and well within the scope of the character‘s abilities, the Guide will often allow the character an automatic success in the attempt. In cases where the action is obviously impossible for the character to accomplish, the Guide will usually say the action would automatically fail if attempted, often bearing some negative consequences for the protagonist if the action was dangerous.

In cases where the outcome is in question all stressful situations, such as a chase or a fight, card draws or dice rolls are made.

and in

dd

(Optional) While the d12 is meant as the standard die in T h e Everlasting, multi-polygon lovers who wish to give the everlasting a greater edge over mortals may do so by having different dice for different characters as follows: Type of Dice Used Character Type d6 Child or Small Animal d8 Mortal Adult dIO Mortal with Supernatural abilities d12 Supernatural Beings d20 Extremely Powerful Supernatural Beings

So, even if a mortal and an eldritch had the same score in an aspect, the eldritch would stand a better chance o f succeeding, because she would roll a 12-sided die instead of an 8-sided die. this method is used, whenever the highest number possible on a die (8 on a d8, I O on a dIO, 12 on a 6 1 2 , etc,) is rolled, it counts as a success regardless of the dfficirulty on the roll. Thus, if a difficulty were I 2 and the numbers rolled for a mortal character were 4,6,8 and 8, the mortal would get two successes. A Guide should limit characters to one or two successes from rolling the highest number on their dice, and characters should not succeed in actions in which they should obviously fail, (such as a normal mortal tossing a bus.) Note that this method can be mimicked with cards as well. Simply remove the cards from a deck that the character cannot achieve.

If

ritualism and arcane atmosphere, Third, cards make cheating more difficult. It is harder to re-draw the right card than it is to either lie about a dice roll or simply flip dice over to other numbers. Four, while the King in the deck increases the possibility of failure, there are only four aces in a deck, which limits the chance of having to take off successes and the chance o f disaster. In the future, Visionary Entertainment will expand upon the use of cards, creating new guidelines and possibly an entirely new type of card system utilizing original cards.

If you do not own a deck of tarot cards, you can use regular playing cards for determining the outcome of actions just as you can with the tarot. Cards function within the mythic experience in the same manner as dice within roleplaying games in that their face values represent certain numbers used in determining degrees of success or failure. T h e following chart provides details: Cards Ace

Die Roll One (Counts toward a Disaster - described in later section)

-

= = =

Three

Five Six

=

Five

-

Six

Seven

Seven

Nine

= = =

Nine

Ten

-

Ten

Tack

= = =

Two Three Four

Eight

Queen King

Two -

.~

Four

Eight

Eleven Twelve Variable (If no Destiny points spent, it counts as a failure. If a Destiny

point is spent before making the draw, the card counts as a thirteen. See the

Cards provide several advantages over dice. First and foremost, they are easier to keep up with, manipulate, and see. Second, tarot cards provide a magical feel to the mythic experience, creating a sense of

guidelines for achieving a mystical "13".

i

i

In cases where thrrr

i\

contested action

and the gambling guidelines are used, the cards ate all drawn and placed face down except for the last card, which is played face up. Only the participant whose draw it is can look at the other cards in her hand. In all uncontested actions all the cards are played face up. All cards drawn may be reshuffled into the deck before making another draw.

e charactci barely succreded, while five successes means it was a piece of cake.

llSl

Base Difficulty . -

Five

Near Effortless

Six

Very Easy

Seven

Simple

Elght Nine

Routine Average Challen in

Aspect scores represent the number of cards drawn or dice rolled in any action involving that aspect. So, if a character has a Spirit o f 7 and she is attempting some action involving her Spirit, the participant draws seven cards or rolls seven dice. If she is attempting to use her Strength, in which she has a score of 4,the participant draws four cards or rolls four dice. Two aspects cannot be used for the same card draw or dice roll, but if two would most likely be involved, the two can be added together and divided in half (round up) for the number of cards drawn or dice rolled. In cases where there is some guesswork as to which aspect is best suited, it is up to the Guide, (with the advice of everyone present.)

A Guide will tell a participant the base difficulty for the card draw or dice roll. T h e “base dtjficulty“ is determined by the situation; easier actions have a lower base difficulty, while complex actions have a higher base difficulty. If the Guide does not wish to come up with a base difficulty, then the itandard dtjficulty may be used as the base difficulty. The standard dtjicultr is 9. The base difficulty may be modified in a number of ways t o determine the “actual dqjculty. ” Modifiers, such as abilities, reduce the base difficulty, making the actual difficulty a lower number. Each number that comes up equal to, or greater than, the actual difficulty represents one success. T h e number of successes determines the character’s degree of success. One success ”

THEEVERLASTINGPage 7 2

Eleven

Difficult

Twelve

Extremely Difficult ~-

Thirteen

Formidable

Fourteen

Strenuous

Fifteen

Immense

Sixteen

Insurmountable

Seventeen

Herculean

Eighteen

Virtually Impossible

The base d$ficulty can range as low as 5 and go as hgh as the Guide wishes, though 18 is the standard limit T h e base difficulty is the same for all characters in that particular situation. Fortunately, both the participan’ts ingenuity and a character’s skill can modify that difficulty. T h e standard difficulty is 9.

Number of Successes One

Grade of Performance Minimal

Two

Adequate

Three

Good

~ _ Four ________

Excellent ~

Five

Exceptional

Six

Incredible

Seven

Astounding

~-

Example Darren’s character, Kascar, is attempting to drive a car through an alley filled with dumpsters and other obstacles. T h e action is Dexterity (I I - Drive), with Kascar having a Dexterity 4 and Drive 3. Darren draws four cards (for Dexterity) turning them face up (since this is not a contested action.) H e has to get an eight or better for a success (since I1 - 3 for Drive gives a difficulty of 8.) Darren draws a seven, jack, king, and nine; two successes - the jack (which is an I I) and the 9. T h e king and seven are failures.

&bdijievs Ability Modifiers Abilities represent a character's modjfier to the dfficulty of the card draw or dice roll. If a character has a score in a skill, that score is used, otherwise the character's score in the aptitude covering that particular skill is used as a default modifier. T h e ability score is subtracted from the base difficulty. For instance, if a character is sword fighting and the base difficulty is I I and her score in Swords is 4, she would modify the difficulty down to (I I for base difficulty minus 4 for ability modifier) 7. If the character has a score o f zero in the appropriate ability, the ability modifier is zero and the base difficulty remains unaffected.

Roleplaying Modifiers In addition to ability modifiers, a participant may modify the base difficulty by thinking through the characters actions and then describing in detail anything about the situation the character uses to her advantage to reduce the difficulty. T h e Guide determines this roleplaying modifier and it should not come into play very often. Roleplaying modifiers range as high as -5 to the difficulty. So, if the roleplayer of the sword fighting character in the above section justified that her character had the higher ground and her back to the sun, the Guide might award a roleplaying modifier of -2, making the difficulty 3.

date equipment that will make the process easier, so the Guide modifies the difficulty by -1, making the swordcrafting difficulty a 6. Tabitha has an Intellect of 5, so Maria draws five cards, getting a Jack, 3, 7, IO, and 10. Only the 3 is a failure, so Tabitha gets four successes, so Tabitha has "excellent" success in crafting the sword.

On all card draws, deduct one successfor each ace drawn or one rolled, starting with the highest success number drawn and going downward. Should a participant draw more aces or roll more 1's than successes, her protagonist suffers a disaster. A disaster means that, not only did the character fail, something bad happens to the character as a result. So, the more ones left after deducting all the successes drawn, the greater the disaster.

# of Ones Left I

2

3

4

Other Modifiers Things such as wounds, type of weapon used, current position, movement speed, preparation, and other factors often serve as positive and negative modifiers to the base difficulty. It is up to the Guide as to when these modifiers come into play. More information concerning these modifiers is provided later in this orientation. For example, Maria wants her character, Tabitha, to craft a double-bladed longsword out of an alloy harder than steel. T h e Guide determines the swordsmithing is more difficult than normal and gives it a base difficulty of 12. Tabitha has a Profession: Metalsmith score of 5, so the

5

Level of Disaster Minor: Humiliation or 3 points of injury to character _______Major: Bad consequences or 5 points of iniurv to character Grievous: Catastrophic consequences or 10 points of injury to character Awful: Permanent harm to character or character automatically becomes Incapacitated Tragic: Terrible consequences for character's allies and permanent harm to character; or character becomes Incapacitated and one of her allies present suffers 5 points of damage in some accident

A Guide can also cause the character some other indirect harm that will cause her pain, grief, or setback.

Book of the Spirits @ E r F-l

A -

=%--

Standard Actions Whenever a character attempts some action involving the utilization o f a skill, but the action is not a long-term one and does not pit the character directly against another character, then it is called a standard action. T h e basic card draws and dice rolls are made versus the difficulty determined by the Guide t o determine.success. All cards drawn are played face up.

Contested Actions Whenever a character pits her own aspects and abilities against those of another charatter, both characters must make contested card draws or dice rolls.

T h e participant makes her card draw or dice roll as she normally would, against a difficulty imposed by the Guide, usually the standard difficulty o f 9. Whoever is roleplaying her opponent does the same thing. In card draws, all the cards except for the last one drawn are played face down. T h e last card is placed face up for everyone t o see. T h e participant may look at her own face down cards. A following section on gambling and bluffing explains why. The character that achieves the greatest number of successes wins the contest by however many more successes she achieved over her opponenti number of successes.

Extended Actions There are occasions when one success i s not enough to accurately represent a laborious action that requires a lot of time and effort. In these cases, draws or rolls must be constantly made at a rate determined by the Guide (usually once per turn) until enough cumulative successes are achieved t o represent the completion of the task. If at any time during the extended action a disaster occurs, all successes accumulated up until that point are lost. It is then up t o the Guide as to whether or not the character may attempt the task again, usually based upon the degree of the disaster. All the cards are played face up. If a large number of successes are required, then write down the cards drawn and reshuffle the entire deck before drawing again.

In cases where two or more characters work together to accomplish an action, they receive a special positive or negative modifier based upon how well they can work together in the situation. For instance, it would be easier for three characters to work together building a house, but harder for five characters to crawl under a single car and work o n the engine. T h e characters make their individual draws or rolls normally, with each character's successes being considered a separate attempt. The one who achieves the most successes represents the overall success of the group working together. As you can see, teamwork can be especially useful and it is definitely encouraged among the protagonists. Guides may increase the difficulty by one to four points to represent the difficulty of t efforts.

Anytime there is a contested action the stakes can quickly become much greater through the wager of unspent experience points and unspent destiny points. It is even possible for a participant to spend destiny points and experience points her character does not have, (gaining an equivalent number of backlash points should she lose the draw, while the winner gains that number of destiny or experience points,) Everyone who wishes to participate in the bidding must declare they are doing so before the cards are drawn. Each participant who is in on the wagering must automatically bid one destiny point or experience point to enter the bidding. After all the cards are drawn - all face down, save for the last - wagering can take place. Each participant can look at her own cards drawn. Each person must reveal the number of cards they get and the difficulty number for the draw. This allows participants to know if the card revealed is a success or failure. Any person who did not initiate the contested action has the option of wagering first. If both (or several) parties simultaneously initiated the contested action, either (and all) may start the bidding in any order the participants agree upon.

T h e Guide, or the entire group of participants, should set limits o n the bidding. Generally, one experience point or one Destiny point is the standard bid, with three of any combination being the highest reasonable bid, (and only then during the most dramatic and important actions.) It is not possible to "buy" victory by risking more points than an opponent has available since a participant can spend more Destiny points or experience points than her character has, (gaining one Baddash per point overspent, should she lose.) Still, some participants may attempt to buy victory and a Guide should punish their protagonists for the attempt through giving out Backlash points or merely spending them for the protagonists. For contested actions, participants may see, raise, and call - just as in poker. Each participant cannot, however, discard any cards and redraw without spending a Destiny point. If a person folds, she loses the bet and get no successes (or disasters.) For every Destiny point spent, the participant may discard up to two cards and redraw them. This may be done only after the initial drawing and before any bets are made. Only Destiny points (no experience points) can be spent for a redraw. Only one redraw may be made per draw; a redraw cannot be followed by another redraw.

If

a pafiicipant is rokphying an eldritch protagonist, b g o n making a card draw, she can spend one (and on2y one) Destiny point to add one point to the highest number she achieves on her card draw or dice roll. This might turn a failure into a success. Even better, if she draws a king or rolls a 12, by adding one point t o it she achieves a 13, which not only holds great mystical significance, but also provides very tangible benefits. By achieving a 13 o n the draw or roll,

the protagonist unlocks destiny for a split second and achieves a stunning success or receives some special benefit. T h e participant may take one of the following three benefits whenever she achieves a I3 o n a draw or roll. The participant gains 3 automatic successes, which she may divide up among any of her protagonists card draws or dice rolls whenever and however she sees fit over the course of the story. T h e participant can alter the direction of the story as much as she would normally be able to d o so by spending three Destiny points. See the section on Destiny points for more details. The participant receives an additional five successes to her current draw or roll, in addition to the I3 and any other successes drawn or rolled.

r f the participant achieves a success with a queen, or with the highest number she can roll on the dice, she has the option of drawing a single card or rolling a single die in a n attempt to double the number of successes she achieved on thefirst draw or roll. This option may not be combined with the guidelines for achieving a "mystical 13."If the participant chooses to use this option, a success on a draw or roll of I card (9 diff.) doubles the initial successes. If this card draw or dice roll is a failure, the participant loses all her initial successes. If a disaster occurs, (an ace is drawn or a one is rolled,) it counts as a grievous disaster; (see the Disaster section.) If the participant draws or rolls the highest number possible once more, not only does she get double the initial successes, she once again has the option of going double-or-nothing t o double the current number of successes. A participant may go "double or nothing up to three times, so long as each time the highest number possible is drawn or rolled. Going double or nothing can only be used in combat for attack draws or rolls, and not for defensive maneuvers, damage, and resistance and trauma draws. Double or nothing must be declared before seeing the defender's draw, unless the defender has already gone ahead and made it without giving the attacker the option to go double or nothing first. In addition, double or nothing can only be used once per turn.

I don't care what they look like, they bked red just like anybody else , , , most of them, anyway. " - Lt. Col.john Garrick of theloker Brigade, Interlude Five of Wld Cards T h e Everlasting in no way sets out to glamorize violence, but violence is an inherent part of mythological adventure, and is an inherent part of most adventures protagonists will experience within T h e Everlasting. Combat can be as simple or as complicated as participants wish t o make it, trading simplicity for added detail, (though detail does not necessarily mean more "realism.")

Combat may be divided into two basic categories: hand-to-hand and ranged. Hand-to-hand occurs at close range using either melee weapons or unarmed combat. Ranged combat usually involves firearms, bows, spears, throwing knives, and other weapons used at a distance. Combat follows a set structure, keeping the legendmaking running stnoothly and maintaining fairness and consistency. T h e Guide has full artistic license in describing battles. She can make them seem long or short, dramatic or commonplace. T h e only limitation is that nothing can be done to hinder or improve any character's role in combat unfairly. For instance, a Guide should not have a ing character wound a protagonist arbitrarily (except when absolutely necessary for the story to progress in a particular direction), but she could have a bullet fly by and graze a protagonist, doing no actual damage.

( _ h

'Lm

All characters have a special quality called 5ped listed on their character profile sheet. A character's Speed score IS equal to the number of actions the character may take in a cycle of combat. For instance, if a character had a Speed of 4, she could take four actions in a combat cycle.

Combat cycles are commonly

I2 seconds long and are broken down into IO "turns," with each turn commonly lasting a little over one second in duration. A characters Speed score determines the number of turns in which she may act and on what turns she may act. The faster the character, the sooner she gets to act. T h e following speed chart defines when a character may act. T h e " X represents the combat turn in which the character may act.

One Combat cycle Turns

I

2

3

4

5

6

7

8

9

10

Character

Speed

9 IO

x x x x x x x x x

__ X

__

Each turn is almost like a "mini-combat cycle." Turns may seem awkward at first, but, when dealing with extremely quick supernatural creatures, it is the easiest way to keep up with their actions. Participants are advised to record the turns in which their protagonists act; this makes things easier for both Guides and other participants. Guides are advised t o keep a listing of all Speed scores for protagonists, ing characters, and antagonists, along with the turns in which they act. Guides may also simply have participants whose characters can act in a particular turn let them know it is their turn to act by raising their hands.

7

T h e following chart provides you with the estimated turns required for performing various actions within a IO-second combat cycle. Action Taken Acrobatics Maneuver

Turns Required I to 3 I to 2 ~0 (may be used as defense)

Aiming _ _ Blocking

~

I

Bracing for an Attack Casting certain quick magick Diving for Cover

variable ( I to 2 usually) 0 (may be used as defense', 0 (may be used as defense)

Dodging

I I

Drawing a Weapon Go from Prone or Sitting to Standing _. Leaping

variable (I to 3 based o n distance)

Making a Sense card draw Martial Arts Attack Run .- 3 yards +I yard per pt. in Run Opening a Door

0

Picking up a Dropped Weapon

variable (I to 2 based on distance) variable (3 minimum) variable (2 minimum) 0 (can begin on turn the damage is taken)

~~

Providing First Aid Picking a Lock Regeneration

-

There is one exreption to the way turns are handled based on Speed; all characters have the opportuniv to attackfirst, thus instigating a battle. Treat this as $ their attarks were coming in the last turn of a combat cycle. Thus, all characters instigating the combat may act first, regardless of their Speed scores. When the other party is expecting afight, an Instincts (1 0 E m p a t b ) draw is made using the character with the highest Instincts score on each si& i n a contested draw. I f the character on the instigator's sidegcts mort swcesses, his side has the initiative. I f the character on the attacked side gets more successes, the initiative is canceled out and it becomes turn one of a combat cycle and actions may proceed normally. Initiative should only come into play w k n there is no surprise fartor. This is up to the Guide, but a general rule is that unless a character sees a weapon o r honestly expects fight t o break out in the very next second, he is surprised. Do not abuse Initiative by challenging it when you honestly did not expect a battle to occur that split second. In most cases, the side that wins the initiative gets to draw its weapons first, whereas characters who are surprised must usually spend their first actions drawing their own weapons.

-

variable I1 or 2 )

I I

Reloading a Revolver Special Weapon Maneuver Swim 2 vards + I / 2 yard

2

p Unjamming e r t . in Swim a Gun

2

variiblk

(I to 2 usually)-

At the start of each turn, characters who can act in that turn must declare their actionsfor that turn. Actions are declared in order of lowest to highest Instincts score. I n cases where two characters have the same Lnstincts score, actions are declared in order of lowest to highest DexteriQ. I f still equal, then actions are declared in order of lowest to highest Character h e l . I f still equal, then a contested Instincts D r a w Is allowed. Once all actions are declared, they cannot be changed.

I

Q e d a v i n g ax Active Q

Usrng a Skill

variable ( I to 2 usually) variable

Weapon Attack

I

Using a Preternatura

d h i t i a t i v e Attack

-

~

Theoretically it is possible for a character to have a Speed score higher than IO, but it is extremely unlikely that any protagonists will ever have such a great advantage. If a character does have a Speed Score higher than IO then subtract ' 0 from her Speed and compare the results with the COmbat cycle chart in which she act twice. On above to determine the all the other turns, she may act once. Any second action in a turn always goes after everyone else in the turn has acted.

THEEVERLASTING Page 78

e j e ~ e

Anytime a character is attacked in hand-to-hand o r ranged combat, her roleplayer has the option o f dedaring an active defense. The partrcrpant must trade away the characters next turn to act in . order to make a n active defense i n whatever turn it happens to be. T h e active defense is the same as a normal defense draw or roll, except that the defender gets two additional cards on the draw or two additional dice o n the roll.

Can'$at

'7te~~Iwtia~

After combat declarations have been made and any active defenses have been declared, all participants make their card draws and dice rolls. The results are called out in whatever order the Guidefinds the easiest to keep up with.

Hand-to-hand attacks are contested actions and attacks are handled in the following manner: Attacker’s Dexterity (’Base dgiculty as determined by attack type or weapon type - character’s skill) I/rsus Defender’s Dexterity (23ase dfliculty as determined by weapon type Defensive Modgier character’s skill) T h e participants draw a number of cards (or rolls a number of dice) equal to their protagonists’ Dexterity scores against a base difficulty determined by the type of weapons or martial arts moves they are using (see the hand-to-hand charts.) T h e protagonists’ ability scores modify their base difficulty with their weapon or unarmed attack or defense.

+

-

with Firearms)

(as

Ranged attacks are contested actions and attacks are handled in the following manner: Attacker’s Dexter$ (Base d@culty as determined by weapon y p e character’s skrll Range mod$er) Krms D$enderi Cover or mwement (Bast dfirulty as determined byform of cover or movement)

-

+

Damage occurs only if more attack successes were achieved than defense successes. Each weapon has a Damage score. Add the damage number to the number of attack successes, provided any attack successes were arhieved, to determine the number o f damage points inflicted. If the damage score is listed as Strength/2 +/- #, then divided the characters Strength score by 2 (rounded up), add or subtract the +# or -#, and add the successes from the attack to determine the damage caused. T h e damage done is a minimum of one point. If the score would be a negative number, such as for a weak character using a knife, (which has a damage score of (Str-2) -2), then the damage score counts as a one.

To resist a physical attack, a participant d r m s or rolls the protagonist’s Resilience versus a d@mlry o f 7. Occasionally there will be difficulty modifiers, such as when the attack is extremely powerful in origin. Insidious attacks cannot be defended against normally; the Guide will let you know how, and if, you can defend against these attacks. Each success o n the resistance draw reduces the damage y inflicted by one point. Mental and spiritual attacks are usual1y resisted l Spirit instead of Resilience, unless those attacks take physicalform. The dgiculty on a Spirit draw is 7. Wound mod@en do not ajfect Resistance draws.

I

v-

8

(Freeform) That? when I reachfor my rpvolver That’s when it all gets blown away That’s when I reachfor my revolver Her spirit es by this way. - Moly, That2 When I Reach For MY Revolver

situational and tactical, for the results. Combat styles and goals should be taken into in these battles as well. T h e Guide has the option of carrying out the scene blow by blow asking the participants what their protagonists are going to d o next, but she also has the option of presenting the final battle as a narrative as well. If handled as a narrative, the Guide should take a cliffhanger break before the dramatic battle to process all the information she has and determine what happens. T h e Guide may privately discuss with each participant about what her protago-

Combat in freeform legendmaking can vary greatly from fight to fight. Basically the more important the fight is to the story, the more attention it should receive in the form of drama and detail. For instance, if the protagonists are cutting their way through a mob of mortal cultists, the battle could be handled entirely as a narrative, taking only a short time. Guides may simply ask participants to describe their protagonists’ fighting styles however they see fit (flashy, defensive, combined martial arts and weapons, boxing, straight forward sword attacks, etc.). They can also describe their combat goals (kill as many enemies as possible, incapacitate rather than kill, go for the leaders, feed upon victims, etc.). Once the protagonists’ actions are clearly defined, handle the combat quickly, describing the scene and the outcome. Guides may assign wounds to protagonists as they see fit and describe how well each performed during the combat. Participants should not complain about their protagonists being wounded, as Guides have a fair idea as to the condition that the protagonists should be in when they race into the final battle of the story. Guides may also spend protagonists’ backlash points causing the protagonists’ efforts to fail, or at least not work out the way they planned. When facing a tough foe, especially the major villain (or her powerful lackeys, if she escapes), the combat could be handled in more dramatic detail. Combat may be handled by the normal means of adding up Aspects and Skills, then comparing the totals to the various modifiers,

THEEVERLASTING CB Page 80 I‘

let the participant tell what her own character does during the battle. The Guide may also simply narrate the entire event without help. Protagonists should sometimes fail in their efforts. Again, the Guide may use backlash points to influence the outcome in the villains’ interests, helping to maintain the uncertainty of outcome. Guides should not feel guilty about letting protagonists get injured. In fact, protagonists should often suffer greatly, thus making their snatching of victory from the jaws of defeat seem that much greater.

(Attacks with numbers beside them have additional details listed below the chart.) Attack

Axe, small

Break Hold (3)

I2

None

I1

None

Claw Attack Club Dodge

(5)

Flail

Headbutt Kick

__

~

Knife, small

Polearm, small (7) Punch

~

II 9

~

~ _ _

Str/2 - 3 (stun)

Staff Sword, light

Punch

-

-_______

I1

Str/Z.

Swords

Sword, one-handed Sword, bastard Sword, two-handed Takedown (8)

(I) Humanoid characters must first get at least one success on a Grapple attempt in order to bite an opponent during the next action unless some ~ustifiablereason can be given, such as surprise. Dragons in partial or full dragon form, manitou shapeshifted with at least three successes on their shapeshifting, most non-humanoid creatures, and most animals do not need to make a grapple attempt first in order to bite an opponent. Also, note that the damage listed is for humanoid creature-sized bites, as larger creatures may cause greater damage. Bites may be resisted by a Break Hold draw by the would-be victim. A victim of a vampire’s bite must make a Spirit (9) draw each turn in which she acts, getting at least one success or else she will give in t o the drinking and allow the vampire t o continue drinking. ( 2 ) Cannot be used as a defense against weapons or against attacks directed at the lower body.

a normal Grapple draw as described above. (4) Must be used as an attack, not as a defense. Acts as a contested draw against the opponent’s Dexterity ( I 2 - appropriate weapon skill). (5) When dodging an attack, apply the Dodge Difficulty listed above for the attacker‘s weapon as a modifier on the dodge draw. For instance, dodging a large axe would be Dexterity ( I I - Evasion +I). T h e + I is the ”dodge diff.” for large axes. (6) If the grapple succeeds, during the opponent’s next action the opponent can attempt to “Break Hold”. ( 7 ) A small polearm, if the blade is shaped approprtately, could also count as a ”Heavy Spear” when thrown. (8) Opponent drops anything held in hand unless she gets at least one success o n Dexterity (I I -Weapon).

Book of the Spirits @ Page 81

Determine the base difficulty by applying the following modifiers to the base difficulty for the weapon or attack form. Factor

Difficulty Modifier

Aimed Blows

+ I to +5 depending upon target location (Guide may determine effect, though it should still be hard to_kill with one blow)

-~ Attacking

-I

from Flank or Above

Attacking from the Rear _____

-3

Attacking

+4

while Swimming

+I to +4 based upon area andweapon size ~-

Close Quarters ~

_ _ _ _ _ _ ~ _ _

+I (adds an extra +I damage per two successes, round up)

Charpg ~

~

~

ComDlete Darkness

+4

Defending Against Flank Attack

+I +3

Defending Against-.Rear Attack

-

~ _ _ _ _ _ _ _ _

-

Displaced Opponent

+ I to +5 based upon degree of displacement _ - and if opponent is attacking

Extreme Temperatures

+I to +2

h h t i x f r o m Higher Ground

-I

Fighting from Lower Ground

+I

Helpless Target -

-5 or more

Holding Ground

/ Advancing ~

-~ +2

-~

-~ ~~

_

~

._ -

~ _ _ _ _ _

~~

Influence of Alcohol/ _. Drugs

+5 +I to +5

Invisible Opponent

+3 or +6 based upon whether the __ opponent is a t t a c k i n L

Immobilized

~

__

-

~~

~~~

___

Mounted Combat

I damage to defender per 50 mph per combat cycle and must give

Move Through (Fly into enemy) e one Move Through per combat cycle

Multiple Opponents

_~

-~

THEEVERLASTING Q Page 82

The following chart provides generic statistics concerning ranged weapons. If you are a purist who would like more accurate and detailed information specific to various weapons, feel free to alter the details. All ranged weapon attacks are based on Dexteriv, mod$ed Firearms (&ins) or Accurary @or thrown weapons), whichever is appropriate. Bows require a bow skill, but d4aults to either Firearms -3 or the Hunt skill. Range is represented in yards and denotes the typical range. The maximum number of shots represents the maximum number shots that can befired normally within one combat yck, regardless of the characterk Speed. T h e participant must divide these shots over the number of turns her protagonist may act within the combat cycle, placing any remaining shots in the last action for the combat cycle. "Max. Shots " also represents the number of shots that may be made in one turn the charactergives up her next turn or spends a Destiny point.

of

3

Attack

3 turns

NA

~-

Revolver, flintlock Revolver, heavy

Rifle

I per 2 turns

NA

Submachine Gun, heavy

* Damage is reduced by 4 points per 2 yards of

distance away from center of blast.

Range is Strength x I for short, Strength x 2 for medium, and Strength x 3 for long (in yards.)

*** For every 5 yards over IO, the dama ***e

Range is Strength x I for short,

***** Range is Strength x 2

Book of the Spirits CB Page 83

You may determine the base difficulty for an attack by applying the following modifiers to the standard difficulty for the weapon. T h e use of cover is of primary importance in any gunfight; only the foolhardy stand out in the open. Factor

Difficultv Modifier

Aimed Location (head, arm, etc.)

+I to +4 depending upon target area

ComDlete Darkness

+4

Extra Time to Aim

_..

Extreme Temperatures

~

Fast Moving Target Influence of Alcohol/Drugs Invisible Opponent Laser Sight

-I to -2 and takes one extra turn + I to +2 +3 to +5 + I to +5 ~. +3 to +5 __~_ -3 +I +3 _ +3 +I per shot beyond the first ___ ~~

Moving Slowly while firing

~

Moving Rapidly while firing Mounted Combat Multiple Shots

_

-

~

+2 per extra target + I to +3 based uDon amount of moonlight

Multiple Targets

Night Range: Point Blank (10 ft.) Range: Short.-.-

-2 0

Range: Medium

+2

Range: Long

+4

Range: Extreme Reduced Visibilitv

+7 -

Retreating Quickly Retreating Slowly Shooting at Sounds ~~

Showing Off Slow Moving Target

~

~ ~

Strong Winds Target Size ismall to large) Telescopic Sighting Two weapon combat

+I to +3 based uDon conditions +2 +I +2 t o +4 + I t o +3 depending upon flashiness 0 to +2 _ +I t o +2 depending - upon strength of winds +3 t o 7 -2 to medium, long and extreme range +3 difficulty with each weapon ~~

~

T h e first thought a participant should have when her protagonist gets into a gun battle is not how many shots the character can get off each turn, but how much cover she can find quickly. Only an idiot stands out in the open with guns blazing all around her. Cover, d+nsive positions, and movement within the g u g k h t represent the defense card draws. Disasters on cover draws it@ one additional point of damage per ace or one. A participant who does not want to keep making card draws can declare that she is making one drawfor cover that will be applied to all shotsfor the turn that comefrom a particular direction. The successes drawn are applied to each individual shot by attackers. Durability of the cover can come into play, but for the most part, this can be handled fast and loose. T h e amount of cover provided matters the most. T h e following chart reflects the number of cards or dice a character gets o n her defense roll in an attack against her. T h e difficulty in taking cover is unaffected by any wound modifiers the character suffers. Amount of Bodv Covered 0%

Defense Cards or Dice (vs. diK 7) 0 ~

25% 50%

2 4

~~

~

(May not combine with cover bonuses)

Position

Defense Cards or Dice (vs. diff. 7)

Lying prone* Squatting down/on Knee

4 3

*Prone position only grants Defense Cards if the prone character is at long range. At close range, the opponent gets a -2 t o difficulty to hit the prone character.

THEEVERLASTING @ Page 84

ciwr When characters are moving about, they get the following number of dice on their defense roll for attacks made against them. Movement Defense Running in evasion pattern Dexterity ( I I - Evasion or Acrobatics, as appropriate) Divide successes bv two for actual # successes. (Round UD) Dexterity ( I I - Evasion or Acrobatics, as appropriate) Divide successes bv two for actual # successes. (Round UD)

Diving for closest cover

Dexterity (I2 - Evasion or Acrobatics, as appropriate) Divide successes by two for actual # successes. (Round up)

Running directly away

Herbalism Herbalism can be useful in improving normal healing. T h e herbalist must make an Intellect (I2 - Herbalism) draw. For each success, the difficulty on the patients healing draw difficulty is reduced by one point. This applies to each card draw or dice roll made until the injury is healed, provided the patient does as directed by the herbalist. An herbalist’s care and treatment cannot be combined with other forms of medical treatment.

Medical Treatment Mortals can only recover from injuries that cause debilitating damage through actual medical treatment, and, in many cases, even medical treatment cannot fully heal the debilitating damage. Medical treatment allows a patient t o make one Resilience (I I) draw each day t o recover Life points from debilitating damage and one Resilience (8) draw each day to recover Life Ioints from normal damage.

Dexterity (I4 - Evasion or Acrobatics, as appropriate) Divide successes by two for actual # successes. (Round up)

Running toward opponent

Whenever a character trades away her next action or pays one Destiny point (participant‘s choice), the character can fire as many shots during her current action as she normally could over the entire combat cycle. (If using two weapons, both weapons fire their maximum for the combat cycle.) The shots are considered normal attacks. Obviously, a weapon cannot fire more shots than its current ammunition will allow.

Caleb, them people baik there weren’t normal. Normalfolks don’t spit out bullets when you shoot them. No sic - Calebi dad, Near Dark

First Aid Often immediate medical attention is needed in order to save a person from death due to blood loss, choking, or some other problem. A character with at least one point in the Medicine skill can perform any of the basic forms of first aid. First aid prevents the loss o f further Life points, allows a subject t o heal any temporary damage, and allows the subject to recover from Trauma. It also allows a person to recover from any damage caused by drowning, suffocation, or asphyxiation. First aid can also set broken bones, allowing the patient to move without suffering additional damage.

Medicine A doctor can proscribe medicine and proper activities for healing. T h e doctor must make an Intellect ( I 2 - Medicine) draw. For each success, the difficulty on the patients healing draw difficulty is reduced by one point. This applies t o each card draw or dice roll made until the injury is healed, provided the patient takes the medicine as directed by the doctor. A doctor’s care and treatment cannot be combined with incompatible forms of medical treatment such as herbalism.

Normal Healing Healingfrom normal damage without medical treatment requires a simple Resilience (8) draw once per day. While healing does not require any sort of special treatment, herbalism and medicines can reduce the healing difficulty.

Book of the Spirits @ Page 85

Many eldritch possess the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. An eldritch with Regeneration (I) can recover from normal damage at a rate of one Life point per combat cycle and from debilitating damage at a rate of one Life point per wound per 3 minutes. An eldritch with Regeneration (2) can recover from normal damage at a rate of two Life points per combat cycle and from debilitating damage at a rate of one Life point per wound per 2 minutes. An eldritch with Regeneration (3) can recover from normal damage at a rate of three Life points per combat cycle and from debilitating damage at a rate of one Life point per wound per minute. Healing occurs at the end of the tenth turn of the combat cycle, whether the character acts during that turn or not. It costs I animus per five points of damage healed to use Regeneration. If the character is suffering less than 5 points of damage, then the point of animus covers any additional points of damage (that brings the total up to 5), should they occur. If the character runs out of animus, she cannot heal through regeneration and falls unconscious. A character cannot choose not to use Regeneration, it occurs automatically. Each wound is healed separately and all wounds are heakd simultaneously. So, a character with three wounds for 5, 7, and 3 points of damage and Regeneration (3) could regenerate the wounds down t o 2, 4, and 0 respectively by the end of the first combat cycle of regeneration, and at a cost of 2 animus since 9 points o f damage are regenerated.

THEEVERLASTING @ Page 86

simulacrum (body). It is believed that Celestines (the gargoyle’s spirits) can only be permanently destroyed by special magickal rituals believed long forgotten.

You know where I comefrom. The pitikss land. The place of the unfkhed. You know you can’t hurt me. - Orlando, Invisibks #7. Arcadia

his section lists the various types of attacks that cause debilitating damage to eldritch and the means by which they may be brought t o true death, which are based upon their gentes. A11 the everlasting sujer debilitating damage from 1) all supernatural attacks that spec$cally state that thgi cause debilitating damage, and 2) from attacks by empowered weapons.

Gargoylian Injury and Death %$fer debilitating wonndsfrom- All supernatural attacks which specifically state that they cause debilitating damage; Attacks by empowered weapons; Wooden simulacra also suffer debilitating damage from fire. Brolnght to true death by -Any attack that brings the damage suffered to twice the gargoyle’s life score destroys its

Manitou Injury and Death

-

Sujer debilitating woundxfrom All supernatural attacks that specifically state that they cause debilitating damage; Attacks by empowered weapons; Plus fire and intense cold Brought to true death by Any attack that brings the damage suffered to twice the manitou’s life score kills the host. It is believed that totems can only be permanently destroyed by their totemic lords and leviathans.

-

Injury and Death for the Possessed

-

Sxjeer debilitating woundsfrom All supernatural attacks which specifically state that they cause debilitating damage; Attacks by empowered weapons; Plus fire and intense cold. Brought to true death by Any attack which brings the damage suffered t o twice the host’s life score kills the host, but in order to destroy the possessor, its “soul-prison” must be destroyed through any type of supernatural attack which causes it 60 points of damage. The soulprison has a Resilience of 8 and automatically resists 4 points of damage from each attack.

-

She was bqond all reason, staring at the children with yes that were mad with blood. Marie-Thirisa had never seen her like this; she had become a complete, mindkss animal. Cathhine swept aside the grandmother, cracking her skull with one sweep of her arm, and advanced on the screaming children. - Cheri Scotch, The Werewolf’sKiss O n the character profile sheet, just beside the Life score, is a section that describes the severity of wounds. There arefive classfications o f wounds. Goingfrom least to more severe, thq are: I . Bruised, 2. Light, 3. Serious, 4. Grievous, and 5. Lethal. Each wound level is more severe than the previous wound level. Wounds modify any actions taken by imposing a penalty based on the severity of the wound. Wound modfiers do not affect Resistance and Trauma draws and rolls. Bruises are superficial and, while they may cause some damage, no difficulty penalty is incurred. T h e other levels, however, cause a difficulty penalty and these penalties are cumulative for each wound taken. Wound Severitv Bruised

_g.----Li ht Serious Grievous

Damage* Difficultv Penaltv 0 less than one-forth Life score ~ _ _ _ one-forth Life score +I +3 one-half Life score _. +5 three-forth Life score . ~~~~~

Lethal total Life score N/A * Round up all fractions for calculating these penalties. It must be determined for each character what amount o f damage represents the severiy of the wound. This is done by dividing the characters Lfe score by the amounts listed above to determine haw many points of damage equal the least amount of damagefor that severity b e l . Damagefrom wounds is compared to the results. The highest severity h e 1 to which it meets the minimum required amount of damage represents the wound h e 1 and the dgiculty penalty incurred. Anna’s character, Marvin, has a Life score of 13, thus his wound levels are as follows: Bruised (0-3), Light (4-6) Serious (7-9), Grievous (:10-12),and Lethal (13). Marvin takes wounds equaling 2 points of damage. This counts as a Bruise (as it is less than 4,meaning it is not quite a Light wound) and Marvin suffers no difficulty penalty. Marvin then suffers 5 points o f damage from an attack; bringing Marvin’s wounds to 7, meaning Marvin is Seriously wounded and giving him a +3 difficulty penalty. Marvin is at 6 Life and +3 difficulty on ali draws and rolls for his actions.

Some participants may wish to experience T h e Everlasting without having to draw cards or roll dice, thus putting more emphasis on storytelling and legendmaking. Freeform relies much more on common sense, imagination, and the ability to communicate one’s actions. One participant might choose to go freeform while others might use cards or dice. Freeform roleplaying is very simple; protagonists are created just the same as usual and the

I One very simple way of creating greater differences in proficiency among characters in freeform is by decimalizing all aspects and abilities, such as making Inspiration 3 into Inspiration 3.8, Dexterity 5 into Dexterity 5.1, etc. This way two characters will seldom be exactly equal t o one another, even if their non-decimalized scores are the same. T h e numbers after the decimal have no real effect other than providing a character with a slight advantage over characters whose numbers before the decimal are the same, but numbers after the decimal are smaller. When you add a character's aspect and skill to determine the number of successes, the numbers after the decimal can throw the total upward by a point. However, always round down the number of successes to a whole number when determining the effects. For example, a character engaged in martial arts combat adds together her Dexterity Punch (since that is her best score) and compares the results. She has a Dexterity 4.4 and a Punch 5.1. When added together they equal 9.5. T h e successes round down to an even 9. A Guide who wishes to use these guidelines for decimalizing qualities can apply them to aspects, abilities, persona qualities, or whatever she wishes. I t is best, however, for weapon damage, speed, life score, and animus score to just add the numbers before the decimal together to determine the actual number. It is suggested that after all normal points are allocated, the Guide should give the participants a certain number of points (defined below) which must be used t o decimalize the numbers. A participant cannot use these points as whole points to increase overall scores, but not all qualities have to be decimalized. Treat any non-decimalized score as if it had a zero after the decimal place. The extra points for decimalization are; Aspects receive 4 points, Aptitudes receive 3 points, Skills receive 4 points, Distinctions receive 3 points, and Persona qualities receive 3 points. Optionally, the Guide might decide to keep the numbers after the decimal a secret from the participants themselves. That way, while two participants might see that both their protagonists have the same whole number score, they will still not know which character is the best until they test themselves against one another (since they d o not know the numbers after the decimal) thus making the outcome more suspenseful.

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THEEVERLASTING Page 88

Attacks are still made in combat cycles that are made up of turns unless true freeform is desired. An attacker gets a number of successes equal to {Dexterity score Weapon skill score situational modifiers - (weapon's difficulty - 9)). For instance, Jacob's gargoyle is attacking with a longsword. T h e number of successes equals the gargoyle's Dexterity (7) Sword skill (3) situational (I for mists all around) - (longsword difficulty of 1I minus 9 which equals 2) = (7 3 - I - 2) = 7 successes, T h e defender gets a number of successes equal to {Dexterity score Defense skill score - situational modifiers - (defense's difficulty - 9)}. For instance, Rachel's manitou is defending the gargoyle's attack by dodging. The difficulty in dodging a sword is 12. So, the number of successes equals the manitou's Dexterity (7) Dodge skill (2) - situational (I for fog) (dodge difficulty of 12 minus 9, which equals 3 ) = (7 2 - I - 3) = 5 successes. Jacob's gargoyle hits for 2 successes (7 successes for the Gargoyle minus 5 successes for the Manitou). T h e base damage is Strength/2 I. T h e gargoyle's Strength is 5, so (5 divided by 2) equals 3 when rounded up, making base damage 4. Add this to attack successes for (2 o n attack 4 base damage) = 6 damage total. T h e manitou gets to automatically resist one point of damage per point of Resilience and her score is 3. Thus, she actually takes (6 damage - 3 Resilience) = 3 damage.

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T h e whole purpose of being freeform is to speed up the resolution of events and do away with as many guidelines as possible in favor of common sense judgements. Therefore, the amount of reliance upon guidelines is up to the participants. It is suggested that freeform legendmaking retain simplicity and reliance upon judgment calls based on common sense and the good of the story. Therefore, when handling a combat situation, you d o not have to add up numbers. As a Guide, simply have the other participants describe their protagonist's actions and then use your judgment as t o the antagonist's chances of succeeding and simply narrate what happens. T h e major problem with judgment calls is fairness. While a Guide might consider her decision fair, the other participants might believe it arbitrary and wrong. T h e best way to handle problems of this sort is through a group vote. All the participants, either through open o r secret ballot (raising hands or writing yes or n o on a slip o f paper) vote on the issue and the side with the most votes wins. Participants who want t o take advantage of the Guide can abuse this process. So, if the group decides t o limit their democracy (which is usually a good idea), the Guide retains the right t o veto the ruling. This may also be limited, if participants wish, to allowing the Guide to veto only a certain number of votes in a single session (possibly 3 or so vetoes.) Just , the Guide is not an antagonist, she is usually helping the story through her actions.

Most importantly, Guides should be fair, should be willing t o listen to others, and should keep an open mind. The Guide must be firm in her decision, but she must also keep in mind the other participant's feelings on the decision. The nice thing about T h e Everlasting is that every participant can be a Guide; one person can arbitrate combat, one can oversee antagonists, one can guide the plot, one can describe the setting, one can arbitrate magick and preternaturae, and so forth. This makes T h e Everlasting "controllerless," and gives every participant an equal role.

(An Alternate Guidelines System) For those participants who are particularly partial to percentile rolls over all other types of card draws or dice rolls, the following alternate guidelines are provided. Transforming Scores to Percentile: Multiply scores by ten. (This works well with Decimalized scores.) What is niultiplied by ten: Aspects, Abilities, Persona qualities, Torments, Magickal Arts, Magickal Lores, and All Difficulty Modifiers What is not multiplied by ten: Life, Animus, Distinctions, Destiny points, Experience points, Backlash points Percentile Dice Rolls: Add the appropriate Aspect and Skill together, then apply all modifiers as normal. Then make a percentile roll to determine success. Skill Modifiers: A Guide may modify a character's skill as desired to better represent the difficulty of a task. Tasks Standard Difficulty Very Easy (5 diff.) Easy (6 difq

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Simple (7 diff.) Below Average (8 diff.) Average (9 diff.) ~_______ Difficult (IO diff.) ~~

Very Difficult (I I diff.) Extremely Difficult (12 diff.) Incredibly Difficult (I 3 diff.) Nearly Impossible (I4 diff.) Impossible (I 5 diff.)

Skill Modifier +40% +30% +20% +IO%

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0% ~~

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-10% -20% -30% -40% ~ -50%_ -60%

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A Guide may modify skills by any degree that seems fitting; as always, this is just a guideline. Degree of Success: T h e higher the number rolled, if the roll was successful, then the greater the success.

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Deeree of Success Crude but Successful Adequate Success Good Success Great Success Great Success Awesome Success Perfect Success

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Roll Succeeds bv . . . 1% to 14% 15% to 29% 30% to 44% 45% to 59% 60% to 74% 75% to 89% ~~

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90% or higher

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or added atmosphere and built-in props, tarot cards mav be used to improve legendmaking. Tarot c a r d function in the same manner as regular playing cards, but providing additional features. Tarot cards are the cards used in fortune-telling and they are readily available in most bookstores. There are many varieties of tarot decks, simply pick one you like. T h e Wuite-RiderTarot is often a good one with which to start off with until you figure out how they work.

Spending Destiny and Backlash: Whenever a destiny point is spent it can modify a roll by up to 10% in either direction. Destiny points can make a failure into a great success by lowering the number rolled or make a success an even better success by increasing the number rolled. T h e participant decides how spent destiny points modify the roll after the roll is made. If the roll is the best possible as it is, then the modifier can be zero. For instance, Jim spends three destiny points and Jim character has a 50% chance. Jim rolls a 50% and decides that the three points, which can modify the score by up to 30% in either direction, actually modify the roll by zero, since Jim rolled as good a roll as possible. Backlash uses the exact same system mechanics as destiny points, but really works just the opposite. One point of Backlash can modify a roll by up to 10%. Backlash points can turn a success into a complete failure by raising the number rolled to greater than the chance of success. Backlash points can also turn an average success into less of a success by reducing the number rolled. Up to three destiny or backlash can be spent o n a roll. T h e points must be spent before making the roll.

Character Generation (Optional): If creating characters for use with the percentile system, simply multiply the number of quality points to be divided out by ten, then divide up the points normally. This will allow aspects and abilities to have a wider range of scores. For instance, a daeva might have an Inspiration 43 or a Strength 37, while a quester might have an Inspiration 45 or a Strength 51. Divide scores by ten and round down to get Life and Animus scores. Divide Dexterity by twenty to get the base Speed score.

THEEVERLASTJNG @ Page 90

T h e tarot card system functions in the same way that the regular playing card system functions. Tarot cards are divided up into the major and the minor arcana. (Consult the tarot card booklet for details.) The four suits o f the playing cards match up to the four suits of the minor arcana, as follows: Clubs (wands), Diamonds (coins or pentacks), Hearts (cups),and Spades (swords.)T h e minor arcana may be used just like playing cards, but remove the Pug cards from each suit before playing (or else there will be one too many cards in each suit.) T h e Knight in the tarot counts as the equivalent of the Jack in playing cards. The major arcana represent the portion o f the tarot that makes the biggest impact upon legendmaking. Once the cards of the major arcana are separated from the cards of the minor arcana in each participant’s deck, each participant may draw three cards from the major arcana of their own decks. A Guide may want more cards drawn if few people are participating or fewer cards drawn if many are participating. T h e participants may play these cards individually, affecting the current story in a direct manner, exercising some personal control over what happens. A card must be played in a manner such that what it symbolizes is central to how the participant affects what is going on. Tarot decks come with booklets that list the various meanings of the cards. Many booklets give both meanings and reverse meanings for the cards; feel free to use either the meaning or the reverse meaning - whichever seems appropriate for the situation. (Play the card upside down when using the reverse meaning.) For instance, if a participant decided to play the Tuwer, she might have her protagonist become bound by some addiction, or have her and her fellow protagonists become entombed in a catacomb they are currently exploring in the story. T h e participant might also simply point out the self-destructive behavior o f a ing character that leads to her demise somehow. T h e participant might have a ing character get captured

by the antagonist, or habe a (willing participant's) protagonist suffer some personal tragedy. She might even have her own protagonist fail in an attempt to save some innocent bystander, with the bystander dying as a result and the protagonist suffering long-term grief. These major arcana may be played at any time, one at a time, having specific effects upon the legendmaking based upon the major arcana played. that the cards can represent anything places, characters, protagonists, atmosphere, events, actions, feelings, objects, goals, and outcomes. A participant need not feel like she has to play all, or even one, of the major arcana she drew, if she does not find good opportunities to do so. W h e n playing a major arcanum (singular for one of these cards) the participant merely states what happens, taking complete control over the story for a brief moment. This allows individual effort to shine forth in an otherwise collaborative effort. T h e only limits are that the participant cannot drastically alter the entire plot or negatively impact other characters without their controller's permission first. T h e major arcana cannot be used to boost scores, alter card draws, or otherwise affect guideline mechanics, but the cards can have strong impact nonetheless. Guides should reward participants who use their major arcana to outstandingly heighten the artistic quality of the legendmaking with one or two destiny points. T h e Guide might also allow participants to draw replacement cards in rare instances. Those who use the cards adequately should receive praise, especialIy if they used the cards for the betterment of the story over the betterment of the protagonists. Those who use their major arcana to help their protagonist, or even fellow protagonists might get no reward, (save for some thanks from fellow participants.) Those who use their major arcana to disrupt the legendmaking, or simply to glorify their own protagonists, can receive backlash points or have their cards effects nullified, if the Guide wishes.

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T h e tarot has been around for at least 500 years, but it is as effective a tool for self-exploration today as it has ever been. Some people believe the archetypal figures within the cards represent aspects of hidden knowledge within the human psyche. Regardless of what one believes, it has always been linked t o philosophy, spirituality, and psychology - representing a gate through which a person can explore new ideas, feelings, fantasies, thoughts, and desires. T h e symbols of the tarot simultaneously conceal and reveal mysteries with a depth equal to the ability of the reader to consider and interpret the meaning. Originally the tarot was used in the mantic art of cartomancy (divination through card), and it is still used as such today by many people. T h e tarot has played an important role in the development of Western mysticism. Its origins are ambiguous, but the tarot has been linked to many ancient cultures. Most historians consider the tarot a compilation of many occultic symbols that represent the summation of the Western mystery tradition in magic. Aleister Crowley believed the tarot served as a magickal encyclopedia through which the mysteries of magick could be understood and commanded. No doubt, the tarot contains aspects of astrology, mysticism, Kabbalah, numerology, mythology, religion, alchemy, metaphysics, Eastern philosophy, Egyptian legend, and psychological archetypes. Some people believe fate guides the hands of the shuffler, as well as the drawing of the cards. T h e shuffling and drawing are usually handled during tarot card readings by the querent - the person for whom the reading has personal significance. T h e shuffling itself is a symbol of the chaos and natural disorder inherent within the universe, while the drawing and placing represents the quest for order and the assignment of meaningfd patterns and directions within the universe. This means that, when a participant shuffles and draws her cards, with each drawing she is shaping her own protagonist's fate.

ng sruaieci

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y and symbolic archetypes upon the human psyche. T h e psychologist differentiated symbols from signs, defining symbols as archetypes that have deeprooted psychological affect upon people. T h e tarot is a link t o the collective consciousness of humanity because it is composed of powerfully symbolic archetypes. T h e card symbols, and the stories they tell the perceptive interpreter through their combinations with one another represent the outer mysteries of the tarot. T h e inner mysteries are what a querent gets from the cards - how the cards affect her on a personal level - since the cards reflect the mental, spiritual, and psychological state of the querent, thus providing guidance. We can explore ourselves through legendmaking by utilizing these symbols that strike t o the core of what we perceive to be our lives, our selves, our world, and the totality of our existence. Because of its intense symbology, the tarot is a perfect legendmaking tool. T h e tarot allows a participant to get double meaning from the individual cards - what the cards represent to her and what the cards represent to her protagonist.

Participants playing the cards may use the following list of meanings for the twenty-two major arcana of the tarot. Participants may latch onto any reflections of a particular arcanum and use those chosen meanings while exercising control over stories through playing major arcana.

0 The Fool Impulsiveness, youthful exuberance, forging a world view, awakening t o truth, childlike wisdom and foolishness, eternal childhood, tricksters, spontaneity, personal fantasies, fantastical thoughts and understandings, erratic behavior, naivetC, the inner child, introduction to an unknown world, rebellious nature

Book of the Spirits

Page 91

1V: T h e Emperor Conquering the

Y

I: T h e Magician Enlightenment, magick, creativity, personal transformation, self-discovery, force of will, communication with the divine, power through adaptation and thought, mental power, empowerment, knowledge, equilibrium and balance within one’s self, duality of self conquered through wisdom, communion through meditation and the examination of life 11: T h e High Priestess Intuition, divination, revelation, the truth revealed, feminine mystique, feminine wisdom, emotional risk, healing, extreme enthusiasm, following ones destiny, forces o f nature, psychic abilities, artistic talents, foresight, emotional balance, the lunar cycle, illumination through femininity, openness t o change, a non-judgmental position, understanding both the light and the dark side of humanity

unconscious, self-confidence, nurturing, creativity through taking chances, structure, choosing ones own path toward destiny, stability, responsibility, personal conviction, authority, fatherhood, willpower, self-discipline, ambition, willpower over instincts, masculine power, the spiritual warrior, assertion of will and beliefs over physical power, the social order

V: T h e Hierophant Acknowledgment of divine power, orthodoxy, the transformation of the worldly into spiritual power, marriage, higher alliances, mercy, servitude t o higher power, teaching, ability to learn, value of tradition and ceremony in everyday life, manifestation of religion, traditional ideas, purity and value in practicality, divine guidance and reliance, spiritual lawgiver, spiritual growth through the mundane, righteousness, rigidity VI: T h e Lovers Male-female relationships, attraction of opposites, sexual desire, friendly communication, intellectual flexibility, resolution through commitment and making a decision, enlightenment through control, friendship among opposites united in some way, integration of masculine and feminine aspects of the self

VIII: Strength Overcoming great hardships, facing down fears to gain strength, conquering the self, honor, valor, action, gentle persuasion, self-consciousness, fortitude, strength through contemplation, power through understanding own weaknesses and coming to grips with them, overcoming addiction, taming base urges and desires through strength of will

IX T h e Hermit Circumspection, withdrawal, purity, naivete, discovery of hidden meanings, meditation to attain clarity, acting alone, wisdom through both service and renunciation, reclusive nature, growing maturity, lonely quest, practice of secret doctrines and disciplines, solitary search for wisdom, prudishness, strength through isolation

111: T h e Empress Harmony with others, harmony through conflict, fecundity, recreation o f self, openness to one’s self expression, creative potential, hidden wisdom in death or about death, unconscious power, sacrificing parental protection for growth, joyfid love of life and everything in it

1 T H E LOVERS. 1THEEVERLASTING @ Page 92

VII: The Chariot Renunciation of personal power in favor of wisdom, power recognized by a higher authority, conquering base urges, self-direction through wisdom, understanding through emotional tribulations, dominance of intellect over emotions, worldly accomplishment through overcoming instincts and emotions

I X T h e Wheel of Fortune Vagaries of life, changes, destiny, fate, taking chances rewarded by success or failure, law of karma, good fortune, unpredictable influences, moving towards one’s destiny, random events, luck, cycle of life, death, and rebirth

XT: Justice Restoration o f balance, honesty, legal affairs, harmony, equality, getting what one deserves, discrimination, justice, fair outcome, overcoming injustice through deliberation, honorable action, arbitration, seeking justice, settlement of disputes XTI: T h e Hanged Man Sacrifice, wisdom through sacrifice, knowledge through prophecy and divination, following own beliefs, communion with the unconscious aspects of self, one’s deep attachment to things that matter the most t o them, concerning the subconscious mind, astral mind, psychic domain, the hidden depths of the soul, allegiance to higher powers despite earthly fetters, reversal of normal values XII: Death Loss or relinquishment of ideals, goals, possessions, capabilities, ideas, and relationships. Breakdown, change, renewal, costly transformation, death itself, finality and apparent destruction which define life, immortality beyond this life, leaving things behind to move on

to greater things, freedoin through loss

relinquishing a burden

XIV: Temperance Finding balance, moderation, recognizing the cyclical phases of life, patience, self-control, command over a situation, calmness in the face of adversity, balancing the higher self with the base desires and instincts, balancing physical necessities and desires with spirituality and commitment to something higher, interaction and integration of the masculine conscious and the feminine unconscious aspects of the self in order to create something, personal growth

XV: T h e Devil Excessive materialism, strong charnel desires, the prevention o f wisdom and fading of spirituality due to self-centeredness and worldly wants, overwhelming physical desires, greed, illusions, lies, struggles with oppression, covetousness, avarice, the temptations of worldly wealth, pleasure or power, weakness and corruptibility, spiritual hypocrisy

XIX: T h e Sun Inspiration, experiencing life to the fullest, rediscovering the inner child and the magic of life, inno-

XVI: The Tower Ruin, destruction, lose of everything, vulnerability, fall from grace or power, abandonment, submission, violence, insecurity, great failure and tragedy, unexpected overpowering or attack, sacrifice of everything with the hope of creating something anew, inadequacy, physically-binding circumstances, personal stagnation and limitation, overthrow of traditions, painful experiences XVII: T h e Star Personal quest, personal magical influences, selflessness, faith, hope, sacrifices by choice, delving into the depths of the psyche, the collective unconscious or zeitgeist, search for self-realization, developing the unexplored aspects o f one’s life, spiritual evolution, finding new opportunities for one’s self, mental development XVIII: The Moon Deception, omens, signs, warnings from others, foreboding, obscurity, shadowy influences, trickery, meditation, inner light, past influences blocking progress, personal priorities not in correct order, hidden meanings, intuition, large number of conflicting influences, wild ions, primal instincts, a lack of understanding one’s own mysterious instinctual actions

Book of the Spirits @ Page 93

Now that you know about roleplaying, storytelling, legendmaking, the Secret World, protagonist creation, and the various systems you are ready t o jump into an Odyssey. There are a few other things that you should think about, however, as you begin testing out The Everlasting for the first time.

Do unto others you would have them do Unto you. If you forget everything else, at least this one thing. There is indeed one rule within The Everlasting the Golden Rub. Do not settle on your protagonist simply acquiring power; always keep in mind your own

goals and those of your protagonist. Never become satisfied with simply acquiring more and more power just so your protagonist can go out and defeat bigger and meaner enemies. Acquiring power can be fun, but eventually it grows tiresome. T h e objective is to accomplish something of lasting value.

THEEVERLASTING @ Page 94

Doelop your personal mythology. Legendmaking can teach us many things about others and ourselves. You can confront your nightmares and live your dreams through the stories you create. T h e choice is yours as to whether or not you give stories deeper meaning and greater significance in your own life. You should constantly strive to improve your rolepluyinA storytelling, and legendmaking skills. No one simply masters these big three aspects o f the experience; there is always something new t o learn. Ask for constructive criticism and give it when asked, (but be nice.)

Take an active role in the mythic experience.

Do not sit back, watch others, and simply follow their leads. Take the initiative and enact your own stories, plans, and schemes within the Odyssey. Explore your protagonist’s interests and never just sit back and wait for things t o happen art, don’t just react. Use your head, not just your protagonisti fists. Look for clues, traps, and non-violent solutions to problems. While sometimes there is no good way of avoiding a fight, there are always other options to explore. Stories in which protagonists

simply stumble around for a while and then fight the bad guy are extremely boring. T h e whole point o f roleplaying is to explore your imagination - so put it to work for you. Strength isfound in uniq, so protagonists should stick together as much as possible. While there will be times when the protagonists will need t o split up, avoid forcing your Guide to constantly run five intertwining versions o f the same story for five individual participants - that is just too much work to ask of anyone who is not getting paid.

Do not use information your protagonist does not know to give her an unfair advantage, and do not use guideline terminology while roleplaying. These two things are called ”crossing-over,” and they detract from the experience. Havefun! ’Nuff said.

The best in this kind are but shadows. - Wlliam Shakespeare, A Midsummer-Nipht’s Dream T h e y come from our thoughts, from our dreams, and from the strangest flashes

of fevered imagination. T h e y were the

inhabitants o f other dimensions and alternate realities, but fate has cast them ashore upon the Earth. T h e y are bound, like humans, t o a crude physical nature that they cannot escape. Destiny has placed them within the material world they

all have great

by design and

. . . and sometimes horrifying . . . impact upon our world. Some of these earthbound spirits are merely trying of humanity. of earthly spirits that are considered to be among ”the ever-

to escape our world, others are trying to save the planet, and a few serve as judges and pardoners

T h e following three chapters define the three major races

lasting” - the earthly immortals. They are the Gargoyles, Manitou, and the Possessed. They are very different from one another and, long ago, had virtually no with one another. In modern times, however, trouble with the forces of evil has brought them into with each other and the other eldritch races as well. these shadows that

look human to our mundane eyes, become one of these non-humans that we never notice

walking our streets, eating in our restaurants, or sitting beside us o n the bus

. . . even though

they are there, and they know us.

I Do you believe in gargoyles? The word "gargoyle" comes from the French word gargouilk, which means "throat." Some say the first reference to gargoyles dates back to around 600 A.D. Gargoyles flourished in Europe between 700 A.D. and I450 A.D. on cathedrals, though it is hard to date many gargoyle carvings because of the destruction caused in Europe during both World Wars. The cathedrals were said to be "sermons in stone" that could be "read by the illiterate medieval commoners. The gargoyles were used for instructional purposes by illustrating images of eternal damnation. Some gargoyles, however, were grotesque and simply filled the purpose of scaring away evil spirits. The idea is similar to some Halloween practices of donning costumes of monsters, ghosts, and goblins to ward away spirits that roam freely on All Hallow's Eve. Gargoyles have been carved with the features of dragons, demons, humans, cats, serpents, bats, frogs, and less recognizable creatures. Some gargoyles were carved into figures of ambiguous gender, and some into combinations of both genders, since ancient people found amalgams of male-female and human-animal bodies frightening and mysterious. Most gargoyles have gaping mouths, primarily as symbols of devouring giants. Some appear as men with foliage as crowns or in mouths, representing divinity, since the branches of the oak tree were sacred to druids. These gargoyles represent images of "Jack O'Green" and the "Green Man." Some gargoyles are crude sexual images; this represents the pagan theme of fertility. Stone carvings that carry no water and which have faces or resemble creatures are technically called "grotesques." A carving that combines several different animals is called a "chimera" in ancient architectural . The grotesques with large grins, toothful smiles, and protruding tongues verge on the absurd. They are meant to remind people of the ion of Christ, brutalized and crucified. The grotesques were images of dichotomy -- happy and/or sad, terrified and/or brave, beautiful and/or disgusting, and heavenly and/or hellish. According to legend, a creature called La Gurgouille, which was described as having a long, reptilian neck, slender snout and jaws, heavy brow, and membranous wings, lived in a cave by the River Seine in . This "dragon" swallowed ships, destroyed things with its fiery breath, and spouted enough water to flood the surrounding area. To placate the creature, the residents of the nearby town of Roven offered a live victim once each year. The creature preferred live maidens, but was actually given criminals in disguise. In 500 A.D., the priest known as Romanus arrived in Roven and agreed to take care of the dragon if the people would agree to be baptized and would build a temple. The priest, armed with the convict offered as a sacrifice and the tools for an exorcism (book, bell, candle, and cross), subdued the dragon by making the sign of the cross. Romanus led the dragon back to town, where it was burned at the stake. The head and neck of the creature were mounted on the walls of the temple, since they would not burn - being immune to the dragon's fiery breath. The creature's head and neck became the model for gargoyles for centuries. But beyond the folkloric roots of this practice, did the Church's founders know some secret that has been lost to us in modern times? Could they have known some secret rituals or pagan ways of protecting holy places from harm? Could they have actually bound spirits into serving as watchers and guardians?

GNGOYLE~ i

Whoever)ghts monsters should see to it that in the process he does not become a monster. And when you look long into an abyss, the abyss also looks into you.

Do you believe in gargoyles? Book of the Spirits @ Page u7 / I

he gothic cathedrals are decorated in grotesque stonework creatures whose evillooking forms are meant to terrify demons and other evil beings, thus protecting the cathedrals and their parishioners from supernatural threats. Few people know that these carved stone creatures are based o n an actual race of spirit beings that were long ago bound against their will into earthly vessels of stone. In fact, real gargoyles would even enter the actual cathedral gargoyle carvings and would watch over the good and faithful. Gargoyles were astral spirits, called Cebstines, which live isolated lives. They were discovered by the mystical cult called the Servants of the Flame, which captured many of the spirits and bound them as their servants through words and symbols of power. T h e gargoyles were given a physical form of great strength and were appointed as guardians and watchers over the cult's interests. The gargoyles are called the Sin Euters, as they are attracted to evildoers like moths to a flame. Part of the curse imposed upon them by the Servants of the Flame is that they must touch people, gaining the memories of their evil deeds, and ing on t o them the Curse of Absolutron. Sometimes the gargoyles will be driven by the curse they impose upon a "sinner" to carry out the punishment themselves; this often involves maiming or killing the evildoer. T h e punishment imposed by the curse is chosen by some higher power and the gargoyles are forced by their very nature t o do as is required of them. Often they do not have to do anything, as the curse often takes the form of backlash or some specific tragedy in the sinners' lives. Gargoyles are ancient and mysterious in nature and very secretive.Their feeding o n sin usually happens at night, when sinners walk the streets. Some gargoyles become especially good at sin-eating and actually enjoy it for the sensual experience it brings to their cold, unfeeling bodies through the absorbed memories. Some gargoyles even associate with depraved individuals, encour-

time the gargoyles feed upon them, often killing them as a result. This dark side of the gargoyle nature warps their physical and mental nature. Gargoyles suffer what they call the Horr+ration, the transformation of mind and body from agent of good into monster of darkness. Their Taint of Evil, as they call it, grows over time as they gain more and more dark memories and experience more physical sensations from it. Eventually they develop senses of touch and taste themselves, allowing themselves to experience the world. They also develop evil personality qualities and hideous physical characteristics. For gargoyles, monstrosity and sensuality are one in the same. Some try to remain bastions of hope and cold purity, but most eventually succumb to the darkness. Gargoyles are a physical race of living stone creatures, though they are also spirits. They have their own personal outlooks on earthly life and their own existence.They have feelings, memories, distinct tastes, personalities, moral codes, desires, fears, hungers, obsessions, and personal goals. They are similar to humans in many respects, but they have no sense of touch and cannot feel the world they live in, often making them seem cold-hearted and distant. Many lust for the horrification the taint of evil brings, as it frees them from the prisons of their own bodies, letting them truly experience the world in which they live. For most, the only time they feel anything is during their sin-eating. T h e memories of sinners bear the ghosts of sensattons they felt while committing their "sins." As their horrification overtakes them, they become killers, rapists, thieves, and monsters that must be hunted down and destroyed by their own kind, freeing their spirits so that they can take on new uncorrupted bodies. Gargoyles are still spirits and are capable of traveling the Astra freely, even though they animate stone bodies called their Stmulacru. They cannot, however, permanently return to their spirit homes, as they have experienced too much darkness. Many gargoyles can temporarily occupy other forms aside from their own simulacra. They are limited to alternate temporary forms made of stone, wood, ivory, horn, gold, lead, wax, and glass. Marble, alabaster, obsidian, jade,

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.ed stones used as allowing them to move and even speak like humans. Some gargoyles in recent times have taken to creating granite skeletons from single pieces of stone, then they use modern special effects techniques to cover them with simulated muscle and flesh so that they can for human. Long ago the gargoyles would simply take o n statues carved into human forms, and during the 17th through 19th centuries wax-coated stone bodies were used. They would paint their false flesh in skin tone and wear wigs and heavy clothing. Gargoyles not only animate their bodies, they can also shapechange them. Their bodies, when uncorrupted by the horrification, typically are very beautiful and often humanlike. They can consciously will the Darkness within the Light inside themselves to come out for short periods of time, transforming themselves into the creatures of legend with batwings, demonic features, and lust for blood. Gargoyles are few in number compared to many gentes of eldritch, and they associate primarily with their own kind and with humans. Some move in the same circles as angels, vampires, osirians, and revenants. Some continue to serve the Servants of the Flame, either as slaves or as free-willed servants. Most gargoyles serve their own interests and long ago freed themselves from the Servants of the Flame's domination.

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Her gres glittered strangely in the silvery light; they were hard, cold, metallic. Thg, were inhuman. - Michael Scott, The Black Cross

The darkness and the light are both alike to thee. -Psalms 139:12

he Sin Eaters are an occult race of s irits

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bound into eart ly vessels. They are magickal protectors and watchers who once served as agents of the Servants the Flame. Now most all are free from the control of the cult and are making their own way through life as best as they can. Most gargoyles embrace the nature imposed o n them during their creation while others are still repelled by it. Regardless of their acceptance, or lack thereof, they are enslaved by their very nature.

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Gargoyles within the earthly reality o f the Secret World have bodies called Simulacra composed of inanimate natural materials. Most gargoyles prefer simulacra of alabaster, obsidian, jade, marble, granite, ivory, and wood. Other minerals are also used, but metals other than gold and lead are not. Glass, horn and bone are also sometimes used, but plastics, porcelain, and rubber are not, as they are irritating to the inhabiting spirits. Gargoyle simulacra possess all the natural characteristics of the materials of which they are composed. Stone gargoyles sink, while wooden ones float. Marble gargoyles may be cracked; wooden ones may be sawed in half; and glass ones may be shattered. Gargoyles with large, dense bodies are stronger than gargoyles with light, less dense bodies. Celestines, the animating spirits of gargoyles, are bound to their simulacra, but they can leave their bodies for short periods of time. Animation of simulacra or temporary vessels grant them the full human range of mobility, limited only by the form of the vessel, as vessels attached to the ground cannot leap or walk, but can reach out and grab. Gargoyles within their simulacra can typically run at human speed, leap into the air, dive, dance, leap, dodge, and so on. Gargoyles can also speak through their simulacra if throat-like areas are cut into the mouths of the simulacra, as the Celestines partially manifest continuously and may vibrate so much that they resonate sound in the form of both human and non-human speech. A simulacrum must be one solid, fully connected object. For instance, a gargoyle could take the form of a stick, but not the form o f a skeleton, as the skeleton is actually many individual parts.

and so on. Most maintain normal human forms most of the time, but even they sometimes have concealed extra limbs, tentacles, tails, and other features. AU have wings in their monstrous forms, and many have wings even in their human forms. Gargoyles do not breathe, eat, sleep, get tired, feel pain, suffer illnesses, and so on. They do have a healing ability making it possible for them t o recover from wounds even though their bodies are non-living. T h e substance composing their simulacra determines the speed at which they heal. Glass gargoyles that are damaged short of being shattered can heal rapidly and may reattach broken shards and parts near-instantaneously. Wooden and ivory gargoyles heal far more rapidly than human beings, while stone gargoyles heal about as fast as humans heal. By taping, strapping, or otherwise reattaching broken parts, their healing can occur much faster. Gargoyles cannot regrow additional matter; they can only shift what they have around. For example, a stone gargoyle that broke off a finger cannot regrow a new finger, but by carving a new finger and then attaching it to the nub with a stone peg it will heal up. T h e finger becomes animated within a few days, though it will remain stiff for a couple of weeks. Replacement parts must be o f the same material as the simulacra. If an entire simulacrum is broken up, burned t o ashes, shattered, or otherwise rendered useless, then the celestine spirit of the gargoyle is

Many gargoyles have body weaponry ranging from spiked tentacles, t o spear-tipped tails, to whip-like extra arms, t o swordblade handed extra arms. Some gargoyles in modern times have built-in weapons under rubber skin. T h e weapons are strapped onto their stone bodies. Bolting them o n will cause them t o continuously suffer lots of p a ~ nwhen they gain physical feeling, which is why they just strap the weapons on. T h e weapons are designed with concealed buttons and triggers. T h e gargoyle's bodies are designed with appendages, hooks, bumps, ridges, or whatever else is required so that they can fire the weapons. Completely concealed wrist blades with slits in the skin and arm guns with only small barrel-holes in the skin are common. All gargoyles can levitate through the air under the power of their celestine spirits. Most all gargoyles in both human and monstrous forms have wings they use for guiding their levitation and to propel them in particular directions. Wings vary in size and shape, but often start out like feathered, angelic-looking wings that grow into demonic, bat-like wings due to the

pended hibernation that usually lasts a few weeks. Once the celestine awakes, it must quickly find another simulacrum created for it. T h e simulacrum must be prepared through a special ritual and its auspice must match the current sign of the zodiac. Many gargoyles maintain vaults where they store carved bodies for themselves, though the ritual must still be performed over a simulacrum just before the celestine enters it. Celestines can appear to humans and eldritch m the Astra, and sometimes in dreams or in the Reverie, pleading for help. If a simulacrum is not readied within seven days, the celestine will be destroyed. Many celestines

man and monstrous from the taint. After reaching a certain poin in the horrification, the simulacra gain feeling in them and are able to sense the world physically. Many gargoyles prefer angelic, human-looking simulacra so that their descent into horrification takes a long time and allows them to for human for as long as possible. It can take years for some gargoyles t o transform through the horrification. It can also take as long as centuries or as short as months, depending upon how rapidly a gargoyle becomes tainted with evil.

Gargoyles are "tainted" with the sins they absorb causing their simulacra t o change over time, taking on more and more monstrous characteristics. This transformation is called the Horrification. T h e greater the taint of evil, the more demonic-looking their simulacra become. Those gar-

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Men who talked grossly became silent when Dorian Gray entered the room There was something in the 9 o f hisface that rebuked them H i s mere presence ed to recall to them the rnemoy o f the innocence t thty had tarnished Thty wondered how one so charrning andgractful as he could have escaped the stain o f an age that was at once sordid and sensual Often, on returnitg homef r o m one .f those mysterious and prolonged absences that gave rise to such strange conlecture among those who were his friends, or thought that thly were so, he himseg would creep upstairs to the locked room, open the door with the key that never ltft him now, and stand, with mirror, in front of the portrait that Basil Hallward had painted of him, looking now at the evil and agingface on the canvas, and now at the fair young face that laughed back at him f r o m the polishedglass The very sharpness o f the contrast used to quicken his sense of pkasure He grew more and more enamoured of his own beaup, more and more interested in the corruption of

- Oscar mlde, The Picture of

Dorian Grey

here ar ! tJot:h male a .d female gxgoyles. It'hile the celestines were originally gender-less spirits, the rituals of the Servants of the Flames gave the gargoyles gender. Their bodies are carved into male and female forms, but, due to the limitations of their simulacra, their bodies are not capable of having physical relations until they succumb to the horrification to such a degree at they gain a sense of physical touch. nce they totally succumb to the taint of 11, they become lustful creatures who act their base urges, though it is believed t they cannot sire children. Gargoyle\ vary greatly in appearance since their simulacra are carved out of whatever materials they prefer into whatever forms suit their fancy. Most gargoyles prefer stone simulacra and beautiful, human forms for both strength and the ability to walk freely among humans. Most gargoyles commonly wear make-up and wigs. cealable extra limbs and wings are also common among them.

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Highly polished marble, alabaster, obsidian, jade, and granite are the preferred stone materials for simulacra. Oak and ivory are also preferred for lightweight forms, as they are usually rapid healing, agile, fast, and more mutable. Glass simulacra are enjoyed by a rare few since glass becomes totally mutable for them; it can like water through cracks under doors or wrap around things easily. Glass forms can be used to instantly form limbs, weapons, and so on, and for going places other forms cannot. Glass forms can even wrap around faces o f victims, suffocating them. All gargoyle bodies are either carved out of single blocks of material or of multiple pieces of material which have been tightly bound together without anything more than tape, outer wraps, and pegs of the same material as their bodies. After a short while, simulacra carved out of multiple pieces that have been ed together become solid, single pieces of material. In modern times, many gargoyles hire professional special-effects make-up artists or become f/x artists themselves. They also dabble in mechanics, gunsmithing, and knife-making. They create bone-sized, granite, one-piece "skeletal frames" for themselves, cover them in rubber muscles and skin, plastic nails, and sew o n real hair. They usually keep stone eyes so that they can move them about like normal eyes. Over time the taint of evil spreads throughout their physical forms in the transformation called the Horrjfication. Gargoyles change from cold, unfeeling, good, and beautiful into warm, feeling, and monstrous creatures. T h e stone-carved cathedral gargoyles are representations of what their monstrous forms often resemble. Gargoyle simulacra begin mutating through the horrification gaining more and more unusual and hideous features. Eventually their bodies become demonic or freakishly monstrous in appearance, but also possess the human sense of touch. Even gargoyles with rubber false flesh cannot hide their taint of evil for long, as the horrification causes their false flesh to rip open revealing horns, ridges, humps, weird defects, and other nasty things. Eventually gargoyles must conceal themselves in cloaks, robes, or trench coats and hats in order to walk among humans.

nally prefer. Most do not rely upon weapons, but carry them on occasion for exacting penance on some sinners. Gargoyles who have succumbed to the horrification often go about naked and do not carry weapons since they like to kill with their teeth and bare hands.

Gargoyles have developed their own unique form of "tattoos" and body carvings, which denote their personal histories and deeds in their own flesh and stone. Their carvings are very beautiful and intricate, involving pictographs, runes, astrological signs, mystical sigils, intricate personal designs, geometric shapes, and more. T h e carvings and tattoos usually cover the entire back, chest, buttocks, and legs. There are almost never many marks o n the hands, arms, neck, head, or feet, since those parts are sometimes visible to others. "Tattoos" are created with paints, dyes, and burns. While body carvings are not deep, they vary in size from small etchings t o wide grooves.

to cat Night hath a thousand gres. -John Lyb, Maides MetamorDhosis

argoyles have excellent senses, making them perfect as guardians and watchers. They once watched over the cathedrals of Europe and before that watched over the many magickal temples of the Servants of the Flame. T h e gargoyles' five senses are spiritual in source and origin and do not develop within their physical forms until they begin suffering the horrification. Celestines actually sense the world through the simulacra, through sight, sound, and smell. Gargoyles have no senses of taste or touch, but develop those senses through the horrification. Gargoyles can see in pitch darkness as if it were only as dark as sunset. Their visual range adjusts as necessary so that they can see things clearly on the ground even while flying high within the air. Their hearing is such that they can identify common sounds easily at great distance and can hear within the same frequency range as dogs. They can also pinpoint the directions from which multiple sounds originate. Their sense o f smell is about the same as a dog's olfactory sense. They can identify people, animals, and many substances by scent. They can also track someone by scent as long as the spoor is fresh. Gargoyles with two heads (as a few of them enjoy having) do not really have twice as many senses, though either or both heads can sense things. (They do not get twice as many card draws to sense something.)

The shoe shine bay put on his hstling smik and looked up into the Sailor's dead, cold, undersea eyes, eyes without a trace of warmth or lust o r hate or anyj%eling the boy had ever experienced in himsep or seen in another, at once cold and intense, impersonal and predatory. The Sailor leanedforward and put afinger on the boy's inner arm at the elbow. He spoke in his dead, junky whisper. "With veins like that, Kid, I'd have mysef a time!" He laughed, black insect laughter that seemed to serve some obscurefunction of orientation like a bat's squeak. - Wlliarn S.Burroughs, Naked Lunch Gargoyles d o not need to eat, drink, breathe, or sleep. Some do create their simulacra so that they can actually chew and swallow food and drink liquids, allowing them to more easily themselves off as human. All gargoyles can fake breathing and sleeping, but it takes practice to continuously fake breathing without any conscious effort. Gargoyles suffering the horrification can eat and drink like normal humans, excreting waste, as they actually develop

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Gargoyles regain animus primarily through their sin-eating. They touch people and gain the memories o f their most evil and sinful deeds. The gargoyles on the Curse $Absolution and, by experiencing the people's memories, regain lost animus. T h e number of animus gained relates to the heinousness of the deeds. It is up to a Guide to set how many animus points are gained based on how much remorse the sinners feel, as different people feel different ways about which "sins" are more severe than others. T h e less the remorse, the greater the animus and the more serious the "penance." Here are some ideas:

Act of Sin Murder (first victim) Murder (per additional victim) Self-defense manslaughter Molestation CriDDlinP of someone Maiming of someone Torture of someone Inflicting of serious injuries Pettv theft Theft against the poor Betravine a loved one Desecration of the dead

Animus Reward to Gargoyle & Backlash voints to "Sinner"

I0 7 5 -.

I

1

8 7

6 6 3 I 2 3 2

Other Factors No guilt:

I

I

Stronp milt: Actions indirectly or unintentionally caused the sin to occur:

+20% -40% -50%

Never had I seen such an expression of horrtbk blood lust bdore, nor do I care to again. It was as though I could stu4, through the kns o f a slow-motion picture camera, theface of a man who was murdering me in a burst o f savage hatred - Erk Stank Gardner, The Man with Pin-Point Eves When a gargoyle dies, it is normally not the true death, but simply the destruction of its simulacrum. The celestine, the spirit of the gargoyle, is cast painfully and violently into the Astra. It falls into a coma-like state of hibernation for a period of time ranging from a couple of weeks up t o a year or two. Once it emerges from hibernation it is dazed and confused for a day or so, afterwards it regains its senses and must find another simulacrum within about a week or so or the celestine will die and fade away. (The death o f the gargoyle's own simulacrum imposes 20 backlash o n her.)

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argcslyles’ simulacra can be damaged in all the same

ways the material of which they are composed can be damaged, with just a few exceptions. Falls, punches, edged-weapons, and blunt weapons cause a slightly less bit of damage, since the simulacra are animated and may roll with blows. Gargoyles are immune to suffocation, drowning, and all types of gas attacks, since they do not breathe. They are immune to all poisons The destruction of a simulacrum causes the release of half the gargoyle’s destiny points. Half those points go to its destroyer while the other half go t o any other eldritch present. T h e remaining destiny points go with the gargoyle’s celestine into the Astra. T h e rapture which occurs upon the destruction of a simulacrum is agickal. T h e celestine

Woe unto them that call evilgood, andgood mil - The Book of the Prophet Zsaiah 5:20

Gargoyles are not human, nor have they ever been human; they are astral spirits of light bound into earthly existence by a dreadful curse. They are innately good, but their curse draws them to evil, which they must feed upon, cursing the evildoers and taking some o f their evil into themselves. T h e unique nature o f gargoyles is clearly present in of their interests, personality traits, and behavior.

umanoid glow of light, rising out of the estroyed simulacrum, screaming in agony. ‘st Wisps o f glowing, magickal energy whirl x

around the celestine and then spiral out in all directions, ing through everyone and everything present. Anyone who has the light through them experiences a rekindling of guilt-stricken memories that haunt them for days. Any electrical devices ed through emit sparks of electricity, while lights that are hit turn on and off, flicker, and fade back and forth from The destruction of a gargoyle’s celestine is much more difficult to intentionally cause, since they are Astra beings. If killed, they will reform within a day or so. They truly die only if they d o not reconnect ith simulacra within a week or so after king up from hibernation. It is said that the Servants of the Flame did have rituals for destroying these spirits of light, along with weapons capable of damaging them permanently. Upon the murder of a celestine, the killer will gain half the gargoyle’s destiny points, plus fifteen additional points. T h e other half of the gargoyle’s destiny points go to any other eldritch present.

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Gargoyles seem a little quirky and odd since they are always amazed at the physical world. They lose themselves in sensuality as their senses of touch and taste develop; pleasure and pain become experiments for them. Gargoyles are unique individuals with their own personal goals, agendas, and methods. Some of them interact with other gargoyles and eldritch of other gentes, while others are loners, and still others surround themselves with humans that serve as herds of black lambs for them. Many gargoyles continue to fight evil, particularly demons and magickal threats, but sometimes all too human forms of evil as well, including serial killers, serial rapists, pedophiles, abusive spouses, drug dealers, hitmen, hate groups, and other sick and monstrous people. Some seek out the Sacred Ones and try to protect them secretly from evil and attempt to kill those of them who are too far-gone to save from evil. Some gargoyles are neutral and only defend themselves from threats. These gargoyles feed out of necessity, but take n o joy from it. They may pursue wealth and power, but they take no side in the Hob W a r and only protect their own interests. Some gargoyles that are suffering the horrification are evil. Some of these monsters have cults of human worshippers who perform evil deeds to their masters’ liking in order t o feed their masters’ peculiar sineating desires. Some of these gargoyles seek great power and use it against their own kind and others for their own gain. Some who are very far-gone prey upon and work with the yugtuhul, doomlords, demons, revenants, vampires, and other unsavory sorts.

The bloodjlowedfreeb in my veins, but a weight of despair and remorse pressed on my heart which nothing could remove. Sleepjledfrom my yes; I wandered like an mil spirit,jor I had committed deeds of mischief byond description horribk, and more, much more (I persuaded mysel$ was yet behind. - M a y Shelly, Frankenstein

elestines are mysterious entities of good; they once lived in a realm of purity and light within the Astra, free from all worldly conLrns. Tdy knew only love, peace, and bliss, but then they were stolen away from their perfect lives and cast onto the earth by sorcerers who wished to exploit them for their own purposes. T h e gargoyles still possess inherent goodness in the forms o f several personality qualities, such as:. tranquility, pacifism, love of various things, gentleness, politeness, honesty, loyalty, generosity, and caring. However, as gargoyles suffer the horrification from the taint of evil they gain from feeding on sins, they develop darker and darker personality qualities. Some evil qualities include: aggressiveness, violence, rage, hatred of many things, cruelty, rudeness, deceitfulness, treachery, greed, and callousness. Gargoyles also gain strong additions t o pleasure, along with intense hedonism and sadism. T h e more they transform from human-looking t o monstrous, the more they develop these darker qualities. Once a gargoyle is strongly tainted, she begins killing not only sinners, but innocents as well, for the sheer pleasure of it. Gargoyles are immune to their own kinds Curse of Absolution, and once they are monsters, they can only be saved through their destruction.

Be sure your sin willfind you out. - Numbers 32:23 Growing Effects: T h e gargoyle slowly becomes more flesh-like, with fully developing senses of touch and taste. With increased sensation comes greater evil. Decreasing Persona Qualities: All " g o o d persona qualities. (These qualities may not have scores any higher than I 3 - current Abyss score) Increasing Persona Qualities: Hedonistic, Lustful, Sadistic, Predatory, and Callous. (For each point in Abyss above three, the gargoyle gains three points to divide among the above persona qualities.)

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This torment allows the gargoyle to reach into her own Abyss and pull out the monster she is doomed to become. This may be done by giving in to the Abyss in times of need. No card draw is required to use this power, but an Abyss (9) draw is required to determine the effect. One success is automatically added to the result of the draw. T h e use of this power costs I animus and the effects last until the end of the scene. For each success, the gargoyle gains +I points in each o f the following persona qualities: Violent, Cruel, and Evil. In addition, for each success, the gargoyle gains + I point in Resilience or +I point in Strength (participant's choice) including any increased Life points as a result. (However, no score may be raised beyond 12.) Any damage done while the gargoyle is in her monstrous form first comes off the extra life points gained from the form. T h e gargoyle has claws that deal debilitating damage, with a base damage of (Strength divided by 2). T h e gargoyle also has Regeneration (I), if it does not already have Regeneration. T h e effects of the Monster Mthin form last until the end of scene.

silt-&tilt9 All the meanness we harbor, thty borrow in redoubkd spades. They're a billion times itchierfor pain, sorrow, and sickness than the average man. We salt our lives with other peopki sins. - Charles Halloway, Somethin! Wicked This Wav Comes, by Ray Bradbury T h e act of taking a person's sin and giving her the Curse ofAbsolution is a curious, intimate, and emotional process for the gargoyle and the sinner. It is also both pleasurable to the lustful, darker side of the gargoyle and tormenting to the good nature of the gargoyle. The gargoyle does this by touching the sinner's bare flesh. The lasts for only a few short moments, but the memories come to the gargoyle in pulsing flashes of experience. The gargoyle actually re-lives the sinful memories as if they were happening right then, and as if the gargoyle is the sinner. The gargoyle feels, sees, thinks, and experiences everything the sinner did at that time. For most gargoyles, these experiences are the only way they can feel anything of a physical nature, including pleasure and pain, yet they are both repelled and drawn to sin because of it. Gargoyles grow jaded, accustomed, and even excited by the sins they feed upon over the course of years. T h e experience wears off on them somehow, teaching their simulacra how to feel for themselves. This "gift" comes with a heavy price . the Horrification of their minds and bodies. T h e sinner re-lives her sinful experience at the same time the gargoyle does, feeling the full intensity of her emotions at the time. Afterwards the sinner will most likely become totally distraught, grief-stricken, repelled at herself, and ashamed. Some would take their own lives if given the opportunity. It is at this time that a gargoyle must release the sinner from her pain, granting her a Curse of Absolution. It is in their very nature to do this and even the most evil gargoyles will do it. If someone escapes without receiving the curse, the gargoyle will feel compelled to hunt the sinners down, for the sinners' own protection and to on fitting penance to her. T h e gargoyle es on the Curse of Absolution by touching the forehead of the sinner. The sinner feels a release fiom the guilt, understanding her sin and the nature of forgiveness. In exchange, she takes on the curse. Most of the time the curse will take the form of a vague knowing, by both the sinner and the gargoyle, that something bad will happen to the sinner sometime soon. Sometimes the gargoyle and the sinner will know that something bad in particular is going to happen, such as the sinner will die before morning or she will lose her job within the week. In some cases the gargoyle and sinner realize that it is the gargoyle's responsibility to carry out the penance by maiming, killing, or otherwise harming the sinner or her property. Gargoyles are never required to hurt other living things as punishment for the sinner's sins. Gargoyles must carry out the penance and will feel overwhelmingly obsessed and compelled to d o so until it is done. Each day the gargoyle puts off the penance, she will gain one point o f backlash. Normally the gargoyle performs the penance for the sinner immediately after sin-eating. T h e gargoyle, through sin-eating, knows only one sin, (one murder, one rape, one terrible betrayal, etc.). T h e gargoyle may feed upon a sinner more than once, each time gaining more animus and ing on another curse of absolution. In rare cases, gargoyles absorb the memories and animus from several sins and discover the curse of absolution requires them to kill the sinner.

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sona q at - ._ per success that the Abyss achieved over Spirit. The gargoyle also suffers from Cowardice (persona quality) at a score of I point per success that the Abyss achieved over Spirit. T h e effects o f this “Flight for Survival” last until the end of the scene or until the threat to the gargoyle’s life is over. ~

The bright day is done, A n d we arefor the dark. - W l l i a m Shakespeare, Anthonv and Ckopatra T h e gargoyles’ sin-eating is not without its side effects. T h e gargoyles suffer temporary periods of insanity in which the portion of their psyche tainted, or rather infected, with those stolen sins takes over and makes them into that which they exist to destroy. Over time they begin having more and more periods of this insanity, and for longer duration. Eventually other gargoyles are forced to destroy these tainted gargoyles so that their earthly bodies and earthly minds will have no hold on them when they gain new simulacra. W h e n the Monster emerges from within the Abyss, the gargoyle transforms into a true monster. This ”monster within” is a vicious, hateful, hedonistic, cruel, heartless, murderous, predatory rapist, arsonist, pedophile, necrophile, sadist, pleasureseeking freak. When the cold abyss takes over, the gargoyle’s sense of good, conscience, reserve, personal responsibility, guilt, and judgement ability disappear, as if imprisoned somewhere deep within themselves. T h e gargoyle becomes something not unlike the most sickening human offenders, such as Charles Manson, Jefrey Dahmer, Adolf Hitler, Joseff Stalin, and the Marquis desade. T h e monster reacts in three different ways - savage brutality (when violence is desired), panicked withdrawal (if overwhelmed), and unbridled sensuality (for all pleasures, even the most dark of them.) T h e gargoyle may suffer from whichever reaction is appropriate for the situation. T h e monster within will appear when summoned intentionally and whenever it senses an opportunity on its own. T h e gargoyles’ ability to summon the Monster Kthin is described elsewhere. For unintentional surfacing, a guide may use the following guidelines.

the gargoyle’s monster may take over There are four basic reactions: I. Berserker Rage 2. Flight for Survival 3.. Hedonistic Revelry 4. Sin-eating Frenzy Whenever a gargoyle is faced with a situation that arouses her instincts to a hypersensitive level, a Monster Check, a Spirit ( 9 ) versus the Abyss (9) draw, should be made.

Berserker Rage In normal combat situations, when the odds are slightly in the favor of the opponents, the gargoyle may go into a berserker rage. T h e gargoyle’s roleplayer can choose to make a monster check, but the Guide can also call for a monster check if she deems it appropriate. If ive (or similar persona quality) is higher than Spirit, then Predatory may be used instead of Spirit for the number of cards drawn. If ive (or similar persona quality) is higher than the Abyss, it should be used instead of the Abyss for the number of cards drawn. If Spirit wins, the gargoyle remains calm and under control. If the Abyss wins, the gargoyle goes into a berserker rage. T h e gargoyle suffers from Rage (persona quality) at a score of 2 points per success that the Abyss achieved over Spirit. T h e gargoyle also suffers from ImpurSzve (persona quality) at a score o f I point per success that the Abyss achieved over Spirit. T h e effects of this “Berserker Rage” last until the end of the scene or until the battle is over.

Flight for Survival Whenever a gargoyle is faced with overwhelming odds and her chance for survival is very low, she must make a monster check. If Courage (or similar persona quality) is higher than Spirit in score, then Courage may be used instead o f Spirit for the number of cards drawn. If Cowardice (or similar persona quality) is higher than the Abyss, it should be used instead o f the Abyss for the number o f cards drawn. If Spirit wins, the gargoyle remains calm and under control. If the Abyss wins, the gargoyle flees in a state o f panic. The gargoyle suffers from Panic

,

Hedonistic Revelry In any situation involving the opportunity for pleasure - be it drugs, drink, sex, torture, rape, arson, or whatever - the gargoyle may go into a hedonistic revelry. This usually happens only during prime opportunities for pleasure. T h e gargoyle’s roleplayer can choose to make a monster check, but the Guide can also call for a monster check if she deems it appropriate. If Conservative, Chaste, Temperate (or similar persona quality) is higher than Spirit, then that quality may be used instead of Spirit for the number of cards drawn. If Hedonistic, Lus$ul, Wild, Pkasure Addiction (or similar persona quality) 1s higher than the Abyss, it should be used instead of the Abyss for the number of cards drawn. If Spirit wins, the gargoyle remains calm and under control. If the Abyss wins, th gargoyle goes into a callous hedonistic frenzy and will give in to whatever opportunity for pleasure is available. T h e gargoyle suffers from Hedonism (persona quality) at a score of 2 points per success that the Abyss achieved over Spirit. T h e gargoyle also suffers from Callous (perso quality) at a score of I point per success that the Abyss achieved over Spirit. T h e effects of this ”Hedonistic Revelry” last until the end o f the scene or until satiated, whichever is sooner.

Sin-eating Frenzy In situations involving opportunities for eating the sins of particularly evil an twisted people, and when the gargoyle is low o n animus, the gargoyle may go into a sin-eating frenzy. T h e gargoyle’s roleplayer can choose to make a monster check, but the Guide can also call for a monster check if she deems it appropriate. If Moderate, Refusal to Kill (or similar persona quality) is higher than Spirit, then that related quality may be used

THEEVERLASTING @ Page IO _na

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nstead of Spirit for the number of cards drawn. If Love of Sin-eating, Predatory (or similar persona quality) is higher than the Abyss, then that quality should be used instead of the Abyss for the number of cards drawn. If Spirit wins, the gargoyle remains calm and under control. If the Abyss wins, the gargoyle goes into a sin-eating frenzy and will try to hunt down and feast upon the sins of the most sick sinners possible, though the gargoyle might still be able to resist long enough not to just attack the first person she sees. T h e gargoyle suffers from Predatory (persona quality) at a score of 2 points per success that the Abyss achieved over Spirit. T h e gargoyle also suffers from Cruel (persona quality) at a score of 1 point per success that the Abyss achieved over Spirit. T h e effects of this "Sin-eating Frenzy" last until the end of the scene or until satiated, whichever is sooner.

Gargoyles innately know their ancestral spirit-speech language of light that they use within the Astra for communicating with one another. T h e language consists of sounds, vibrations, and pulsation of light. Gargoyles also have a spoken version of this language they can use for communicating with one another. (Protagonists know this language as part of their Spirit Speech.) T h e gargoyles and the Servants of the Flame know the celestine language, but it is believed that some angels, ochelum, astral spirits, manitou, and osirians can communicate in, or at least comprehend, this language of light and sound. Gargoyles also know the language of most common spirits, as it is less of a language in of what humans consider language. Common spirit-speech consists of a sharing of the self and ing on information in something in a non-intrusive telepathic pulse. This language allows gargoyles to communicate with their spirit pets, including their pet "stone-spirits."

Book of the Spirits

Page IO8

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11 gargoyles have the power to transfer their spirit essence from their simulacra into other inanimate objects temporarily; this is called body p n t i n g . Throughout history, this power has primarily been used to allow cathedral or fortress guardian gargoyles to shift themselves from one place to another without ever moving or being seen, thus giving them eyes all over the places they guard. Gargoyles find it easiest to jaunt into statues and carvings, particularly stonework. They can still see, hear, and smell while in those objects, but with some difficulty, usually with a penalty of anywhere from + I to +3 difficulty on Perception draws. However, if the objects they jaunt into have false sensory organs, such as carvings of eyes, ears, and so on, they suffer n o Perception penalty. They can talk, but only if there are orifices or carved mouths. They cannot create limbs, but they can animate and control any protrusions or carved limbs. Certainly carved arms and hands provide the most mobility. Because gargoyles can animate and partially reshape their temporary bodies, they can craft limbs, eyes, faces, and so on. However, reshaping takes time and energy. When thy leave their temporary bodies, those inanimate materials revert back t o their original forms.

Jaunting Costs and successes required Jaunting requires an Instincts (IO) draw. Successes rewired I success

Animus cost 1 animus

2 successes

2 animus

3 successes

4 animus

4 successes

6 animus

a

Obiect size Small object (such as a small cathedral grotesque or carving) Medium to human-sized object (such as a small statue or large stone block) Large object (such as a large I5 foot statue or a section of Gigantic object (such as a 30 foot statue, a column, or a large section of asphalt)

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Generate Face (or sensory organs): Presence (IO) draw and I animus per face. It takes 4 actions, minus one action per extra success over the first success, but only down to one action. Generate Arms and Hands: Presence (IO) draw and one animus per arm or hand. I t takes one success per arm or hand generated. It takes four successes and four animus to generate two arms complete with hands. Arms have a Strength equal to the following: glass (Str 1-3) wood and ivory (2-4) light stone ( 3 - 9 and heavy stone (4-6). If the object is large, add +I Strength, if it is gigantic, add +2 Strength. It takes 4 actions, minus one action per extra success over the number of successes needed, but only down to one action. Generate Legs: Presence (10) draw. Two animus. Mmimum of two successes for basic legs and slow, lumbering mobility. (Dodge is at +5 difficulty and other defensive draws in combat, such as blocking and parrying, are at +3 difficulty.) T h e gargoyle moves at a speed of one mile per hour. For each additional success, the difficulty modifiers are reduced by one point and the movement speed goes up one mile per hour. It takes 4 actions, minus one action per extra success over the number of successes needed, but only down t o one action. Generate Weapons: Presence (IO) draw. Animus cost is two, regardless of the weapon created. Minimum of: 2 successes for a knife or other small weapon; 3 successes for an axe or sword sized weapon; 4 successes for a spear, polearm, or other twohanded weapon. Treat generating a weapon the same as generating an arm when it comes to determining the weapon's Strength. A weapon can only be swung and used if it is generated within a hand or at the end of a handless arm-like limb. It takes 4 actions, minus one action per extra success over the number of successes needed, but only down to one action.

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Substance Difficulty Modifiers T h e difficulty for all reshaping attempts may be modified from a difficulty of 10 by the following modifiers, based o n the substance being reshaped. Substance Modifier

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Hard wood

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Gargoyles exist throughout the world, but the vast majority migrated from Greece and Persia - the original home region of the Servants of the Flame - to Rome, then t o rnn.c.,nrrn,nlp """"'"""""y"' a--A r x u +LoLllCll .nto L WesternE ~Yet there ~ have ~ always been vgargoyles Drese Asia. E o v ~ tAfrica. . and M argoyles are called the Tien or "Celes "

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An apprentice to anothe Loranth's sickening secret a Pavalar was an old rival o f Loranth, but she was also a woman of honor*She a trusted group Of her Of great power and how he had acquired it; all were sickened by it e s stopping him. T h e group attacked ~and committed ~ . ~ h ~ m s e l v to Loranth by surprise and, while the sorcerers distracted him with magick, their assassins slit the evil wizard's throat. Loranth cursed them as he died, releasing the spell of binding placed upon the earth-bound celestines. T h e stone creatures animated and, in a fit of madness and confusion, slew all their would-be called a meeting of the Servants of the Flame and

What are thesefantastic monsters doing in the cloisters under the vely y e s of the brothers as thy read? What is the meaning of these unclean monkys, strange savage lions and monsters' zb what purpose are here placed these creatures, h a y beast, hay man' I see several bodies with one head and several heads with one body Here is a quadruped with a serpent's head, there a j s h with a quped head, then again an animal h a y horse, h a y p a t .. Surely 4 we do not blushf o r such absurdities we should at hast regret what we have spent on them - St Bernard of Clairvaux

the creatures into gargoyles, giving them their

11 and takmg from them their freedom. While died with Loranth. T h e newly at they only way they could in-eating, which they soon

In the age after the World Flood, some Middle-Easter exploring the many astral realms. One m

id. T h e creatures would use their much about them as they c ntities with buts, and chitinous ' sible within balls unds and vibrations in ther reality long

armor o f chrome and ht th

the celestines a ageway to their hom

they knew of the hat they could. T h e fall was soon to fol-

nature. Th s would take on

The

over a millenn. It u

through by lives of

er threatened the

scul

ntire lives on the

Flame as a whole, Lorant

ations onto the cult's

anth bound them into eart ces for extended periods o f feast upon. T h e gargoyles

T h e ritual successfully bound three destroyed the other seven. T h e three that we

again ana again. He convinced One group that he was sending th:m through a gateway and they realized 1 too 1late nis real intentions. Before long had wiped Out the celestines as a race. H e managed to bind 743 of them into stone statues and destroyed another 112 by accident. Loranth became the most powerful sorcerer of his time as a result.

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out humans called the Sacred Ones. These Sacred Ones were people who would achieve great destinies, though they could be for good or evil depending upon what they chose. All throughout their time of service, the gargoyles would hunt down and destroy their own who had succumbedto the Horr$cation

of the Spirits fP Page I IO

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Erigurstos, a powerful gargoyle, grew weary of serving the sorcerers and longed from release from their service. H e gathered many of his own who felt the same way and asked permission to leave their service. After long debate and certain mysterious events, the leaders of the Servants of the Flame agreed to the gargoyles request so long as they would continue t o watch over one another and hunt down those who succumbed to evil. All the gargoyles that left the cult's service agreed. Even in the late Middle Ages, the gothic cathedrals were given statues of gargoyles by Servants of the Flame so that the gargoyles could inhabit them and use them as watchtowers from which they could seek out evildoers t o feed upon. Renaissance sculptors, including Leon Batista Alberti, Filippo Brunelleschi, Lorenzo Ghiberti, Donatello, and Michelangelo, all sculpted simulacra for gargoyles. Some gargoyles still have many extra sculptures created by these artists which were once intended as future simulacra and now compose private galleries. Some gargoyles continue serving their old masters, the Servants of the Flame, while other gargoyles are allies of the cult. T h e cult still tries to protect all gargoyles, including those no longer in their service, from themselves and from all other threats. The cult considers the gargoyles that d o not serve them t o be their wayward children and feel responsibility toward them all. There are rumors that there are celestine-creatures in hiding that were never found by Pavalar and that they do not sin-eat and still bear their more powerful forms given them by Loranth. It is also rumored that there are still celestines free from Loranth's curse that roam the Astra, perhaps even hundreds of them, and some gargoyles search the Astra hunting them.

The gargoyle $ten makes his perch On a cathedral or a church Where, mid ecclesiastic style

He smiles an ear(y Gothic smile - Olivcr HgcOrd Gargoyles are individuals with individual tastes in clothing, music, interests, and even sanctums. Some gargoyles prefer life in the city, while others prefer the suburbs and rural areas. There are sinners everywhere to feed upon, but cities sometimes make it easier for them to hunt. Most prefer quiet, beautifully-restored antique mansions, but some have more modern tastes, preferring old factories, lush penthouses, and nice new homes. Most gargoyles have sculpture gardens and galleries. Most have excellent taste in art and at least treat their eyes to beauty since they cannot feel. They have private collections of valuable artwork, rare antiques, and picturesque landscapes; even those who live in the city pick their sanctums based o n the views from them. Some gargoyles keep secret chambers they use for storing their future simulacra and all the ritual accouterments required for their rituals o f rebirth. Some have prison chambers set aside for

holding revenants and othcr cldritch they capture to feed upon over a long period of time. Free-standing guardian statues are also kept all over the place so that gargoyles may jump from body to body in defending their sanctums. T h e gargoyles that succumb to rhe taint of evil often have harems of servants and secret temples where their mortal cultists worship them in many perverse ways.

here exists within the Reverie a building no larger than a large-size shopping max. This building is called Burgalborg, for it is actually a vast yet miniature city containing the splintered spirits of the Celestines who were not transformed into gargoyles. These entities, called the waxheads, live in small homunculi bodies standing between four inches and eleven inches tall. They number around 18,000-25,000,and their size varies with the amount of spirit-shard within them. They are fully conscious and sentient beings, despite their diminutive size. Most have wax bodies (hence the name), though some are made of stone, wood, ivory, glass, chalk, and combinations of these substances. They are capable of regeneration, but most possess few powers. They can change their shapes to limited degrees. Among the waxheads are warriors, magicians, spiritmasters, animal trainers, torturers, and adventurers. Burgalborg is like a cyclopean dollhouse, except that the furnishings vary greatly from area to area. Many o f the surface levels of the city are clean, well-guarded, and occupied by peaceful waxheads. These waxheads have their own culture, including their own language, currency, government, moral codes, schools, factories, stores, and so on. Below the civillzed portion o f Burgalborg there are many layers of dark tunnels and secret chambers reaching deep within the earth. These regions are inhabited by the evil and insane waxheads and non-waxhead servants. There are even miniature monsters of all sorts created through experiments by the magicians who created the gargoyles. T h e Under-Reaches, as the lower regions are called, are all very dangerous t o surface waxheads. It is said, however, that the insane magicians who built the city hid their own great treasures underneath it, including the Lost Triasure $ Lorantb. There is at least one portal near the city, which will shrink any human-size being who es through it toward the Burgalborg down to 6" to 8". Return through the gate will restore the person to normal size. T h e gate has never been known to increase a Burgalborgian t o human-size. It is suggested that the Servants of the Flame built the stone gateway as a means o f visiting Burgalborg, to check up and provide for the small citizenry.

Book of the Spirits @ Page I11

*-

I t is at ntght thatfaith in lght is irabk - Edmond Rostand, Chanteckr

Instantly the spirit of hell awoke in me and raged W t h a transport ofglee, I mauled the unresisting boa), tasting deltghtfrom every blow; and it was not till

d has returned not

known only to the Serv travel within other dimen Shardolm, where the Serv authority than they do Theridisians find an magick and psychic abi conspiracy involving a sect that call themselves the Bla

They are also known to

e monster

have greater power and

magicians and sacred ones

I3 in the Abyss, yet they continue to possess full sentience, selfcontrol, and a sense of moderation that other gargoyles that are so tainted with the Abyss simply d o not possess.)

THEEVERLASTING @ Page I I 2

1 know, now, why you cy, but it’s something I can never do. - The Terminator, Terminator 2:judpnent Daj

side fiom the stereotypical gargoyle forms, a few gargoyles have learned the secrets of electronic existence by using computer chips as flesh, electricity as blood, and magnetism as memory. Through the mysterious lore o f the Simsu, a cabal of VR gargoyles, there are now fifteen VR gargoyles that exist solely within cyberspace, though they can interface with the real world via microphones, cameras, speakers, monitors, and so on. They have alterable avatar forms and take up residence within networks, though they can and d o move about frequently, learning all they can and exploring the vast potentialities o f the worldwide web. They view everything within cyberspace as if it was three dimensional reality, but they possess more unusual senses as well. They can travel anywhere and control their realities within cyberspace. They can enter information systems and steal, alter, create, sabotage, or delete anything they desire. Some of these VR gargoyles can use a supernatural variety o f telepresence that allows them to control electronics and electrical devices seemingly telekinetically. They can also control the routing o f electricity, allowing them to shock people, cause blowouts, turn on appliances, and so on. They can make their avatars appear o n television screens and they can even interact with objects on screen as if they are part of their three dimensional reality. They can shift their voices onto radios, CD players, and so on as well. They have some relations with a new race of eldritch entities called the Silicates - VR creatures that appeared just a few years ago. T h e Simsu recently learned about a transdimensional connection that links the web to another realm’s computer network, which is known as the Hrtuworld by its many inhabitants, who are the ed consciousness of thousands of deceased and living people. T h e Simsu are studying the powers and secrets of these Virtuworlders.

Simsu (VR gargoyles) do not possess the normal initial powers for gargoyles. Instead, they receive the following powers, which may seem like a lot. However, keep in mind that these gargoyles have very limited power outside their cybereality. Control Machrne (2):T h e gargoyle has the power to control machines causing them to d o things that they are normally capable of doing, and even some things that are slightly more advanced than their usual capacities. T h e gargoyle can cause devices to take complicated action beyond the realm of their normal usage, but only within reason. For instance, the gargoyle could make a car go faster than its maximum speed or cause a computer to hack into a computer network or provide any information contained within, it, even if encrypted. T h e gargoyle could make her avatar appear on television, her voice come out over a radio, and so on. T h e VR gargoyle can even control a mainframe computer, possibly even an artificial intelligence, but controlling srlrcates and other VR gargoyles is not possible through this power. Use of this power requires an Intellect (IO Engineering, Computer or other applicable skill) draw and costs two animus. At a single time, the VR gargoyle can only control one machine per point of Instincts she possesses. Each machine is considered a separate use of this preternatura, (thus requiring a separate card draw and separate animus cost.) Electrical Blast (I): This power allows the VR gargoyle to redirect electricity in the form of either an energy bolt from her hand within cybereality or out into the real world to hit someone within 25 feet. A Dexterity (I I - Accuracy) is required to hit the target. T h e damage caused is 5 points, plus one point per success. It costs 2 animus t o use this power. Aght (3): T h e VR gargoyle can fly through cyberspace at speeds up to three hundred miles per hour by producing VR wings on her avatar. T h e gargoyle can also levitate in one spot or float about slowly. Heghtened Rspects: Instincts +I, Intellect + I , Dexterity + I Personal Alteratron (I) - T h e gargoyle has the power to alter her avatar’s voice and appearance at will. T h e change can be used to make both subtle and drastic changes. T h e gargoyle can become extremely attractive or horribly monstrous. She also has the power to “transform” her flesh through illusion into new shapes, textures, colors, and so on. She can change her hair color and length, and her eye color as well. T h e degree o f success the gargoyle has in transforming is based upon the number of successes she achieves. Should the gargoyle get a Disaster, she disfigures herself, though this can be fixed through the use of this power. A Perception (9) draw is required t o make a transformation. It

VR gargoyles may be created as normal, except they live within computer systems until they acquire new earthly bodies. They must still feed upon sins, and do so by feeding upon people who . costs 2 animus to create an illusory mask. Three destiny points are engaged in using the Internet for sinful activities, and upon may be spent t o make any effects perpetual; otherwise the garunwitting sinners who just happen to be using computers. T h e goyle may revert back at will or retain the changes until the end gargoyles can actually feed on any sinners in with electriof the scene. cal devices, but most Simsu simply use people who are online by drawing their sins from their minds, experiencing them in their VR reality, and ing on the Curse of Absolution to their victims as normal.

3

Regeneration (3): Thc VK ga oyle has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e gargoyle can recover from normal damage at a rate of three Life points per combat cycle, per wound, and from debilitating damage at a rate of one Life point per minute, per wound. Healing occurs during the tenth turn of the combat cycle, whether the protagonist acts during that turn or not. It costs the gargoyle one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers. Sixth Sense: (Information Retrimal Systems) This power allows the VR gargoyle to gain near instantaneous knowledge concerning anything contained within a computer's memory. An Intellect (8) draw is required to gather one piece of simple information. T h e greater the obscurity, amount of information, or degree of detail required, the more successes required. It costs one animus to use this power. Special Communication: srchic E-mail) T h e VR gargoyle can communicate with one another via a seemingly telepathic communication system that actually functions somewhat like e-mail for the cybermind. It costs one animus to send a psychic e-mail, but none to receive one. VR Mastery (I): T h e gargoyle has the power to alter VR reality. (This power will be covered in a fiture supplement, but for now, treat VR Mastery the same as Illusion (I), except that the effects are real. See chapter 6 for details on Illusion (1). VR Tekportation (I): T h e gargoyle has the power to move herself instantly from one online location to any other online location that is known t o her. The gargoyle must know the exact location of where she is going, but she need not have seen the place before. If the place the gargoyle has selected is located within a solid VR object, she will automatically be displaced to someplace around that object, so the gargoyle cannot go into unconnected networks. Use of this power requires an Instincts (7) draw and costs one animus point.

THE. EVERLASTINGPage I I4 *_

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dstrabgi 6 When a gargoyle enters mto a new simulacrum, the astrological signs that mark that time serve as the horoscope for the gargoyle and have a strong impact upon the gargoyle's new life. It is unknown as to why astrology has such a great impact upon them, but some suggest they were named the Celestines because of this astrological connection. *

&

I

House Rulers

Avvrox. Dates

Planet

I . . .

Tarot Svmbol

Mars

Am

King of Wands

Venus

Have .-...

Queen of Pentacles.. Knight.of Swords King of Cups

1st

Aries

Personality

Mar 21-Apr I9

2nd

Taurus

Money

Apr 20-May 20

3rd

Gemini

Communication

May 21-Jun 21

Mercury

Think

4th 5th

Cancer

Home

Jun 22-July 22

Moon

Feel

Leo

Children, Play

Ju123-Aug 22

Sun

6th

Virgo

Health, Servants

Aug 23-Sept 22

Mercury

Analyze Knight of Pentacles

7th 8th 9th 10th 11th 12th

Libra

Partners, Marriage

Sept 2 3 - 0 c t 22

Venus

Balance Knight of Swords

Scorpio

Life, Sexuality, Death

Oct 23-Nov 21

Mars, Pluto

Desire

Queen of Cups

Sagittarius

Expansion, Journeys

Nov 22-Dec 21

Jupiter

See

Knight of Wands

Capricorn

Profession, Honor

Dec 22-Jan I 9

Saturn

Use

King of Pentacles

Aquarius

Friendship

Jan 20-Feb 18

Saturn, Uranus

Know

Queen of Swords .~

Pisces

Transcendence, Troubles

Feb 19-Mar 20

Jupiter, Neptune

Believe

Knight of Cups

Will .~

Queen of Wands~-

~~~

~

___

T h e following guidelines need not be used, as they can complicate the system. They are provided for anyone who wishes to modify their stats further whenever a new simulacrum is taken on. These modifiers are not applied at the start of the odyssey, unless the guide approves them. Whenever a simulacrum is lost, subtract whatever modifiers were applied for the old body, and then reapply the modifiers for the new simulacrum, based o n the current astrological sign at the time the new body becomes inhabited. GarQovle's Sipn

Asvect modifiers

Persona Oualities

Aries Taurus

Dexterity +I, Inspiration -I Strength +I, Intellect -I

Aggressive +2, Brave +2 Stubborn +2, Productive +2

Gemini

Intellect +I, Strength -I

Gregarious +2, Adaptive +2

Cancer

Inspiration + I , Dexterity -I

Sensitive +2, Calm +2

Leo Virgo

Spirit +I, Resilience -I Resilience +I, Instincts -I

~~

~..

Confidant +2, Creative +2

-.

Shy +2, Reclusive +2

Libra

Spirit +I, Resilience -I

Indecisive +2, Intolerant +2

Scorpio

Presence +I, Perception -I

Impatient +2, ionate ._ +2

Sagittarius

Perception +I, Inspiration -I

Indep endent +2, Adventurous +2

Capricorn

Instincts +I, Presence -I

Diligent +2, Pessimistic +2~-.

Aquarius

Intellect + I , Spirit -I

Impulsive +2, Intellectual +2

Pisces

Inspiration + I , Intellect -I

Emotional +2, Imaginative +2

~~

_

~-~

Book of the Spirits @ Page I I5 %".

kin

A'

'_

argoyles have developed their own style of &

martial arts known Karafan. This form of combat utilizes the gargoyles’ unique nature, applying their weight, wings, shapeshifting ability, and size to special maneuvers involving twirling, grappling, and punching. Karafan combines the Celestines’ natural fighting instincts with the skills they learned from the assassins belonging to the Servants of the Flame. There are said to be seven masters of the art of Karafan, each one being a master of their own distinctive school of the art. Each art is said to represent one of the seven sacred elements known in Eastern lore. Any gargoyle character with a score of 4 or more in martial arts at the beginning of the Odyssey can be a follower of one path. Only gargoyles can learn Karafan, as it is closely guarded by their kind, and only those who prove themselves worthy as students ever get the privilege of tutelage. A gargoyle wishing to study Karafan during the Odyssey may do so, but only if she can find a suitable and willing mentor. T h e seven martial arts and their masters are as follows:

The Fist of Stone Master: Durrisan Element: Earth Description: A n o nonsense fighting orientr:d, reljiing a . It invcJves st:andi still, willpower, and strength. Maneuver modifiers: (Modifies the number of cards drawn.) Block +I, Punch +I, Dodge -I, Takedown -I)

STINGl @ P ’age

I I6

The Fist of Water

The Fist of Serpents

Master: Zahfar Element: Water Description: This is a more Aikido-like soft style that utilizes motion and nonresistance, combined with the movement of the gargoyle’s wings. It involves lots of throwing and takedown related moves that blend together with the movement almost like a form of dance. Maneuver modifiers: (Modifies the number of cards drawn.) Grapple +I, Takedown + I , Kick -I, Punch -I

Master: Dorian Wranther Element: Vapor Description: This style involves a balance between shapeshifting, fast snapping attacks, dodging, hypnotic movement, and very strong internal chi development. Maneuver modifiers: (Modifies the number of cards drawn.) Dodge +I, Focus +I, Punch +I, Block -I,Grapple -I, Kick

The Fist of Mirrors Master: Thomas Zeller Element: Blossom Description: This style places emphasis on watching one’s opponents and mirroring their actions with defensive maneuvers until a weakness is spotted. It is highly defensive, quick style. Maneuver modifiers: (Modifies the number of cards drawn.) Block +I, Dodge +I, Blind Fighting +I, Punch -I, Kick -2

The Fist of the Mountain Master: Lochan McKay Element: Fire Description: This style involves using body weight, strength, and size in overpowering opponents in grappling, punching, and tackling attacks. It involves almost no movement for defense. Maneuver modifiers: (Modifies the number of cards drawn.) Grapple + I , Punch + I , Dodge -I, Kick -I

-I

The Fist of Thorns Master: Nicolo Saribaso Element: Ether Description: This style involves the shapeshifting of long weapons, and the use of long weapons, such as spears, whips, and so on. It is a very fast style that relies on lots of twirling around. It is primarily used by gargoyles who prefer glass forms and by those who prefer armed combat. Maneuver modifiers: (Modifies the number of cards drawn.) Polearms + I , Swords + I , Dodge -I, Kick -I, Takedown -I

The Fist of Comets Master: Claria Velmoor Element: Air Description: This style involves graceful twirling, leg-sweeps, kicks, flying attacks, acrobatics, and distracting opponents. It relies heavily upon movement during fights. Maneuver modifiers: (Modifies the number of cards drawn.) Acrobatics +I, Kick +I, Takedown +I, Block -I,Grapple -I, Punch -I

You were a stranger to sorrow: thergore Fate has cursed you. - Euripides,

Abilities: Athletics 0 (Run 3, Stealth 5) Influence 0 (Intimidate 2), Martial Arts 0 (Bite 4, Claw 4, Evasion 2), Naturalism 0 (Alertness 3, Orienteer I, Survival 2, Track 2), Supernatural 0 (Astral 2, Dream 2, Illumination 3, Intuition I ) Attack / Damage: (Bite or claw) Dex (5 diff.) draw. Damage is 4 attack successes and counts as debilitating. Natural Powers: Enhanced Senses (2),Sixth Sense (Second Sight) Speed 3, Life 20, Animus IO

+

here are many gargoyles that know the secret rituals that were used in their own creation. These gargoyles have created many lesser gargoylian servants of their own by entrapping weaker spirits in inanimate forms. These spirits are awakened t o earthly existence and taught t o animate their sculpted simulacra. Through a ritual never used on the gargoyles, some gargoyles bind their stonespirits into their service so the spirits cannot refuse their commands. These imprisoned and enslaved spirits return to the Astra, forgetting all that happened to them while on earth, when their simulacra are destroyed. T h e stone-spirits forget they were ever spirits o f the Astra when they are bound into simulacra. Some gargoyles keep stone-spirits as pets, guardians, helpers in feeding, and watchers over their interests. Some gargoyles are harsh masters while others are loving and kind. Stone-spirits are basically lesser gargoyles in many respects. They do not sin-eat, since demonic power is not used in their creation (like it was with the gargoyles through Loranth's magick.) They regain their lost animus from the Astra at a rate of seven points each day. They possess supernatural powers similar to the powers they had as spirits of the Astra. Most all stonespirits can communicate with their masters in rudimentary spirit-speech, and some are capable of flight. Most have wings of some sort to aid in their flying. They take many different physical forms, limited only by the imagination of their masters and the sculptors who carved out their simulacra. There are stonespirits with the features drawn from many different creatures and some that look like normal animals. Giant caterpillars, spiders, serpents, lizards, roaches, butterflies, and beetles, along with bats, owls, wolves, dogs, cats, predatory cats, hyenas, alligators, and wolverines are all possible. Monstrous stone-spirits with features from many different animals should all be unique looking. Some gargoyles even create their stone spirits as skeletons and add fake muscle and flesh t o them using special effects make-up just like they do for themselves, allowing their pets to walk around in public looking like dogs and other animals.

Drathmore the Stonecat Draymore is a "stonebeast" of marble that has been carved into the form of a lion. T h e creature is loyal t o its master and is very dog-like in of its personality. It likes to sleep, will obey basic commands, likes to play, and is very territorial. Draymore counts as a +5 point Servitors benefit.

Korgus the Ivory Worm Korgus is an "ivorybeast" that has been carved into the form o f a small dragon. T h e creature is loyal to its master for the most part, but does have a mind o f its own. It is very brave, cruel, cunning, and serves as an excellent guardian. Korgus counts as a +7 point Servitors benefit. Attributes: Instincts 4, Perception 6, Dexterity 5, Resilience 7, Strength 9, Inspiration 3, Presence 5, Spirit 3 Abilities: Athletics 0 (Flight 2, Run 3, Stealth 5, Swim 4), Influence 0 (Intimidate 5), Martial Arts 0 (Bite 4, Claw 4, Evasion I , Grapple 3), Naturalism 0 (Alertness 3, Survival 2), Supernatural 0 (Astral 2, Illumination 3, Intuition 1) Attack / Damage: (Bite or claw) Dex (5 diff. draw) /' Damage is 5 attack successes and counts as debilitating. Natural Powers: Enhanced Senses (2),Sixth Sense (Second Sight), Wings (2) Speed 3, Life 19, Animus I1

+

I

maximum for sacred one characters:

Sacred One Manifestations Sacred ones get to choose any four of the following as munjfktutions o f their sacred one status. (Normal mortal characters do not get any manifestations.)

Any one Aspect +I: Typically Intellect and Presence are the most common. Any one Aptitude +I: Typically Influence and Science are the most common. Any one Distinction + 2 Typically Physique, Resources, Spirituality, Supernature, and Temporal Ties are the most common. Fantast: T h e sacred one may have points in the Supernatural Aptitude and related skills. Magick Potential: T h e sacred one may have use any experience points for purchasing points in magickal art or lore. T h e sacred one must still have a tutor and must choose a path that would be accessible to her. Psychic Potential: T h e sacred one may use any experience points for purchasing psychic powers. In addition, all sacred ones get: Greater Destiny: Every story, (or 3 months, if not active throughout an Odyssey), the sacred one gains +2 destiny points in addition to any gained normally. In addition, she gains +2 destiny points for every roleplaying session in which she plays an important role.

Abominations - ”They are useless for feeding upon, but they must still be destroyed whenever possible.” Angels - ”They are not like us. We are unworthy servants of the light who have been wrongly bound into service in the Holy War. They are the worthy servants of a higher power we cannot hope to understand.” Daevas - ”Godlings are dangerous, but many are succulent morsels. While most are heroes, some of them have committed plenty of nasty deeds throughout their long lives, though many of them unintentionally.” Dead Souls - ”We see them everywhere. They are merely unfortunate humans. Pity them, help them if they are worthy, feed upon their sins if given the chance, and use them for information.” Demons - ”They are a most excellent and eternal delicacy.” Djinn ”They can be nearly as delectable as the demons.” Dragons - ”None of our kind feed upon them. They are extremely deadly and no doubt would destroy our simulacra, capture our spirits in the Astra, and hold them prisoner until dead should we try.”

Dwarves - ”They are the best stoneworkers around. They create excellent simulacra for the right price.” Elves - ”Most are ill-suited for feeding upon, but they make useful allies.” Ghuls - ”Ghuls are as misunderstood as we are ourselves. They make useful allies and are always good meals when in a jam, many of them do not even mind.” Manitou - ”Though they are much like us in their spiritual nature, they consider earthly life a blessing, yet for our kind it is more of a curse. They have n o sins as totems, though their hosts’ do. Still, it is better not t o offend them.” Orcs - ”They are almost always full of sin, and they are not too hard to capture and enjoy either.” Osirians - ”They make excellent allies, but feed upon them at your own risk; they always get their revenge.” T h e Possessed - ”The Benedera are much like us and make useful associates, but the Yugtuhul are monsters that should be destroyed.” Questers - ”Heroic and worthy allies, though sometimes we do cross paths as enemies.” Revenants - ”These victimizers make perfect victims for us. They are exquisite in their quantity and quality of sin.” Vampires - ”Most are equal to revenants as meals, but the self-cursed among them already suffer their own curse, not of absolution, but of damnation in the form of vampirism.” Minions - ”We must be carefil not to abuse humans; it is so easy to do so, especially the most vile and despicable of them.”

argoyles are interesting creatures inhabiting the worlds of both shadow and light. They are angelic yet demonic, saints yet sinners, and victims yet victimizers. Gargoyles make excellent tragic heroes doomed to dark fates.

Thefaces of them all gather blackness - Nahum 2: I O T h e creation process for gargoyle protagonists is basically the same as it is for all protagonists. See chapter two for basic protagonist creation and include the following additional details.

New Simulacra for Existing Gargoyles Whenever a gargoyle is killed and the totem is released to a new host, use the guidelines for innate preternaturae based o n simulacra provided a little bit later in this section.

Source of Sustenance Only sin-eating can replenish a gargoyle’s animus spent using magick and sacred mysteries, as well as the three animus points normally lost each day. It is described in detail in a previous section in this chapter. %-Eating: Gargoyles regain animus primarily through their sin-eating and o n the Curse of Absolution. The number of animus gained relates to the heinousness of the sinner’s deeds. It is up to a Guide t o set how many animus points are gained based on how much remorse the sinner feels, as different people feel different ways about which ”sins” are more severe than others. T h e less the remorse, the greater the animus and the more serious the ”penance.” Here are some ideas: murder (first victim) IO, murder (per additional victim) 7, self-defense manslaughter 5, rape 6, inflicting of serious injuries 3, petty theft I

List the Abyss as Torment Record “the Abyss” as the Torment of the gargoyle and give it a starting score of three. Some gargoyles become especially good at sin-eating and actually enjoy it for the sensual experience it brings to their cold, unfeeling bodies through the absorbed memories. Some gargoyles even associate with depraved individuals, encouraging them to become more and more depraved in their actions until the time the gargoyles feed upon them, often killing them as a

Book of the Spirits @ Page I19

result. This dark side of the gargoyle nature is such that they warp in their physical and mental nature. Gargoyles suffer what they call the Horr+ation, the transformation of mind and body from agent of good to monster of darkness. Their Taint of Evil, as they call it, grows over time as they gain more and more dark memories and experience more physical sensations from it. Eventually they develop senses of touch and taste themselves, allowing themselves to experience the world. All try to remain bastions o f hope and cold purity, but most eventually succumb to the darkness.

Gargoylian Backlash Gargoyles gain backlash points by killing people who are not meant to suffer that fate as part of the Curse $Absolution. Until they have Abyss scores of 7, they suffer backlash points for inflicting any intentional harm for their own pleasure.

Gargoylian Injury and Death Sujier debilitating woundsfrom - All supernatural attacks which specifically state that they cause debilitating damage; Attacks by empowered weapons; (Wooden simulacra also suffer debilitating damage from fire) Brought to true death by - Any attack that brings the damage suffered to twice the gargoyle’s life score destroys its simulacrum (body). It is believed that Celestines (the gargoyles’ spirits) can only be permanently destroyed by special magickal rituals believed long forgotten.

Initial Supernatural Powers Gargoylian protagonists begin with the following supernatural powers, which are not considered Sacred Mysteries (gargoylian preternaturae), as they are preternaturae common among most all gargoyles. They are listed as such in the protagonist chapter for simple clarity. However, the Sacred Mysteries are learned spirit-powers unlike the powers listed below, which are merely natural for their race.

Enhanced Senses (2) - T h e gargoyle’s senses of sight, hearing, and smell are superior t o human senses. T h e senses are double in sensitivity in of spectrum width and range. T h e gargoyle can see clearly in near darkness, hear a pin drop at 50 feet, and smell a person’s scent. T h e gargoyle is at -2 on all her difficulties for card draws involving that particular sense. Normal Perception card draws are required. hitution -This power allows the gargoyle to rise into the air and float about, as if she is weightless. N o card draw is required t o levitate. T h e use o f this power costs I animus and levitation may be used for the remainder o f the scene at no additional animus cost. T h e gargoyle may use her wings to propel herself through the air at speeds up to thirty miles per hour. Sixth Sense - Sense the Sinner: Gargoyles can easily spot anyone who has committed some sin worthy of feeding upon. They can estimate the gravity of the sin, but will not know the

THEEVERLASTING Page I20

nature of it until they card draw is required and it costs no animus. Sixth Sense - Spirit Sight Gargoyles can easily spot any spirits (astral, dream, dead soul, etc.) that are nearby within the Reverie and can communicate with them freely. No card draw is required and it costs no animus. Special Communication - Spirit Speech: Gargoyle can communicate with all astral spirits. They also know their own spirit language. It costs no animus and no draw is required to use this power. Summon the Monster mthin -This gargoyle can reach into her own Abyss and pull out the monster she is doomed to become. This may be done by giving in to the Abyss in times of need, automatically gaining one point in the torment. N o card draw is required to use this power, but an Abyss (9) draw is required t o determine the effect. One success is automatically added to the result of the draw. T h e use o f this power costs I animus and the effects last until the end of the scene. For each success, the gargoyle gains + I points in each of the following persona qualities: Koknt, Cruel, and Evil. In addition, for each success, the gargoyle gains + I point in Resilience or +I point in Strength (participant’s choice) including any increased Life points as a result. (However, no score may be raised beyond 12.) Any damage done while the gargoyle is in her monstrous form first comes off the extra life points gained from the form. T h e gargoyle gains claw that cause Str/2 in debilitating damage. T h e gargoyle also gains Regeneration ( I ) , if she does not already have Regeneration. T h e effects last until the end of the scene. Ksion Powers (I) - T h e gargoyle has thermal vision. Thermal vision allows the gargoyle t o detect the heat patterns of creatures, even in pitch darkness. A subject’s heat pattern glows against the cooler background and her shape may be made out. It costs one animus t o use this power and it can last up to the remainder of the scene.

00 T h e following initial supernatural powers are based upon what their simulacra are composed of:

Heavy Stone Simulacra Aspect Mod$ers - Dexterity -I, Resilience +2, Strength +2 Rapid Healing ( I ) -The gargoyle heals at twice the normal human healing rate against all forms of damage, including insidious and debilitating damage. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e quester regains two points of Life per success. Debilitating damage can be healed at a rate of one point per two successes (round up). While healing does not require any sort of special treatment, masonwork, stonecarving, and craftsmanship of other sorts might be capable o f reducing the difficulty on the healing draw.

Light Stone Simulacra (covered in false flesh of either wax or rubber) Aspect Mod$ers - Resilience +I, Strength +I, Presence + I Rapid Healing (I) -The gargoyle heals at twice the normal human healing rate against all forms of damage, including insidious and debilitating damage. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. The gargoyle regains two points of Life per success. Debilitating damage can be healed at a rate of one point per two successes (round up). While healing does not require any sort o f special treatment, masonwork, stonecarving, and craftsmanship of other sorts might be capable of reducing the difficulty on the healing draw.

Wooden or Ivory Simulacra Aspect Modfiers - Dexterity + I , Resilience +I Rapid Healing (2) -The gargoyle heals at four times the normal human healing rate against all forms of damage, including insidious and debilitating damage. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e gargoyle regains four points of Life per success. Debilitating damage can be healed at a rate of one point per success. While healing does not require any sort of special treatment, woodwork, carpentry, carving, and craftsmanship of other sorts might be capable of reducing the difficulty on the healing draw.

Wax Simulacra Aspect Modfiers - Dexterity + I , Presence +I Regeneration (I) - T h e gargoyle has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e gargoyle can recover from normal damage at a rate of one Life point per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 3 minutes, per wound. Healing occurs during the tenth turn of the com-

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bat cycle, whether the protagonist acts during that turn or not. It costs the gargoyle one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers.

It costs the gargoyle one animus per five Life points regained and a minimum o f one animus. Regeneration is automatic and is not turned on and off like other powers. Alter SirnuLcru - This power allows the gargoyle t o reshape the flesh of her glass

Chameleon’s Cloak Total Cost: 25

Creation points for preternaturae or may also be spent on Sacwd MJStertU, the powers commonly associated with gargoyles. Sacred Mysteries are less costly than custom-designed preternaturae. Note that some of the sacred mysteries are usable only certain types of simulacra. A gargoyle may possess a sacred mystery usable only in glass form, but if she 1s in a stone simulacrum she cannot use it.

Total Cost: 50 Restriction: Stone gargoyles only Effects: This sacred mystery allows the gargoyle to reconnect her own amputated body parts, including her head, arms, legs, and so forth, provided the parts can be found and placed against the area to which they need to reconnect. It takes only a COLIple of minutes for the reconnection to animus to reconnect a occur. I t Costs limb, three animus to reconnect a head, and five animus to put two halves together. T h e breaking up o f a form into small pieces and the scattering of those pieces will

Total Cost: 35 Restriction: Only gargoyles with Abyss scores of 5 and below Effects:The gargoyle can take on an aura o f goodness that all innately evil beings (demons, elder nightmares, shadows, leviathans, etc.) will flee from if they can. I f they cannot, or are extremely powerfd they will single Out the gargoyle as their target, as the gargoyle represents the greatest threat. All who are in the presence of the gargoyle feel guilt Over any evil acts for which they have not yet atoned. In addition, those who are good at heart gain a sense o f calm reassurance when in the gargoyle’s presence. It costs 2 anlmus for the gargoyle to use this sacred mystery A Spirit (6) versus an evil subject’s Spirit (IO) draw is made to see if the subject will flee from the gargoyle’s goodness. T h e effects last for the remainder of the scene.

E

EVERLASTING @ Page I22

Effects: This sacred mystery grants the gargoyle a chameleon-like power, which allows her to blend into the environment easily, making it hard for others to spot her. An Instincts (9 - Stealth) draw may be made in contesting any Perception draw made at +3 difficulty by someone trying to spot the gargoyle. In addition, the gargoyle cannot be spotted unless moving rapidly or unless someone is actively looking for her. I t costs two animus to use this power and the effects last for the remainder of the scene.

Total Cost: 20 Effects: This sacred mystery allows the gargoyle t o produce a bright light that will lure mortal and eldritch ”sinners” to it. A Presence (7) versus a sinner’s Intellect (8) draw is required. T h e number of successes the gargoyle achieves over the sinner determines the speed at which the sinner will be lured to it. As a side effect, the light can also be used for illumination purposes, though sinners present will be affected by it normally, (being drawn to the light.) It costs I animus t o use this sacred mystery. T h e effects may last up to the remainder of the scene.

Command the Storm Total Cost: 35 Effects: This sacred mystery allows the gargoyle to alter the weather. It costs 3 animus per attempt to change the weather, allowing one Inspiration (8) draw. T h e number of successes determines the effect. T h e gargoyle can use this sacred mystery more than once, accumulating more and more successes to alter the weather even further. Three successes are required for slight changes, six successes for strong changes, nine successes for drastic changes, and twelve successes for out-of-season changes (snow in summer.) T h e area affected is 5 square miles, doubled for each additional success beyond the number needed to produce the desired effect, with a maximurn area Of effect Of 500

The Face of E d Total Cost: 15 Effects: This sacred mystery allows the gargoyle to transform her face into that of the monster wtthtn herself. T h e gargoyle decides what her monstrous appearance will look like. This is a handy power for frightening mortals. A Presence (7) draw is required. This sacred mystery costs I animus to use and the effects last for up to one scene. T h e effects may be turned off at will or caused to flicker from a normal face to a monstrous one without warning.

Flesh of Stone Total Cost: IO (double the cost for each additional level) Effects: T h e gargoyle’s Resilience score increases by one point for each level taken in this sacred mystery. This sacred mystery may raise the Resilience score beyond 6, the normal starting limit for the gargoyle. T h e gargoyle’s stone flesh actually becomes a much denser substance than normal stone. T h e maximum score remains 12.

Gaze of the Abyss Total Cost: 25 Effects: T h e gargoyle can evoke terror within a subject simply by looking into her eyes. A Presence (8 - Intimidate) versus the subject’s Spirit (10 - Courage or similar quality) draw is made. For each success the gargoyle achieves over the subject, the subject gains +2 points in the persona quality Cowardice, directed against the gargoyle, for the remainder of the scene. This sacred mystery can cause the subject to flee or cower in abject terror before the gargoyle. It costs I animus to use this sacred mystery.

Jaunt into the Flesh Total Cost: 50 Effects: T h e gargoyle has the power to “enter into” a living human host‘s body from the Reverie, casting her spirit out of her own simulacrum and into the host. A Spirit (9) versus the host’s Spirit ( I I) draw is required and it costs two animus points

successes the gargoyle achieves in her possession attempt determines the degree to which she s with her host. If the gargoyle achieves one success, she may stmply ”ride” within the host. While in this state, the character can experlence everything the host experiences through the host’s own senses. For two successes, the gargoyle may compel the host to take some quick and simple physical action he had not intended, though a separate card draw is required every time the gargoyle attempts to do so. A Spirit (5) versus the host‘s Instincts (9) is required for each attem to compel the host, though it costs n o additional animus. For three successes, the gargoyle c speak through the host’s voice, du which time the host will not hear

Total Cost: 60 Restrictions: Glass gargoyles only Effects: This sacred mystery allows the gargoyle to liquefy her body while still maintaining her physical shape and appearance. A Spirit (IO) draw is required to make the transformation. T h e

Effects: This sacred mystery increases the gargoyle’s visual range, as if she were looklng through high-powered blnoculars. No draw is required, but it costs I animus t o use this sacred mystery. T h e effects can last up to one scene.

gargoyle can through cracks, but

Effects: This sacred mystery allows

sacred

required to generate the weapons. Once generated, they may be kept for the duraf a scene, It costs 2 animus to use cred mystery.

it Voice 21 cost: 20

time. n n inreflect ( 0 1 versus i i u x b Resilience (9) draw is required every time the gargoyle attempts to reshape the host’s face, though it costs n o additional animus. An Intellect (6) versus host‘s Presence (9) draw is required for a deep thought implantation to work, though it costs no additional animus. Possession lasts for a few minutes. If the possession is t o last for the remainder of the scene, and there is a while to go, then it costs an extra two animus. Two animus points must be spent per additional scene that the possession is maintained.

cvII-.

‘ects: This sacred mystery allows rgoyle t o commune directly with a including celestines, anywhere I the Astra so long as the gargoyle , the general location of the spirit. ffects take the form of mental ry and telepathy. The gargoyle must ntrate upon communicating with lirit. T h e spirit may refuse to com:ate if it does not wish to do so. An :ct (9) draw must be made to ish communicatlon. ,mmunication may last until bro)ut no longer than one scene. It I animus to use this sacred mystery.

Total Cost: 1.5 (double the cost for each additional level) Effects: T h e gargoyle’s Presence score increases by one point for each level taken in this sacred mystery. This sacred mystery may raise the Presence score limit for the the revenant. This sacred mystery causes the gargoyle’s sim&crum to take on greater beauty. T h e gargoyle’s maximum Presence score remains 12.

Stone’s Strength Cost: To(double the

for each additional level) Effects: T h e gargoyle’s Strength score

increases by one point for each level taken in this sacred mystery. This sacred the Strength score mystery may beyond 6. However, the normal starting for the gargoyle a mum score of 9. The gargoyle’s simulacrum becomes much more dense and heavy. T h e maximum score remains 12.

Book of the Spirits (8 Page I23

Myfell of hair Would at a dismal treatise rouse and stir As 1 9were in% I have suppedfull with horrors, - William Shakespeare, Macbeth

argoyles are as tragic as the un-dead in many respects. They are creatures that try to do good for as long as they can, but they are ultimately doomed to evil. T h e dichotomy of good and evil within them dangerous and unpredictable. Participants are encouraged to roleplay their gargoyles as tragic characters. T h e gargoyles will delight in whatever sensations they can experience and this can be roleplayed for dramatic effect, especially when the source of sensation is a sickening one, such as sin-eating a murderer’s experiences. As evil overtakes the gargoyle, she can become a wildcard or even a villain. Roleplaying this change can be interesting, giving the participant a chance to work both sides of the fence. Once killed and reborn into a new simulacrum, the gargoyle will be good again.

Into the eternal darkness, into thefire and into ice. - Dante, The Divine Comedv. Inferno

Gargoyle protagonists, like the un-dead, can be their own greatest enemies. While you need not roleplay each time the gargoyle sin-eats, you should roleplay the experience at least once each story, (if feasible,) so that both the good and evil of the gargoyle’s existence is not lost in favor of all the cool powers. When describing the world to those roleplaying gargoyles, stress visual, auditory, and olfactory features, but also remind them that they cannot feel anything. This is especially effective by mentioning that the gargoyle is feeling nothing whenever witnessing others feeling strong physical sensations.

THEEVERLASTING @ Page I24

Is it in these bottomkss nights thatyou sleep, in exik. . . -Arthur Rimbaud, Le Bateau Lvre For guides wishing t o create and guide Odysseys solely for gargoyle protagonists, here are some of the possible directions Odysseys might take: Against the Angels Against the Blackhearts Against the Doomlords Against the Servants o f the Flame Against the Un-dead Creating a New Race of Gargoyles Enslavement by Magicians

Exploring the Astra Good Gargoyles versus Evil Gargoyles

Helping the Waxheads Survive Journey to their Home Realm Search for the Surviving Celestines

@is section is usable only with the Codex of Immortality book. Disregard $you are not using thegenerireternaturaeguidelines.)

The affinity costs for a category are added t o the base cost for any preternatura chosen through that category, giving the preternatura special affects common for that category. CateEorv

Affinitv Costs

Cateqorv

Affinitv Costs

Air

30 30 IO 45 30 25 35 I5 25 25 20 I5 25 25 25

Insanity

20 25 10 IO 45 20 35 20 35 IO 20 20 35 20 25

Animalistic Astral Corruptive Darkness Domination Dream Earth .--

~

Electrical Extradimensional Extrasensory Fate Fire ~

_

Ice

_

Illusory

Life Light Majesty Necromantic Personal

Plant

-~

Psychokinetic _ _ ~ ~ ~. .

Spatial Spiritual Technological Telepathic Temporal Vocal Water

Book of the Spirits @ Page I25

Do you believe in Shamanism? Shamanism is said to be the oldest form

of spiritualism and

magic, some even call it ”the world‘s oldest profession.” T h e term ”shaman” comes from the Tunguisic word sarnun, which was applied to healers and medicine men

of Siberia and Central

Asia. T h e term may have originated with the Sanskrit word

saman, which means “song.“ Shamans are a class separate from their own people, yet they are healers, priests, magicians, diviners, sorcerers, and medicine men.

It is the

ecstatic trance o f shamans that set them apart

from other religious leaders or magicians. They enter an altered state of consciousness and travel t o other earthly realities. In these spirit worlds, the shamans heal, divine, communicate with the dead, and perform magical journeys. Various spirits often aid them in their duties and travels. Shamans are either born into their role, due to their lineage; o r else the spirits call them t o it. Shamans develop relationships with many discarnate beings, and each shaman has her own guardian. Totems, spirits representative of various animals, irit guardians

of

MANITOU

many cultures’ shamans.

irit worlds of the shamans are visited through trance. does not completely lose consciousness, and ains a dual awareness of the earthly realm and the ds. T h e spirit worlds are two in number

d the underworld.

- the

upper

Along with the earthly, the three

And when he came to the place where the wild things are

they roared their terrible roars and

hin the path o f the shaman?

gnashed their terrible teeth and rolled their terrible yes and showed their terrible claws. - Maurice Sendak, Where the wild Thinps Ar-

I

Book of the Spirits @ Page

overcome any z”deficiencies”they might have. In this modern age, most totems prefer possessing humans, but they can also possess animals of their own race (Le. rat totems possess rats and bear totems possess bears.) T h e disadvantage in possessing animal hosts is that the only thing the totems really grant their hosts are sentience, wisdom, and a new purpose for being. With animal hosts, they cannot accomplish as much as they could with human hosts, since they cannot take action directly within human society, and humans are the biggest threat to Nature, save for the abominations. Manitou seem like normal humans, at least in form, (if not behavior.) Once humans become inhabited by totems, they gradually take on animalistic mannerisms and interests. Animals of the same species react to the manitou as if the manitou are animals just like themselves. Manitou show a strong attraction for the great outdoors, but eventually feel alienated and alone, since they are neither completely animal nor human, spirit nor flesh. Manitou weave their Nature-worship into their everyday lives through their own unique spiritual beliefs and their unique perspective on the world as dual-souled beings. Manitou can sense Beastsigns in humans, allowing them to find potential hosts. Beastsigns are spiritual patterns appearing symbolically within auras, which specify the totems t o which a human shares the closest connection. Primitive cultures called the beastsigns “totems,” but in actuality the Beastsigns are merely symbols representing an openness to totems of a particular type, usually an animal that a person is most like, or can most identify with in some way. Manitou can only sense the beastsigns of people by concentrating on doing so; those who bear their own beastsign become obvious to them, (though they can also identify other beastsigns as well.) Manitou can mark humans for future possession, if the humans have the beastsign of the manitou’s totem. The totems send spirit-servants called Filgurs t o stay with their future hosts. T h e humans are called Anunaku, after they are marked. T h e marking actually involves making a physical claw, gore, or bite mark on the person.

Manitou can only mark one future host at a time. Upon the death o f the current host, the totem is instinctively drawn t o her anunaku, allowing the totem to continue its work on earth by taking possession of the anunaku, transforming the totem and host into a new manitou. If a manitou dies before marking a h t u r e host, the totem is cast back into the Sacred Lands, and is possibly banned by the higher spirits from ever becoming manitou again. Many manitou have insinuated themselves into nature cults and environmentalist organizations. Many are responsible for the creation of animal reservations and zoos. The latter of which the Totemic Lords, who rule the totems, are not pleased with, believing that zoos - as places o f captivity - are unnatural and deadly. Some even believe zoos are the work of traitorous manitou or weaklings who cannot find a better way to set things right. T h e manitou are engaged in a war, a war in defense of Nature itself. Ogon, an alien

world from anothcr dimension, and p h i bly another star system, has positioned itself just outside the vibrational reality of Earth. From this vantage point, its agents foul monsters that the manitou call Abominations - travel through the deep reverie and onto the Earth. The abominations are aided by earthly evils, particularly the potent leviathans - the demons of dragonkind. Together the monsters that form Otgon’s army are trying to xenoform the Earth into a scabrous, hideous, alien world just like Otgon. T h e manitou have faced this threat before. In fact, this is the fifth of the great @filer Wars in which the manitou have faced down the anti-nature monstrosities. So far the manitou have been successful, but - unlike in the past - the world is also in jeopardy due to demons and doomlords of the north. While the manitou put their faith in Orenda (the force behind Nature itself), they know that the odds have never been so stacked against them as they are now.

3 ~

st lifespans are improved by totems, allowing manitou t o live as long as 1.50 years, (though some turtle totems live over 2.50 years,) before dying of natural causes. Aging is greatly retarded, but does continue occurring.

fiaxjtaR &iSfehce hot tribal night underneathflorescentskies, bonfires rage strange

1

I

wild waving shouting Picassofaces . . . in thepise of a lioness the wind kisses her burning dress you canfeel her antmal yes, you can hear them cy, “be the jewel around my neck, never a tear on my tjurntng dress . . . Adrian Belau, Youn! Lions

.-

anitou are Of

spirit and I

I

B flesh, human

E

and animal, instinct and intelligence. They look human, yet they exhibit preterhuman Physical and spiritual capabilities- Those around them for any length of time feel their unique nature through the pheromones the manitou release and the vibes their auras give off. Manitou cause People near them to as though are standing close to powerful animals .heightening the humans’ fear, courage. lust, v 0 0

111

&l,a*kitaq

eavhtehaxce Manitou look human, but many suffer increased or decreased body hair. All manitou hone their bodies to the pinnacle of perfection and keep themselves very clean. Many get tribal tattoos written in the manitou language, - - such as their own personal spirit symbols, often doing the tattoos themselves or having other manitou do them. Some out tattoos over and of honor. around their Many care almost nothing for human fashion; still some try to dress appropriate for the types of humans with whom they regularly associate. They favor jeans and plain shirts, preferring earth tones. Some manitou carry weapons, preferring ~~

forker

knives and other melee weapons, especially ones they have empowered as fetishes.

and animal instincts. 1

. - tax &?tatam2 v-

.,I

Manitou are near-human physically, but develop special adaptations like their totems. For instance, squirrel manitou gain incredible leaping power, dexterity, balance, speed, and senses. A tiger manitou might possess superhuman strength, resilience, speed, and senses. Common manitou Physical enhancements include increased Instincts, Strength, Dexterity, Resilience, Speed, senses, and healing ability. Most maintain their human appearance, but learn to shapechange - at least partially. Most develop flexibility within their V O C cords, ~ allowing them to make a full range of animal sounds for their totem animals. They also intuitively know, through their totemic memories, the magickal languages of the animals. Regardless of their totem animals, human hosts retain all their normal human

I am a brother to dragons, And a companion to owls. -The Book of Job 30: 29 far superiMost all manitou have or to those of humans. T h e exact improvements depend upon the totem animal, but manitou develop night vision without losing their color vision, while their olfactory sense becomes at least ten times more sensitive than that of the average human, providing them with a new way of experiencing the world. Aside from simply enhancing perception, their sensory improvements also provide them with the ability t o perceive the Secret World. Manitou can see into the Reverie and immediately Sense natural 2nd unnatural things. Natural things are those that do not oppose the Natural Order and do not defile or warp Nature. Unnatural things are just the opposite.

Things are not always black and white; there are shades of gray in that some things are more corrupt than others are. Manitou sense demons, leviathans, abominations, tainted ones, the possessed, and other-unnatural entities with ease, though they cannot always discern their exact race through this means. Many human-made products created through the defilement of Nature also varying shades of corruption. Manitou can also see spirits and dead souls when in the Reverie.

While the hunter was asleep the deer endeavored tofit to his hands andjet her’sjet which thy selected for the purpose. After several unsucessful attempts thefmrth set pmved to be just the right size and werefastened jrmb on the hunter’s hands and feet, B e n a skin wasfound that covered him properly, andfinally antlers were fitted to his head. And then the bunter became a her and walked onfourfeet after the manner of deer. Gorge E. Lnyord, Native American Lppmds (The Man Who Became a Deer, a Choctaw kgend)

-

Manitou who practice shapeshifting their bodies eventually learn to assume the form of their totem animals in varying degrees of transformation. Some even learn to transform entirely. Partial transformation is different from full transformation in that partial transformation involves reshaping one’s flesh into that of the totem animal. Full transformation does not involve a reshaping of the flesh, it involves transmuting the host body into a spirit body and materializing the totem’s spirit body. Th’is s for the drastic changes in mass that accompany full transformations, such as from an adult human into an owl or mouse. Shapeshgt is a special quality possessed solely ly manitm. A Shapeshgt (I 5 Animalism) draw is required, with the number of successes determining the depee af transformation. It costs 2 animus whenever this draw is attempted, whether it is successful or not. If the draw is successful, the form may be maintained for the remainder of the scene. The manitou can pay 2 additional animus at the end of the scene to maintain the altered form for the next scene. This process may be continued for as long as the manitou can pay the animus cost. See the individual totem for the exact effects the transformation stages have on the manitou, since the effects are different for each totem.

-

a

. be considered separate entiThe transformationproceeds every day. When it will end, I can only wonder And what will be k j $ Kirk Langstrom when the process is over? Alma& my personality surrenders to another . . . No, not a personality. An Instinct. Wld and uncontrolkd. W t h hungers and desires that are alien to me. - Manbat, Batman: Letends of the Dark Knipht. Annual 5 Totems are spiritual archetypes representing individual species of earthly animals. They are nature spirits that can with human hosts who bear their beastsign, together becoming manitou. N o t all animal spirits have the power t o with hosts, only those chosen by the Totemic Lords to serve Orenda as earthly protectors of Nature. Totems bear their own memories, as well as those of their current and former hosts. They also have racial memories, which includes an understanding of the secret language of the manitou. Current hosts receive all their totems’ wisdom, memories, and knowledge when they become enspirited by the totems.

Spirit World (Astra) when they are not possessing hosts. They are much like other Wakanda (animal spirits), they have physical forms within the Astra. These forms look just like those of the earthly animals they represent. Totems behave much like their totem animals, but they are sentient and very wise. Their interests and personalities greatly influence their hosts, integrating with the hosts’ own personality traits. Totems even share the same activity cycles as their totem animals - some diurnal, some nocturnal, and others with more unusual schedules. Human hosts may alter their sleep patterns as they please, but most prefer their totem animals’ sleep cycles. Most totems belongs t o one of the three primary Spirit Clans: the Atatarho (protectors), Eterah (shamans), and Tiawath (lifegivers). While the clans work with one another, each has its own role. Totems seldom leave one clan and another, but it sometimes happens. There is no shame in doing so, when Spirit Ksions lead them to that decision. Individual listings for various totems are described in this chapter.

P

I, I wish I could swim Like the dolpbtns, like dolphrns can swim No nothing, nothing will keep us together We can beat them,forever and ever Oh we can be heroes, lustfor one day -David Bowie, Heroes

&tou come

n f k l s hers@ worthy, she returns for marking; if not, she never returns to the manitou. A manitou can only have one anunaku at a time. If the anunaku dies before becoming host, another anunaku may then be chosen. T h e filgur protecting an anunaku will return to the manitou to warn her whenever her future host is in danger or if she is killed. Once a person has been marked as an anunaku, the mark may be rescinded by the manitou by recalling the filgur in person. This act s the scar .f honor to heal away. Taking this mark is often performed to dis-

her w dual-life as human T h e manitou’s human-half I---lldy l l U L I--lldVC even believed in magick or a wonders of the Secret Worlc serves in making the transiti on more difficult and exciting. In some ca ses, manitou empower their anunaku, expuslllg lllcll the Secret World, what IS ex]Jectea‘ or,.ll t,. 1.1.. them, and what their lives will llnc when they become manitou. --A

can with animal hosts man hosts, even when they arked anunaku, (for they

only through the Jorning, which is e atrocity she may have committed making the totems and the tive beings - making them human with their bea

The mark may be placed consists of several slashes a ing a pattern that represents t personal sign of ownership. Manit ognize the marks of other manitou w they see them, and may sometimes identi particular marks as belonging to certain manitou. T h e only thing required for marking a human is that the human possess the right beastsign of the totem, (which is about one in 100 people or so.) Most manitou are a little more selective, hnwever c e e l i n n6 out just the right person , as the totem wlll with that person UPUII ,LLIIC U C dth of

sts survive. T h e foroften become useful

the host, expanding its

+

lLL1.A1l

memories. A

m

^-

tou takes the 1ierson into her trust enough that she can determine whether or not the mortal will make a worthy host. Some maniroti oive their future hosts a choice, I t - simply attacking and marking them by force. Some even require their would-be anunaku to go on vision quests in hopes of ~.... receivino snirit visions which will tell ---a-r. them whether c)r not they should become anunaku. Visioi1 auests ~ ~ involve . . . ~ long ~ peri~ ods of self-isol-*:-d L l U 1 1 , L-*: IdaLmg, and explontinn nf ..I the ,~6 :lf through meditation and ~~~

_ A

For instance, there is an old building in Detroit that IS home for over 200 sentient rats, each one briefly possessed by the same rat totem. Odysseys involving characters of this sort can come across something like Watership Down and The Jungk Books.

tou. Sometimes that the new mani

~~~

~~

3U.

y muscle spasms and intense pain as the

mal wisdom o f the totem, but retains all the host’s memories and knowledge. T h e enspiritment is but the first step of the manitou’s mental, spiritual, and physical development; the new manitou must find a balance of mind, body and soul. Over the course of her existence, the manitou must come to grips with having

All totems at one time or another, over the course of their immortal existences, have had animal hosts. The thoughts and memories o f past animal hosts are accessible to current hosts, so even human manitou know what life is like as a real animal through their totemic memories. In addition, animal hosts know what life is really like for humans through the memories.

Book of the Spirits CB Page I33 -

a ;aSe

tainted by their human memories. As such, hey are usually sentenced to the other ;aired Lands - Primordium and Hrdant Land.

n

The Red was raging through me. I wanted to be terrfiing, demonic - tofill the human world with a quaking knowkdge 4 its wlnerability. I didn’t nalk give a damn about individuals - human, or animal. Ijust wanted them all to see the stark truth that everything has toface. That the Red is dying, and the humans have killed it. -Animal Man, Animal Man #72. Last Sumer, by Jamie Delano

Somewhere, a monkey screams First one, then allgators swim in nervous another and another rircks wolves cy and sod their dens ten$ed birds take to the air in an explosion offeathers whik wiser beasts huddle together and stop their ears against the sounds Ofpandemonium, the tears and the wailing, the hoofbeats, the howling -Animal Man #3, The Nature of the Beast, by Grant Morrison

of

a manitou

and humans within the surroundmg area become excited by the supernatural energies released. Both animals and humans become more active, vocal, nervous, and aggressive for several minutes. Animals gather around the body o f the fallen manitou howling, crying, and making noises in mourning for their fallen protector. They will not likely harm eldritch and mortals present, but will try to intimidate them into leaving through stares, growls, swooping down over them, and prowling around them at a distance Manitou cannot take their destiny points with them into their next incarnation; the destiny points are lost into the Reverie, where they may be absorbed by eldritch who are nearby. Their backlash points are likewise lost, though not absorbed by other eldritch. T h e totem immediately separates itself from the deceased host. T h e host’s body, if shapeshifted, reverts back to its natural appearance. The totem is visible as an ephemeral, translucent form for a few seconds before ing into the Astra, where it must quickly seek out its anunaku or an animal of its own species, otherwise it returns to the Wild Lands Totems which back into the Wild Lands are often unwelcome, as many totems, which have never ed with human hosts, feel the former manitou are

THEEVERLASTING @ Page I34

Manitou sustain themselves just as normal humans do so, (eating, drinking, sleeping and breathing,) and through communion with Nature. Four hours of sleep restores one animus point. Manitou also gain animus eating, but only gain animus from a meal if they eat what their totem animals would eat, (raw meat, live rats, leaves, rotting carcasses - whatever is appropriate.) Each meal of this sort restores one animus point. Thus, many manitou become adept natural hunters. Manitou may still eat meals like normal humans would eat, to satiate their appetites, but gain no real sustenance from them. Communion with Nature is the manitou’s favored way of replenishing themselves. Manitou find secluded places, unmolested by human activities, which they call their sacella. They use these sacella as sacred places where they can enter into ecstatic trances which put them in touch with the Reverie and all the life teeming around them. For each hour spent in meditation, make a Inspiration (1 0 Naturalism) draw. Each success yields one point of animus. During this time the manitou experiences spirit visions, which connect them directly to Nature.

-

Manitou must find psychological balance between their animal-side and human-half. Without any of the animalside, the manitou lose their totemic Embodiments (preternaturae,) most notably their power to transform. Without their human-half, they become thinking animals, unable to fit in among humans, with the minds of their hosts totally suppressed. Manitou possess strong animal instincts, and they are heavily driven by emotions and desires, such as fear, lust, survival, hunger, and predation. They possess the memories of their current and previous hosts along with animal racial memories. Their totems grant animal-wisdom, but the hosts actually control the manitou, (though the totems deeply ingrain themselves into their hosts’ psyches.) Only once in a while does the animal-side fully take over, and usually only out of survival instinct when it happens. Manitou are divided internally by their own perceptions, beliefs, and moralityamorality. Human hosts and totems come from two very different worlds and have different views concerning everything. The manitou’s animal-side is amoral (not immoral), and is inclined toward perceiving things in of the natural and unnatural. It does not cast human judgment, and bases its opinions on emotions and instincts. T h e manitou’s human-half is usually moral and inclined towards perceiving things in of good and evil. It casts human judgment, and bases its opinions off personal experiences, emotions, and logic.

=s-

See in the shapes o f my body Leffoverparisfrom the apes and monkeys In the days of the caveman and mammoths andglaciers Bugs and trees were yourfood then; no pajamas or doctors And when Ifinally get to sleep, I dream in technuolor I see creatures come back from the Ire Age Alive and beingjd inside a zoo cage - Crash Test Dummies, In the Daw of the Caveman While totems grant their current hosts their own personal memories and the memories of their former host, manitou also have a special mnemonic power - the ability to mentally access the racial memories of their totem animals. Through this ability, they can the evolution o f their totem race, and well as particular memories from some individual animals. However, many of these memories are very cloudy and recalling particular details is difficult. Whenever a manitou searches her racial memoyfor a particular memoy, make an Intelkct (dzJiculyfrom 5 to 13, based on the age and obscurity of the memoy) draw. For one success, a memory fragment is recalled, and for each additional success, more accurate information is recalled. If a Disaster occurs, the manitou recalls the memory very inaccurately.

The Red has me now. The Red is all there is. I’ve stopedfihting. My immune system has surrendered and a dark-fire virus burns through me, consuming the carrion o f my dead humanip. I’m done with being a man. Therei nofuture in it anymore. I never saw things so clearly, so unequivocally. I used to disable myse& tying to reconcile loyalties divided between human hearth and home, and the pure, wild immediacy o f the Red. It’s so much easier now that I have an enemy who isn’t part of me. - Animal Man, Animal Man # 7 I . The Sermon on the Monument, by Jamie Delano AnimaZism is the torment of manitou. It represents to what degree a human host’s behavior is like her totem animal’s behavior. T h e totem’s psyche simply begins wearing off onto the host’s psyche. In such cases, manitou usually become far more aggressive and show serious dislike for humans, including human eldritch. When a manitou’s totem wants to, it can try to take complete control of the manitou temporarily. A Spirit (8) versus Animalism (8) draw is required. I f animalism wins, the totem takes controlfor the remainder the scene. T h e totem does not want a host who is weak in Spirit, as the host will be susceptible to manipulation by abominations and other enemies. While a strong-willed human host can be difficult for totem to influence, without such strong willpower, the totem’s psyche will overtake the host’s mind completely, driving the host insane and turning her into a beast. Once a host completely succumbs t o Animalism, the totem must abandon the host to find a new one, killing the current host by leaving her body.

of

Book of the Spirits @ Page 135 P

7

VP-

Growing Effects: Manitou with human hosts will become more and more animal-like (feral, reptilian, etc.) though they will retain their basic anthropomorphic shape. Decreasing Persona Qualities: Conscience, Pacifism, Love of Humans (or particular humans), and Protect Humans (or particular humans) (these qualities may not have scores any higher than 13 - current Animalism score) Increasing Persona Qualities: Ferocious, Uninhibited, Dislike Humans, Predatory, Animal-like (for each point in Animalism above three, the manitou gains three points t o divide among the above persona qualities)

Takes O ~ e r The hysteria of the entire baboon troop impinges upon Buddy’s nervous 535tem,forcing his consciousness back into the more primitive regions o f his brain. The home of the survival instinct. The home of agression,feat; and hate. Bud4 has timefor one scream bPfore thefrenzied shrieking of the baboons drowns out everything else. A primal rage surges through him like some kind of drug, setting his nerves onfire. He is one with the troop . . . and their bloodlust.

-Animal Man #83, Wld by Jerry Prosser Under the appropriate circun ous states of frenzy - increasing and their resistance to injury. Th aggressive, predatory, and nearly on instincts alone. There are four basic reactions

1. 2. 3. 4.

Berserker Rage Flight for Survival Sexual Frenzy Feeding Frenzy

Whenever a manitou is faced with a situation that arouses her instincts t o a super-high level, they must make a Beast Check, a Spirit (9) versus Animalism (9) draw.

Berserker Rage In normal combat situations, even when the odds are slightly in the favor of the opponents, the manitou may go into a berserker rage. T h e manitou’s roleplayer can choose to make a beast check, but the Guide can also call for a beast check if she deems it appropriate. If ive (or similar persona quality) is higher than Spirit, then Predatory may be used instead of

THEEVERLASTING @ Page I36

Spirit for the number of cards draw;. If Predatory (or similar persona quality) is higher than Animalism, it should be used instead of Animalism for the number of cards drawn. If Spirit wins, the manitou remains calm and under control. If Animalism wins, the manitou goes into a berserker rage. The manitou suffers from Rage (persona quality) at a score of 2 points per success that Animalism achieved over Spirit. T h e manitou also suffers from Impulsive (persona quality) at a score of I point per success that Animalism achieved over Spirit. T h e effects o f this ”Berserker Rage” last until the end of the scene or until the battle is over.

Flight for Survival Whenever a manitou is faced with overwhelming odds and her chance for survival is very low, she must make a beast check. If Courage (or similar persona quality) is higher than Spirit, then Courage may be used instead of Spirit for the number of cards drawn. If Cowardice (or similar persona quality) is higher than Animalism, it should be used instead of Animalism for the number of cards drawn. If Spirit wins, the manitou remains calm and under control. If Animalism wins, the manitou flees in a state of panic. T h e manitou suffers from Panic (persona quality) at a score of 2 points per success that Animalism achieved over Spirit. T h e manitou also suffers from Cowardice (persona quality) at a score of I point per success that Animalism achieved over Spirit T h e effects of this ”Flight - for Stirvival lasts until the end of the scene or until the threat to tlhe manitou’s life is over.

the manitou may go into a only during opportunities :hat is in prime condition, y horny. T h e manitou’s 1st check, but the Guide can sms it appropriate. If Chaste (or similar persona quality) is higher than Spirit, then Chaste may be used instead o f Spirit for the number of cards drawn. If Lus$al (or similar persona quality) is higher than Animalism, it should be used instead of Animalism for the number of cards drawn. If Spirit wins, the manitou remains calm and under control. If Animalism wins, the manitou goes into a sexual frenzy and will try to force himself on his potential mate, though not necessarily violently. T h e manitou suffers from Lust (persona quality) at a score of 2 points per success that Animalism achieved over Spirit. T h e manitou also suffers from Aggressive (persona quality) at a score of I point per success that Animalism achieved over Spirit. T h e effects of this ”Sexual Frenzy” last until the end of the scene or until satiated, whichever is sooner.

Feeding Frenzy In situations involving intense hunger and potential food, the manitou may go into a feeding frenzy. This usually happens only during opportunities for hunting down normal prey, and when the manitou is hungry. T h e manitou's roleplayer can choose to make a beast check, but the Guide can also call for a beast check if she deems it appropriate. If Diet Conscious, Refwal to Kill (or similar persona quality) is higher than Spirit, then that related quality may be used instead of Spirit for the number of cards drawn. If Gluttony, Predatory (or similar persona quality) is higher than Animalism, then that quality should be used instead of Animalism for the number of cards drawn. If Spirit wins, the manitou remains calm and under control. If Animalism wins, the manitou goes into a feeding fienzy and will try to hunt down, kill, and feast upon any suitable food, though the manitou might still be able to resist eating humans. T h e manitou suffers from Predatory (persona quality) at a score of 2 points per success that Animalism achieved over Spirit. T h e manitou also suffers from Gluttony (persona quality) at a score of I point per success that Animalism achieved over Spirit. T h e effects of this "Feeding Frenzy" last until the end of the scene or until satiated, whichever is sooner.

Realizing that visibk bodies are onI, symbols of invisibkforces, the ancients worshipped the Divine Power through the lower kingdoms of Nature . . . The sages o f old studied livinz things to a point of realization that God is most perunderstood through a knowkdge of His supreme handiwork - animate and inanimate Nature. Evey existing creature manfests some aspect of the o r power of the Eternal One . . . intell&ence Manly P Hall, The Secret Teachinp cf All A p

fer$

-

rom their odd humananimal-spirit perspective, manitou have developed a unique mythos all their own. Manitou claim descenssn from Orenda, a divine power responsible for Nature. They also see themselves as the servants of Orenda and protectors of Nature. They are agents of the Totemic Lords, and their deities are Gaea and Cerunnos. It is their duty to serve as the defenders of Earth face against Otgon's abominations in the Defikr War.

A dog staw'd at the masterigate Predicts the ruin o f the State. A horse misus'd upon the road Calls to heavenfor human blood. Each outcry o f the hunted hare Afibre from the braie does tear, A skylark wounded on the wing, A cherubim does cease to sing. - Wlliam Blake, Aupuries of Innocence Manitou can look back through their racial memories at the development of Nature, but they still do not know how Nature actually came into existence. Some claim the first animal spirits were without fleshly form, and that they gave earthly life t o the Ancient Ones (the first dragons) from the very elements and charged them with creating Nature, so that the Spirit World would grow as the spirits of the flesh died and lost their flesh, ing into the Spirit World to reside. While the dragons claim responsibility for creating Nature, manitou do speak of powerful beings that guided the dragons, teaching them many secrets. Manitou the dragons and how they shaped Nature for the shear love of it, and how they served as the shaping force behind evolution before the manitou assumed that mantle. T h e manitou the rise of humankind and the vanity of the dragons which lead to their downfall.

Book of the Spirits @ Page I37

Sn

humans began bending Natuie to their will, ignorantly proclaiming rule over it - something even the proudest dragons never claimed. Manitou also the Cataclysm and how Nature was almost destroyed by the dragons in their attempt at revenge. Even before the Regn of Man began, the Animal Kingdom and Nature suffered greatly. T h e totem spirits of the animals were charged by Orenda with the Sacred &ties - to protect not only the animals, but also all o f Nature through various tasks that maintain the Natural Order. T h e manitou strove very hard, but were not successful, until one day Coyote took the form of man and walked among them as a trickster - teaching the manitou the error of their methods. Eventually other totems began taking over human hosts, and many primitive religions formed around Nature worship, some of which are still practiced. With the Defiler War - adding to the threat already posed by the demons, dragons, un-dead, leviathans, and doomlords things have only gotten much worse for the manitou. Many manchance of saving Nature is by working itou realize that their 01., with human eldritch.

T h e hornedgod, known as Cerunnos, is an ”overspirit” of Orenda that appears to the manitou in many different avatar forms as a messenger. Cerunnos often appears in the form of two ravens, a stag, a horse, and a snake. H e can also appear as an earth god in human form, with dark skin and stag-like horns. Gaea, the Goddess, can also appear to the manitou, but does so less frequently, and usually appears only during times of introspective study or when revealing prophecy. T h e Goddess typically appears in the form of the earth mother, but she sometimes comes to manitou in the form o f their own totems. Visits from either of these forces given form should take place only once in an entire Odyssey and only for a very important event. Manitou will fall t o their knees in reverence for these entities and will strive t o d o their bidding without hesitation or fear

Back when the world was young, the humans and the animal people could speak to each other Atfirst thy lived in peace The humans hunted the animals only when they neededfood or skins to make clothing Then the humans discovered the bow and arrow Wth this new weapon thy could kill many animals quickly and with great ease Thty began to kill animals when thy did not need themfor food or clothing It seemed as $ all the animals in the world would soon be exterminated So the various animals met In council -Joseph Bruchac, Awi Usdi, the Little Deer (Cherokee Lppendj Manitou serve Nature, but do so through intermediaries called the Totemic Lords. T h e Totemic Lords are avatars of Nature itself. Totemic lords are wakanda of incredible power and insight into the Natural Order. They are, however, limited in that they are too powerful to take on earthly flesh and act as servants of

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Totemic Lords as agents, by taking on the flesh, becoming manitou. The Totemic Lords exist in the Wld Lands (the Menagerie), but they are sometimes encountered within the other Sacred Lands as well. They are responsible for the spirit visions manitou receive, and sometimes communicate directly with manitou by speaking through earthly animals, since manitou can understand the languages of the beasts. Thefilprs are animal spirits of lesser power than the totems and they serve the Totemic Lords indirectly, obeying the commands o f the manitou.

Every part o f this earth is sacred to my people. Every shining pine needle. Every sandy shore. Every mist in the dark woods. Every meadow. Every humming insect. All are holy in the memory and experience of my peopk. We know the sap that courses through the trees as we know the blood that courses through our veins. We are a part of the earth and it is part of us. Pe~umedflowersare our sisters. The bear, the deeq the great eagk, these are our brothers. The rocky crests, the juices in the meadow, the body heat of the pony, and man, all belonging to the samefamily. The shining water that moves in the streams and rivers is notjust water but the blood of our ancestors. r f we sell you our land you must that it is sacred. Each ghostb rqktion in the clear water of the lakes telL of events and memories in the lfe of my peopk. The water’s murmur is the voice of myfather’s father. - Chief Seattle, Address of 1855.

hile scientists debate the feasibility of the Gaia HvDothesis of t>lanetarv I L 1 I

consciousness, the manitou know it as truth. T h e manitou are servants of a force called Orenda, the divine presence throughout Nature. Orenda is the creator of Nature, which is composed of both spirit and flesh. I n opposition to Orenda, there is Ogon, an unnatural, inscrutable, ultradimensional planet o f defilement, which is growing stronger. Otgon is the creator of horribly monstrous abominations. T h e abominations serve Otgon as corrupters and destroyers o f Nature, and seek to xenoform the earth into another Otgon. Manitou worship Nature, revering its power and serving as its protectors, keeping it safe from the forces of Otgon. Manitou recognize Nature by countless names (Mother Nature, Ara Mate? Tellus, Geb, Kishar, et al.), and use whatever name their hosts feel most comfortable with in describing Nature as a single macroorganism. Gaea and Cerunnos, however, are the two most wenknown forms.

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T h e hraturul Order is another human term manitou use in defining the pure state of Nature. Nature is the creation, while the Natural Order is composd of the cyclical processes of Nature - life, death, and rebirth - which sustain Nature through change. Thus, manitou do not think in of good and evil, but in of natural and unnatural. Manitou understand the relationship of predator and prey, and their own role in predation. Not even a deer manitou mourns a deer that has been killed by wolves, such is the way of the Natural Order. Life feeds on life, life and death represent a system of balance; one dies so another may live. Thus, all life is sacred as it has the power to create and destroy, serving the Natural Order. Killing without purpose is considered corrupt and evil. Adaptation is central to the Natural Order. Through the process of evolution, there is diversity and development which keeps Nature ever-changing and ever-growing.

Waters of the Wainganga the man pack have cast me out. I did them no harm, but they were afraid of me. why Woback,ye have cast me out too. The jungle is shut to me and the village gates are shut. why? As Mansflies between the beasts and birds so f l y I between the village and the jungle. %? I dance on the hide o f Shere Khan, but my heart is very h e y . My mouth is cut and wounded with the stonesfrom the village, but my heart is very light, because Z have come back to the jungle. Why? These two thingsfiiht together in me as the snakesfight in the spring. The water comes out of my eyes, yet I laugh while itfalls. Why? - Rudyard Kipling The lun9le Book, Mowdi’s Song

ven before the first human immortals walked the earth, the manitou were present, though they never took on human hosts at the time. Both the dragons and the humans respected these early manitou. T h e manitou taught all early humans reverence for Nature, taught the first shamans the secret ways of animal-magi&, and taught the dragons about Nature. Manitou eventually began ing with human hosts during the Age of LPgends, and since that time they have developed a culture unto themselves.

“I will heal you, “Raven said, “but only $you promise to kt go o f the tideline twice a day. The people cannot wait so long to gatherfoodfrom the beaches. “Zwill do it, “said the old woman. Then Raven washed out her eyes and she could see again. So it is that the tide comes in andgoes out every day because Raven made the old woman let go o f the tide-line. -Joseph Bruchac, How Raven Made the Tides Osimshian Le9end)

Manitou often receive their instructions from their Totemic Lords in the form of spirit visions, which can occur while awake or asleep. These visions are sometimes prophetic and always deeply symbolic. They last anywhere from seconds to entire nights, though time perceived during the spirit vision may differ from real time. Spirit visions often occur without warning or preparation, but manitou can also willingly enter ecstatic trances when seeking spirit visions. Spirit visions are sometimes reoccurring, providing a little more information each time. Manitou protagonists should receive involuntary spirit visions once in a whik. They can also expend one or more destiny points (Guide’s derision), and mwt make an Inspiration (9) draw to experience a spirit vision intentionally. T h e manitou must enter a trance in order to experience a spirit vision.

There are three major groups of manitou, each having its own set of sacred duties in serving Nature. These three groups (in addition to some smaller groups) are called the spirit clans, and they are the Atatarho, Eterah, and Tiawath.

Atatarho: Clan of Natural Selection Persona Qualities: Merciless +3, Violent +3, Brave +3 Skill Modifiers: Grapple +I, H u n t +I

Background Atatarho are the Children of Blood, or Blood Clan. They are the destroyers, ensuring the survival o f the fittest, making room for new life by bringing death to the weak, sick

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of Sature. ‘ l l i i .ire ~ also

iiits

inanitou nho seek out

)y abominations, tainted ones, and other servant5 of i c atatarho is the most violent and aggressive of the Ians. atarho spend their time tracking down thc ”wounds of ’ and slaying all ahominxion.; and defilers of Narure come across. They do not help the sick, weak. or dying. consider humans worthless creatures. The\, are also sly ro kill aU un-dead, possessed, and eldritch deflers they encounter. Many of them f k o r working with the ,hen they return in eliminating humanity. Mo3t re very territorial and will sla!. an!’ rhrcats to their , but about one-third of them travel almost constantl!. )t borlier maintaining personal territoricb. Thc atatarho -ec captive animals, but they might be inclined to kill eed, they will kill any creature if it is a position of untenable, unrecoverable weakness o r suffering. Their comion IS expressed through their teeth and claws. They are also the predator-warrlor clan of the manitou. They are cold-hearted, natural-born assassins; fierce, stalwart defcnders of Nature; and mindless, berserking beasts. The!’ are brurish, uncouth, fearless, prideful, vengeful, aggressive, and vicious. They value survival and cunning first and foremost, measuring true value not by honor, but by the number of victories and the number of enemies killed. Among the animals there is no such thing as honor, there is only the killer and the victim. To the Tiawath, honor is a human invention to applv unnecessary rules to the laws of natural predation. When humans, abominations, o r other defilers threaten the earth, the atatarho take matters into their own hands. Unfortunately, with the Defrlt-r Ifhr, this clan has become spread too thin in protecting Nature, for they are now occupied primarily with fighting the .ibominations. Many atatarho so dislike humans that they cut off all ties to their own hosts’ relatives and friends. Many prefer rural life s o much that even hosts who have never lived outside the city up and move to the country without telling their famil!, and friends. However, on the darker side, some atatarho actually enjoy living in the city, since it gives them more potential human prey. 5

Eterah: Clan of the Cycles Persona Qualities: Introspective +3, Mysterious +3, Otherworldly +3 Skill Modifiers: Chantway Art I, Lore I Background. Eterahs are the Children of the Moon, or Moon Clan. They are magick-workers, adept in their own form of shamanism, serving as the priesthood of Nature. T h e eterah keep the natural cycles functioning through their magick. They have the most with spirits, both those who serve Orenda and those that serve Otgon. They are also teachers and messengers. T h e eterah are often called the ”shamans of the manitou,” for they are mysterious and mystical wisefolk and magick-workers

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who know the Old Way. Their eyes are alight with the wisdom of the spirit worlds, and they are masters of many spirithelpers. They know the chantways, the healing herbs, and the secrets of the mind. It is in their nature to serve not only the other manitou, but also all of Nature and its creatures as spirithealers of strong medicine. Many eterah are frightening in their otherworldly strangeness, while others are are gentle like grand-

rming, quick-witted, sophisticatTiawath are charismatic, ed, manipulative, and eloquent - making them perfect agents in human society. They are often accused of being "too human," since they strive for peaceful solutions to problems whenever possible. They almost never hunt and spend most of their time within cities or wherever their environmental missions take them. As the "clan of adaptation," their role within the Defrkr War is primarily that of strategists, planners, coordinators, and leaders. They are the manitou with access t o new weapons, human agents, and mo ecting Nature.

f the other clans view th

shamans: healers, s nction as the "clan dream interpreters, an of the cycles," they are the priesthood of Nature itself watching over the seasons, the ing moons, the migration of the birds, the habits of the animals, the growth and death o f vegetation, and much more. Through their chantways, they celebrate through ritual the cycles and maintain them. As such, they are also the manitou most likely to receive spirit visions or other messages the avatars of Gaea, Cerunnos, and the Totemic Lords. T h e eterah are much easier going and ive than the atatarho, and they are much more reserved and solitary than the tiawath.

Tiawath: Clan of Adaptation Persona Qualities: Gregarious +3, Comionate +3, Like humans +3 Skill Modifiers: Influence +I Background T'iawaths are the Children of the Sun, or Sun Cbn. Tiawath are life-givers, nurturers, and ambassadors between the Animal Kingdom and humankind. They are the most active in the human world, making humans aware of Nature, creating animal reserves, stopping poaching, and making every effort to sustain life. T h e tiawath are the tricksters, visionaries, mediators, storytellers, environmentalists, spies, and liaisons between human agents of Orenda and the manitou. These manitou walk freely among humans, protecting Nature, fighting human defilers, and teaching younger generations of humans about protecting the earth. They work with humans in protecting Nature, particularly the Stormrircks. In fact, many o f the tiawath are o f environmentalist groups, such as Green Peace, the Sierra Club, the World Wildlife Fund, LightHawk, and the Friends of the Earth. T h e tiawath are instrumental in the protection o f the environment throughout the world, ranging from the Rain Forests, to the Rocky Mountains, to the oceans of the world.

ering influence in human society, and operating within human society and law is most effective in their form of work. Some among these more human and worldly manitou do enjoy their wealth and influence, and may be considered truly corrupt.

T h e war with Ogon the Dpfikr has given way to the humansized manitou, yet, in the countless ages of animal development, there have been animal spirits of a smaller variety that have found another role to play. They are the safekeepers of their local areas by operating unseen in the forms of tiny humanoids and small animals. These small manitou are responsible for ensuring the survival of Nature by acting as watchers over particular regions. They act only in handling minor problems within their power t o fix and many call upon human-sized manitou for assistance when actual conflicts against abominations may occur. Future sourcebooks will feature more on the smaller varieties of manitou, such as squirrel totems, rat totems, bird totems, lizard totems, and so on, which possess two races of small humanoids called the Oridasi and Sarkazi. These humanoids stand upwards o f seven inches tall and their animal forms are like full-sized normal animals. These small manitou have low physical scores, but it is their wisdom, keen perception, ability to operate unnoticed, and link to the larger manitou that make them dangerous opponents. They often work with gnomes. Most manitou will be called upon by their smaller kin for help from time t o time in maintaining or restoring the Natural Order. They must assist them in every way possible or else they will suffer backlash and the wrath of the Totemic Lords. However, human-sized manitou can, on rare occasions, call upon their smaller kin, (if they have high scores in Eldritch Ties and Influence,) for information and possibly even direct assistance.

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themselves to be true stormwalke The Circles of the Storms’ secrecy and the cell format of the network are designed to prevent intelligent abominations from torturing a lot of information out of any one stormwalker. Any manitou protagonist can ask for assistance from stormwalkers, but stormwalkers can also come to manitou protagonists for aid themselves.

Certain events have consequences. I mean, when you eat a burger, right? . . . You’re contributing to the destruction o f the rainforests. Massive areas offorest get cleared eve9 day to provide grazing landfor the cattk that get turned into burgers. Thoseforests are the lungs o f the world. When thqr’regone, the carbon dioxide levels willgo way up. That? thegreenhowe gect and it? already happening. Every time you eat a burger;you’re helping to kill the world. - Animal Man. Animal Man # 1 7. Conseauences,

b~ Grant Morrison Humans who respect Nature and d o not act against it are called Pure Ones. Long ago there were many pure ones, but now there are few. Some Native Americans, neo-shamans, Wiccans, active environmentalists, and other humans are among the pure ones. Pure ones are often selected as human assistants by manitou, serving as political lobbyists, eco-terrorists, mouth-pieces, and personal agents. Manitou often empower them by having f i l p r s of the mortals’ beastsigns enter the mortals. T h e filgurs help awaken them to the Secret World and Nature. T h e pure ones are then connected to the Sacred Lands and may enter them unmolested, unlike other humans. Pure ones are not lesser manitou, however, as they are not charged with the sacred duties and d o not share ties to the Totemic Lords.

All o f Nature is our totem. Every animal. Every plant. Every time an animal or plant becomes extinct or threatened, the world loses some o f its beauv, and we, some o f ours. - Ted Andrews, Animal Speak One of the greatest resources of the manitou is their network of pagan fantasts, shamans, druids, witches, natural healers, psychics, ecowarriors, abomination-hunters, and scholars. These mortals serve Orenda and often work directly with, or for, various manitou. T h e Circks of the Storms, as they are called, are actually many individual, independent cells. Each cell, of which there are anywhere from 30 t o 40, represent different stormcircles, and the are called stormwalkers. Each cell has its own individual name, agenda, area o f interest, geographical territory, methods, specialties, connections to individual manitou, and so on. No two cells are alike. Most of the cells have anywhere from three to eight . Only about one or two of the each cell’s know any other stormwalkers outside their own stormcircle. They maintain anonymity even online, through which they have lots of with one another and openly share information with those who prove

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Know you that in the old daysfour monsters roamed the world, and whik those whofeared your people called you Apache - ’the enemy ” - it was the monsters who were the real enemy. These monsters werejnalb slain by a warrior ofgreat power called Child of Water: He thought thy had perisbedforever: But nothing which is evil is ever trub dead. The sparks lay waiting to be jnned. The monsters have returned. . . - Gahn, Scout. Four Monsters, ly TimotLy Truman Nature is not without its enemies. Abominations, leviathans, demons, the hellbound, the hellspawn, the possessed and the tainted ones are all considered Unnaturals and Defikrs, many of them serving the mysterious planet known as Otgon. Abominations are spirits that serve Otgon, the most powerful source of alien horror and corruption known. Some of these abominations with human hosts, like the manitou, becoming fleshly dual-souled creatures called Siltim. Abominations are alien creatures that have ed from Otgon onto the Earth through the Reverie.

Leviathans are like gods of darkness in of their nearlimitless unnatural power. A dragon of modern day holds n o candle to the scope of a leviathan's power. There are at least six leviathans, though there may be more. Each leviathan is a producer of terror, corruption, and destruction, bringing their evil not only upon the dragons, but also upon the dragons' Great Work -Nature. The manitou became the greatest fighters of the leviathans, and, in return, the leviathans now spawn abominations that fight the manitou. Demons are much like leviathans and abominations, but are more human-like in behavior. They believe in good and evil, t many gladly work with out of love for evil. and hellspawn - are con-

Nature, to be commanded, - Francis Bacon, T h e religious practices an called the Old Ways,The Old Ways non-magickal ceremonies, such as honor, rites of the dead, rites of sp moning, and anunaku tests. Drums, monial garb, prayer sticks, smoke, in cines, herbs, fire, and masks Old Ways are many, and there is little room here to ex them all, so they will be detailed in later supplements. T h e Old Ways also include vision quests, spirit vi telling, and taboos of the flesh and spirit. There are times, such as the solstices and equinoxes, and special among the worshippers, such as the "keeper of the 1 the "stone-gatherers."

"plae

Secret $aRage

Manitou have a special language all their own. Th a name, humans are incapable of comprehending it. It similar to the original language o f the dragons, bu form LS very unique. Dragons can understand the spoken lan p a g e of the manitou, just as manitou can underst ken language o f the dragons, but neither can corn other's written language. Hieroglyphics are used as the written form of the manitou language. This pictography can convey in a single symbols entire sentences. Manitou mark their anunaku with their own names in the hieroglyphic language. They have also spray-painted, and otherwise marked, the human cities full with pictograph graffiti noticed by few, and recognized by only other manitou. These city signs are used in defining personal territory, as many manitou are territorial.

T h e signs are also used t ell of safe places, dangerous places, possible threats, and how t o the manitou of the city. T h e hieroglyphs are so intricate that even the dragons cannot comprehend the symbols, calling them "spirit signs."

There was undeniable appeal rn the idea of reacquiring ancient ways. The witch ntuals,for example, were so vey old and strange that they had been ultimatel, terrfiing to the superstitious meditval world. Now anthropologists understood them as the remnant of human way of the earth. - Whitky Stneber,

tion, dancing, symbolic actions of herbs.

an bring great ill and harm by any errors in nting Most chanters learn only one great rite nes, plus the Blessing Way, which is used to are the "supernaturals" described in legends, er of their magick that was ed down to a lesser form. Manitou call their magickal ay," named as such by the humans to whom it was n o name until that time. Chantway is a of magick that calls forth the power of izing Orenda and lifeforce as the sources of r to shamanism, but - since manitou ure totem spirits - they have greater power when it comes to understanding and utilizing spirits and the spirit world. Chantway ranges from healing, to harming, to blessing, to cursing, t o illusions, to growing, to commanding natural forces, to communicating with animals, to spirit powers, to the restoration and consecration of Nature.

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dancing, fetishes, feathers, sand painting, pictograms, and much more. Chantway does resemble Native American shamanism, but it also has elements of African, European, Asian, and Aboriginal magick blended within it. For instance, bear skins, rune stones, divination bones, concoctions made from animal parts, and blood are all used, though manitou d o not kill endangered animals like some human magicians. Chantway relies upon lots of unseen spirits that ”serve the chants” by performing the tasks set for them by the manitou chanters, be it calling down lightning from a thunderbird, gaining the strength of an elephant spirit, or healing a wound with a spirit helper’s medicine. Manitou can even, unlike humans, invent spontaneous chants since they share an innate, intimate bond with the wakanda spirits that serve Orenda and the power of Nature itself.

anitou see the deaths of their prey as sacred events. Death is

ories, get -3 difficulty o n next important visual card draw Genitals

Gain -3 difficulty on next important charisma draw; gain the person’s thoughts o n self-identity and family

Heart

Gain -3 difficulty on next important bravery draw; gain memories of the major times of courage in the person’s life

Liver

Removes a disease, poison, or other illness from the manitou; gain memories of the major physical pains suffered by the person

Marrow

Regain up to 4 Life; gain memories of the person’s health

Muscles

Gain -3 difficulty on next Strength draw; gain memories of times of outstanding physical prowess

Nose

Gain a few olfactory memories; get -3 difficulty on next important smell card draw

Tongue

May speak in the person’s voice three times within the next three months; gain memories of a few important lies and truths told by the person

inherent to life; without the prey, the predator cannot survive.

All living creatures must consume to maintain their lives, and, for the manitou, their meals are holy sacrifices for their own subsistence. There are no special rites attached to this view, but the belief is a strong one. T h e manitou do, however, have one rite for the consumption of flesh- the unnamed rite o f sacred cannibalism. When a strong enemy is slain (other than an abomination), and undeath, disease, or unnaturalness does not taint the body, the manitou will eat one or more organs or parts o f the corpse. Manitou view this as taking in the power of their personal enemies into themselves. Sacred cannibalism is never used o n friends or strangers for fear that it might leave their spirits incomplete. T h e following list provides the body parts that are typically consumed along with the traits they provide. Only one to three parts are usually consumed. (Others provide no benefits.) Sacrificial Meal Brain

SuDernatural Effects Gain some memories of person, get -3 difficulty on next persona draw involving any one o f the person’s persona qualities

Ears

Gain a few auditory memories, get -3 difficulty on next important hearing card draw

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&taRita% The return to consciousness is hard. There’s a knot o f discontent inside me, a pain without a name. Ifeel the dark waters o f the swamp around me,feeding me, protecting me, and unwillingly I rise toward the sugace of my mind. The swamp whispers inside o f me. It knows I’m here. -Black Orchid, Black Orchid #3, Es,

ly Neil Gaiman

N o t only are the guardians of Nature creatures o f flesh and blood, fur and bone, some of them are of wood and plant, flower and fruit. There are flora spirits, just as there are fauna spirits, and they too work in protecting the Natural Order. They are the Erdantians - vegetative manrtou - tree and plant totems that take over human hosts, transforming them into something of a human-plant hybrid race of creatures, though the hosts continue to look human except when they shapeshift. Vegetative totems are basically the same as animal totems, but they come fiom the Krdant Lands within the Astra, rather than from the Menagerie. They are ruled by the Therilians emissaries (and possibly avatars) of the World Tree. T h e Therilians are similar to the Totemic Lords that rule the animal totems. Their allies include the reclusive Eridi Ents.

may use the following details.

TOIT~R~: VOY~I~SN LaKing on non-human qualities. T h e manitou becomes somewhat otherworldly, takes less notice o f humans and animals, and seems very in touch with the plant life a l l around her. She begins to feel comfortable only when she is in natural surroundings and standing on the bare earth.

The Spread of Floralism Growing Effects: Vegetative manitou with human hosts will become more and more plant-like and otherworldly, though they will retain their basic anthropomorphic, human form for the most part. They do begin developing such weird traits as wooden fingernails, wooden teeth, nectar for sweat, sap for blood, wood grain pattern o n skin, leaves for hair, toes like roots, floral scents, tough barklike skin, and so on, (as appropriate for their totems.) Usually one trait per point in Floralism is appropriate. Decreasing Persona Qualities: Anything related to human society in any respect, Friendliness, Love of Humans or Animals (or particular humans or animals), and Protect Humans (or particular humans) (these qualities may not hav higher than I3 - current Floralism score) Increasing Persona Qualities: Love Trees and Plants, lgnore ffumans and Animals, Love of Nature, Uncomfortabk in urban and suhrban areas, Uninhibited, Patrent, Dlshke Humans, and Othernor& (For each point in Floralism above three, the vegetative manitou gains three points t o divide among the above persona qualities)

Vegetative manitou do not get the standard initial embodiments that animal manitou get. Instead, they get the following:

Innate Embodiments Ancestral MemoT. Just as with other manitou, the vegetative manitou possess a racial memory. It is described in separate section. Body Armor (I): T h e vegetative manitou takes one less point of damage from all physical attacks, except insidious attacks, after making the normal Resistance draw.

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Enhanced Memory (I): Just like the animal manitou’s enhanced memory. Heghtened Aspect Instincts + I , Dexterity +I (plant totems) or Strength +I (tree or fungus totems), Resilience + I Plant Supergrowth (I): T h e vegetative manitou can cause vegetative spirits to intensify the growth rate in one tree or small group o f plants to a supernaturally fast rate that is visible to the naked eye. T h e manitou could command a flower t o sprout from a bud, grow to maturity, bloom, then die within a matter of about ten seconds. T h e manitou could cause a tree to age at a rate o f one year per five seconds. It costs the manitou 2 animus to use this embodiment and a Presence (7) draw is required. Plant Mastevy (I): T h e vegetative manitou can cause vegetative lants within an area. T h e plants can or actions. Grass could trip up opponents. Branches can wrap around victims or pponents. All the leaves of a tree could fall to the ground all at once. es can entangle opponents. A vegetative manitou can cause all the plants within her line of sight to perform one type of action. The plants will continue performing that action until commanded t o stop or until the end of the scene. T h e plants cannot outright attack opponents, and commandes to fall on people is out of the question. It costs the manitou 2 animus to odiment and a Presence (8) draw

Rapid Healing (2):The vegetative manitou heals at four times the normal human healing rate against all forms of damage, including insidious and debilitating damage. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e manitou regains four points of Life per success. Debilitating damage can be healed at a rate of one point per success. While healing does not require any sort of special treatment, herbalism and medicines can reduce the healing difficulty. Sixth Sense jl/l/orldsght):This power allows the manitou to see all spirits present within the Reverie. It costs no animus and no draw is required to use this preternatura. Special Communication (Plant Talk) Vegetative manitou can communicate magickally with all plants and wakanda. They also know the manitou secret hieroglyphic language. It costs no animus and no draw is required to use this embodiment. In addition to their initial embodiments, other embodiments can be purchased for them lust like for manltou. However, their embodiments directly relate to plants rather than to

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1

Unlike animal manitou, vegetative manitou d o not gain any animus from food or sleep, even though their hosts d o typically eat and sleep. Instead, they regain animus through sunbathing. By taking in the light o f the sun, they replenish their partially vegetative bodies. Isolation from sunlight for extended periods of time (like six months) might kill vegetative manitou. They do, however, gain animus through communion with Nature.

Vegetative manitou can take on the forms of patches o f flowers, topiary-like shrubbery, small trees, or whatever else is appropriate for their totems in natural form. They can also take on partial plant forms, granting their anthropomorphic forms more plant-like aspects, such as denser wood-like flesh covered in bark, rapidly growing vines, spore weaponry, claws like carnivorous plants, body thorns, horns like thick branches, multiple limbs like tree limbs, and so on. T h e exact nature of what types of powers are gained depend upon the manitou's particular vegetative totem.

Tree Totems Persona: Patience 6, Infl Aspects: Instincts 6, Int Inspiration 5, Presence 5 Abilities: Athletics Modern Life 0, Natur Animus 16, Destiny 2

2 successes (Become an

Dex - I )

Floral Totems Persona: Patience 3, Flexible (willing to change) 4, Otherworldly 6 Aspects: Instincts 6, Intellect 6, Perception 6, Dexterity 9, Resilience 5, Strength 4, Inspiration 6, Presence 4, Spirit 5 Abilities: Athletics 0 Influence 2 (Romance 3), Martial Arts 0 (Grapple 5, Punch 3), Modern Life 0, Naturalism 5 (Herbalism 7), Supernatural 0 (Astral 5, Illumination 5) Embodiments: Body Armor ( I ) , Body Weaponry (I), Regeneration (3) Speed 5, Life 15, Animus 15, Destiny 2 Full Shapeshift: 2 successes (Become an actual immobile patch of plants, taking root in the ground) Partial Shapeshift: (Maximum aspect score through shapeshift is 12, while the minimum aspect score is I.) I Success (Body Weaponry [I]; Regeneration [I]; Dex +1) 2 Successes (Body Weaponry [I]; Entangle [I]; Regeneration [I]; Speed +I; Dex + I ) 3 Successes (Body Weaponry [I]; Entangle [I]; Regeneration [2];Speed +I; Dex +2, Str -1) 4 Successes (Body Weaponry [I]; Entangle [2];Extra Limbs [I]; Regeneration [2];Speed + I ; Dex +2, Str -I) 5+ Successes (Body Weaponry [2];Entangle [2];Extra Limbs [2];Regeneration [3]; Speed +1; Dex +3, Str -I)

Persona: Bizarre 6, Otherworldly 6 Aspects: Instincts 6, Intellect 6, Perception 5, Dexterity 6, Resilience 6, Strength 6, Inspiration 7, Presence 4, Spirit 4 Abilities: Athletics 0 Influence 2, Martial Arts 0 (Grapple 5), Modern Life 0, Naturalism 5 (Herbalism 8 ) Supernatural 0 (Astral 5, Illumination 6) Embodiments: Body Weaponry (I), Cause Insanity (2), Gas Attadc (,,,see below), Regeneration ( 3 ) Speed 3, Life 16, Animus 15, Destiny 2

Full Shapeshift: 2 successes (Become an actual immobile patch of fungi, taking root in the ground) Partial Shapeshift: (Maximum aspect score through shapeshift is 12, while the minimum aspect score is I.) I Success (Body Weaponry [I]; Regeneration [I]; Res +I) 2 Successes (Body Weaponry [I]; Gas Attack ?see below); Regeneration [I]; Res

+I> 3 Successes (Body Weaponry [I]; Evoke Insanity [I]; Gas Attack ?see below); Regeneration [I]; Res +I) 4 Successes (Body Weaponry [I]; Evoke Insanity [I]; Gas Attack p s e e below); Regeneration [2]; Insp +I, Res +2) 5+ Successes (Body Weaponry [I]; Evoke Insanity [2]; Gas Attack p s e e below); Regeneration [3]; Insp +2, Res +2) Gas Attacks:

* Attack inflicts 3 (I 0 - Accuracy) + I insidious damage./ Range of 5/10/15 yards. ** Attack inflicts 5 (IO - Accuracy) +I insidious damage./ Range of 7 / 15/25 yards. *** Attack inflicts 7 ( I O - Accuracy) +I insidious damage./ Range of 10/20/30 yards.

Spirits 0-j f l a m y c

I

akanda are Jirits of

Instincts 6

Abilities Athletics

Intellect 3 Perception 5 Dexterity 9

Acrobatics 6, Fly Criminal 0 Humanities 0 Influence 0

7)

Martial Arts 0 are countless varieties of them, including plant totems, season spirits, weather spirits,

Strength 3 Inspiration 6

moon spirits, sun spirits, celestial spirits, et al. T h e best know, however. are animal ~~, ~~~~~.~ Presence totems. Here are a fi:w of the betteriyL., ,.-anda. T h e entries proSpirit 6 tnn..nl c nf .mL ~

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vided do not accurately represent all spirits of their own kind, as spirits vary in power level and description, but they do represent most average spirits of their kind.

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Speed 5, Life 14, Animus 18, Destiny IO, Backlash 5 Persona: Mysterious 3, Aggressive 3, Love of causing storms 6, Hyperactive 5, Impulsive 4, Serve Oren& 6 Numina (spirit powers): Flight ( 3 ) - T h e stormspirit can fly at speeds up to three hundred miles per hour. T h e stormspirit can also levitate in one spot or float about slowly. Heghtened Grace (2) -The stormspirit can move with a superhuman fluidity and grace that forces mortals to pay attention t o her. T h e stormspirit retains perfect balance even on tightropes, though a Dexterity (8) draw is required. Lightning Bolt - T h e stormspirit can summon a lightning bolt from the sky or project one from its own body. A Dexterity (I I - Accuracy) is required t o hit the tar-

I

Within the Reverie, splrlts are visible, and none are ever more visible than the spirits of storms. These creatures are spectral anthropomorphic shapes seen within storm clouds. They are translucent electric blue and flow in size and shape as they soar about in frenzy within their storms. N o t all storms seem to have these spirits, but they always accompany the most wicked of storms, hurling lightning bolts down upon the earth. They screech, wail, and moan sounds audible only in the Reverie, generating nervousness in most people who hear them. Storm spirits may be summoned through magi& and certain preternaturae. Typically they appear in threes, except within full-fledged storms, in which case as many as twenty are sometimes all visible at once. Storm spirits serving eldritch or magicians are able to remain o n earth for only an hour at the most. When they are n o longer needed 01can bear it n o longer they fade back totally into the Reverie. Storm spirits Cannot be harmed physically, except possibly by magickal or empowered weapons. They can produce lightning bolts, winds, storm clouds, rolling thunder, rain, 2nd hail. It 1s said that many Storm spirits acting together produce t ~ m d o e ~

and hurricanes.

7

Melee 0 Modern Life 0 (Alertness 4) Naturalism 0 Science 0 Supernatural I (Astral 6, Illumination 4, Intuition 3)

get. T h e damage caused is 3 points, plus one point per success. It costs I animus to use this gift. Regeneration (I) - T h e stormspirit has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e spirit can recover from norm d damage at a rate of one Life point per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 3 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the spirit acts during that turn or not.

Book of the Spirits @ Page I47

t costs the stormspirit o n e animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned o n and off like other powers. Summon Thunderstorm -The stormspirit can affect the weather, causing heavy rain, dark clouds, terrible thunder, and tremendous lightning. Each time 2 animus points are spent an Inspiration (6) draw is made. For each success, the weather alters to some degree. It takes anywhere from 3 to 9 successes to create a harsh storm, depending on the current condition of the weather (9 successes if it is a bright, cloudless day, 3 successes if there are dark clouds and it is already raining.) T h e storm affects a five-mile radius, but for each success over what is needed, the storms radius increases by five more miles. T h e storm may last for several scenes. Windblast - T h e stormspirit can create strong winds capable of tossing about people and heavy objects. T h e winds have a Strength of 6 and can be used to pick up and sling people and objects. T h e winds may not be used for fine work, such as turning door knobs, but can be used for brute effects, like bashing down doors. If used as an attack, a Dexterity (10 - Accuracy) draw must be made. T h e base damage is 3 points, plus one point for every two targeting successes (round down.) It costs 5 animus to activate this power for one full combat cycle; it may be used on every turn the spirit may act without further animus cost. It may be maintained for one additional combat cycle for every additional animus point spent.

This filgur cannot communicate with anunaki. It can, however, communicate with living wolves. It takes the form of a normal wolf that is occasionally seen in the shadows or out of the corner of the eye by its current anunaku.

ilgur are spirits that serve the manitou as guardians over future hosts. Filgurs are not as powerful as true totems, but they are capable of defending anunaki (future manitou hosts) from most mundane attackers and similar threats. T h e fdgurs are invisible and intangible normally, but may be seen in the deeper levels of the Reverie in the same animal forms as their totemic masters. However, small filgurs (squirrels, weasels, etc.) can enlarge many times their normal size when necessary. Filgur can manifest themselves visibly and tangibly in the real world when their wards are in dire need. Filgur are immortal spirits and if they are killed they simply re-coalesce in the astral Menagerie over a few days, sometimes longer. If they are killed by leviathans, abominations, or other Unnaturals they may die permanent deaths. Filgur usually possess a few preternaturae that aid them in their guardianship, Filgur are capable of communicating with manitou telepathically and possess powerful senses. They innately know the exact locations of their wards and their masters at all times. They can through the Astra to negate travel time, much like deporting, but it is a very draining act that leaves them too weak to make the trip twice or even to defend themselves.

Aspects Instincts 5 Intellect 3 Perception 5 Dexterity 5 Resilience 4 Strength 3 Inspiration 4 Presence 4 Spirit 3

Persona: Mysterious 4, Cunning 2, Predatory 4, Protective of Anunaku 7, Loyal to Manitou 6, Loyal to Totem Lords 7 Speed 3, Life I I , Animus 12, Destiny 5, Backlash 2 Totemic Powers: Body Weaponry (I) - T h e filgur has claws and fangs, which provide it with an attack that causes attack successes plus (Strength/2 -3) in debilitating damage. Enhanced Senses (I) - T h e filgur's five senses are superior to human senses. Through this power, the senses double in sensitivity, in of spectrum width and range. T h e totem is at -I on all its difficulties for card draws involving sight, sound, smell, or taste. This power is always on and is not turned o n and off like other powers. Invisibility (2) - T h e filgur can turn invisible. When the filgur moves about, other eldritch might notice it, if looking directly at it. Direct observers may make a Perception (I 1 Alertness) draw to spot the filgur. If the filgur becomes spotted, the spotter will see the filgur

THEEVERLASTING Page I48 *

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i

a

Abilities Athletics 3 Criminal 0 (Stealth 4) Humanities 0 Influence 0 Martial Arts 0 (Bite 4, Evasion 4) Melee 0 Modern Life 0 Naturalism 0 (Hunt 5) Science 0 Supernatural 0 (Astral 4, Illumination 5, Intuition 4)

"

until it stops moving a n d may attack the filgur normally until that time. T h e filgur is invisible to thermal and ultraviolet vision, and any sound it makes will not be heard. T h e filgur does not leave any visible footprints, but other eldritch with the appropriate preternaturae might still sense it through its presence, aura, and thoughts. A spirit (6) is required to become invisible. It costs 3 animus to activate this power. Regeneration (2) -The filgur has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e filgur can recover from normal damage at a rate of two Life point per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 2 minutes, per wound. Healing occurs during the tenth turn o f the combat cycle, whether the spirit acts during - that turn or not. It costs the filgur one animus per five Life points regained and a minimum of one animus. Regeneration is automat is not turned o n and off like other k i o n Powers (I) - The filgur has

T h e raven is a spirit that represents wisdom, insight and sometimes death or trickery. The raven is a mysterious entity which can sometimes be spotted sitting in a tree watching those who travel the Astra, looking at the travelers as if it knows some-

they do not. R~~~~can take the form of a handsome, dark-skinned man with black hair and black eyes, dressed in a robe of raven-black. Raven has many names, bui prefers to be called raven. T h e spirit can sometimes lead travelers to safety. . or into harm’s way. Raven knows many secrets, but receiving his wisdom comes at a high cost.

.

draw Out lots Of information. The totem sares at rhe victim’ and the thoughts are simplY drawn Out without the even it. For each the totem gets On a Presence (9) intended victims Presence (8) draw, one bit of information becomes known. This power costs three animus per use. Invisibility (2) -The totem can turn invisible. When the totem moves about, ht notice it, if looking t observers may make a

em is invisible to

ed to become invisible. It costs to detect the heat patt even in pitch darkness on two different physical forms, they are its animalform and its humanform. T h e one animus to use animus to switch from one form to er. Other eldritch can make

Spirit 6

Illumination Intuition 6)

nimal totems are spirits that represent I

animals. For instance, a tiger totem is a spiritual representation of all tigers, while a bear totem is a spiritual representation of all bears. Some animals totems represent individual subraces of animals, such as a Siberian tigers or grizzly bears. Anima1 totems are highly instinctual and fully sentient, yet they are alien in that they think like intelligent animals, not like humans. They concern themselves solely with the affairs o f animals and usually roam the Menagerie, living like the animals they represent, even going so far as to hunt totems representing their natural prey

Persona: Mysterious

7,

4,Speak in riddles

3, Cunning 2, Suspicious 3, Prankster 2 Speed 3, Life I I, Animus 17, Destiny 15, Backlash 5 Totemic Powers:

Body fiaponry (I) - T h e totem has claws and fangs, which provide it with an attack that causes attack successes plus [Strength/2 - 3 ) in debilitating damage. Enhanced Senses (I) - T h e totem’s five senses are superior to human senses. Through this power, the senses double in sensitivity, in of spectrum width and range. T h e totem is at -I on all its difficulties for card draws involving sight, sound, smell, Or taste. This power is always on and is not turned on and off like other powers.

cesses, the totem’s animal form is seen only briefly or in flashes, while for 3 or more successes, it is viewed continuously. Regeneration (2) - T h e totem has the power to regenerate lost body parts and heal at a rate vastly superior t o normal humans. T h e totem can recover from normal damage at a rate of two Life points per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 2 minutes, per wound. Healing occurs during the tenth turn of the combar cycle, whether the spirit acts during that turn or not. It costs the totem one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers.

Wings (2) -The totem has feathered wings and can fly at speeds up to 60 miles per hour. It costs 2 animus to use the wings for up to the remainder of the scene, plus two animus per additional scene of flying.

1

I

Abominations - "They are the greatests threat to the Earth, and we are the only ones with the will and way to stop them. We must defeat them or die trying." Angels - "They serve the same as we do, though more directly. Unfortunately, . they . :ing - humanity, the only naturally evil species o n the planet." Daevas - "Very human. Very dangerous. Beware of them, they do not understand our ways." Dead Souls - "Some things are beyond our understanding." Demons - "The threat they pose is not near that posed by the abominations." Djinn - "They are monstrous, pleasureaddicted fools. Destroy them if they get in your way."

THEEVERLASTING Page 150

Dragon - "Respect them, honor them, and listen to their words of wisdom, but their rage. Their plan for vengeance is futile. They were once much wiser than they are now. We will not allow another Cataclysm." Dwarves - "They are not totally useless or vile like humans." Elves - "While they seem very human in some ways. They are an ancient people with a true respect for the Natural Order. They are often our allies." Faerie - "We do not understand them or their world, but we know that they steal from our world and must be stopped." Gargoyles - "They are pathetic creatures. They have no value and are constant reminders of humanity's stupidity and hubris." Ghuls - "They are best avoided, Ghuls have found their place within the Natural Order, yet most are still wretched and foul." Orcs - "Useless pawns of demons. These foul defilers are almost as easily gutted as humans." Osirians - "Of all the human eldritch, they are most like us. They are our human twins, as they serve Orenda in their own way, maintaining perfect symmetry in the cosmos.

They are valued allies, but they are the protectors of humans, not animals.'' T h e Possessed - "They are much like us in that they move from host t o host, but we have nothing else in common with these atrocious unnaturals. Kill their hosts whenever you can." Questers - "They are pitiful creatures, but many are pure ones even though they confuse things through their defining the world in of good and evil." Revenants - "These creatures o f death are unnatural. Destroy them whenever the opportunity arises." Vampires - "They live in an unnatural state, killing as much for pleasure as for necessity." Wer - "They are filthy, diseased creatures who represent the worst traits in both humans and animals. They are our opposites in most every respect. Avoid them or kill them, just be carefil when near them." Minions - "Pure ones, stormwalkers, and filgurs must be treated with honor and respect. We must never send them t o their destruction for personal reasons. , they serve Orenda, not us."

. . . I will notgo out again. Not unti2 the bad, craqfourth world has been swept away and the human beings respect us and are sensible again. None ofyw have been outside. You don’t know how it is. It makes me sick. The human beings in thefourth world are cruel and unnatural. - Coyote-Old-Man, Ghostdancinf # 1 (First Tremor)

anitou are interesting immortals with a verv J

’

unique perspective o n everything. There is a lot of potential for inner conflict, as well as plenty of epic external conflict. For those interested in roleplaying or guiding these spirit warrior-guardians of Nature, the following sections provide some guidelines and advice.

Initial manitou characters may be created in the same manner described in the orientation, with the following changes. Anunaku (future hosts) may be created using the mortal character creation guidelines in chapter I I. Whenever a manitou is killed and the totem is released to a new host, use the guidelines provided specifically for this action included in a later section. Here are the guideline modifications for initial character creation.

Choose a Totem You can choose any of the totems described, or you can come up with your own. Note that few insects are available as totems and domesticated animals should also be avoided as totems. Note the initial modifiers for the character’s aspects and persona listed for the totems described in this chapter, as they should be applied. These modjfiers do not allow aspects to go byond a score o f six, the initial limit.

shapeshift score of 3. Additional h e l s cost 7 experience points times the manitou’s current shaped$ score, Each time a new host is possessed, the score goes back down to 3 and must be raised again. During character creation, a participant may choose to spend creation points, set aside for preternaturae and magick, to purchase additional points in shapeshift. Each additional point garned in shapeshgt during protagonist creation costs I O creation points

Animalism as Torment List Animalism as the torment o f the manitou. It has a starting score of three. Manitou are combination animal spirits and human hosts, making their lives a precarious balance. While the totem provides animal wisdom, instincts, and preternaturae without taking control o f the host’s mind, the host may begin losing her humanity, becoming more like the totem. Should the host become comP1etelY the

become a lnStinctual animal trapped in human form. Predatory manitou will begin preying upon humans for food, while others may just escape into the forests, living out their hosts’ lives among the creatures of the wild. It is human intelligence, ethics, and understanding of human society that provides the

with the BY becoming

she

to

the tou can no longer fulfill her duties as a defender of Nature.

Sources of Sustenance T h e following forms of sustenance can use to replenish a manitou’s animus spent using magick and preternaturae, as well as the three animus points normally lost each day: They are: Sleep Regain I animus per four hours of sleep Totem diet Regain I animus per meal (up to 3 meals per day). Must eat what totem animal would eat (raw meat, rodents, insects, leaves or anything else appropriate.) Communion with Nature Regain I animus for each success on an Inspiration (I2 Naturalism) draw, make one draw per hour of meditation.

Manitou Backlash Manitou gain backlash points whenever they intentionally oppose or harm Nature, or neglect their sacred duties to the Natural Order

Manitou Injury and Death .%@r debilitating woundsfrom - All supernatural attacks that specifically state that they cause debilitating damage; Attacks by empowered weapons; Plus fire and intense cold Brought to true death by - Any attack that brings the damage suffered to twice the manitou’s life score kills the host. It is believed that totems can only be permanently destroyed by their Totemic Lords and by powerful abominations, such as the leviathans.

Innate Embodiments Manltou possess their memory, described in an earlier Section along with the following preternaturae, which manitou

call Embodiments, Enhanced Memory(1) -The manitou has an incredible memory that IS even more detailed and accurate than an eidetic memory. Her memory allows her to instantly recall all major events in her current and past lives with perfect clarity; looking through her mind’s eye she can perceive the events as if she were there. T h e manitou can see, hear, smell, and feel every little detail and everyone’s exact words, actions, and appearances. Her memories may still be altered somewhat by her subconscious mind to suit her personal idea of what happened, but less so than the subconscious mind affects human memories. Enhanced Senses (2) - T h e manitou’s five senses are superior to human senses. T h e senses are double in sensitiviq in of spectrum width and range. T h e manitou can see clearly in near darkness, hear a pin drop at 50 feet, and smell a person’s scent. T h e manitou is at -2 on all her difficulties for card draws involving her senses. This power is always on and is not turned on and off like other powers. Normal Perception card draws are required.

Buddy drinks in the clear, cold air and savors the eagk? sense of exhilaration, as thermal currents balance him against theforce $gravity. W t h the ea&? keen pya, Buddy looks toward the horizon, gazing at the curve o f the earth as it meets the sky. Buddy closes his pyes and reaches into the red, sl$ping past the illus o y bounday between the world and h i m e 4 - Animal M a n #82, Weekend Safari

Heightened Aspect - Dexterity + I , Instincts +2, Resilience +I Rapid Healing (I) -The manitou heals at

twice the normal human healing rate against all forms o f damage, including insidious and debilitating. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. The manitou regains two points of Life per success. Debilitating damage can be healed at a rate of one point per success. While healing does not require any sort of special treatment, herbalism and medicines can reduce the healing difficulty. Sixth Sense jWorldsight) - Allows the manitou to see all spirits present within the Reverie. It costs no animus and n o draw is required to use this preternaturae. Special Communication (Beastspeak) Manitou can communicate magickally with all animals and wakanda. They also know their own secret hieroglyphic language. It costs no animus and no draw is required to use this embodiment. Manitou preternaturae are called Embodiments. New hosts should learn about manitou embodiments gradually, rather than simply understand them all immediately after thejommng. This is left to storytelling more than it is to system mechanics. In addition, any embodiments purchased through experience points are carried over by the totem to its future hosts, but the new host will not be able to use all the embodiments immediately; it may take anywhere from a few weeks to a few

Beast Lord Total Cost: 30 Effects: This embodiment causes all animals near the manitou to look to her with respect and servitude. T h e manitou can compel animals to behave however she wishes them to, even issuing them commands in the language o f the animals. Animals loyal to humans, or to other supernatural forces, may resist the command. All animals receive a Spirit (IO Loyalty or other significant quality) versus the manitou's Presence (8). I t costs the manitou 2 animus to initiate this personal effect, but it lasts for the remainder o f the scene.

Cry of the Wild Total Cost: 20 Effects: This embodiment allows the manitou to bellow out an animal cry with such supernatural power that it summons all animals within the area to her. T h e animals will be inclined to help the manitou (particularly her totem animal,) but unless she also has the Beast Lord embodiment, the animals do not have to aid the manitou. T h e effective range is roughly one mile, but this can vary depending upon how far the manitou's voice can carry. I t costs I animus to use this embodiment. A Presence (IO) draw is required. Frenzy of the Predator Total Cost: 30 Effects: This embodiment produces an adrenal surge within the manitou, enhancing her physical aspects. A Spirit (12 Focus) draw must be made. For each success, the manitou gains + I Strength or + I Resilience for as long as needed, but no longer than one scene. In addition, the manitou becomes far more bestial during this time; if the totem animal is carnivorous, she will most likely try t o

ment costs 3 animus. No aspect can be raised beyond I 2 through this embodiment and it cannot be used while shapeshifted. This power may kick in automatically if the manitou falls into a berserker rage, though it will still cost her the normal 3 animus required to use this embodiment.

Good Birth Total Cost: 30 Effects: This embodiment allows the manitou t o ensure that an unborn child (or children) will be born healthy and that the mother will not suffer any adverse affects from the birth. T h e manitou merely touches the area of the womb and concentrates upon it, connecting it with the Spirit World, and summoning fecund spirits. T h e child will gain + I to all its aspects, will automatically be "illuminated to the Secret World, and will have a protective filgur with it throughout life (which will also serve as an "imaginary friend throughout childhood.) It costs 6 animus and 5 destiny points to use this embodiment. Healing Spirits Total Cost: 30 Effects: This embodiment allows the manitou to heal non-debilitating damage at a rate of one point per success and debilitating wounds at a rate of one point per three successes (round up). T h e draw is Spirit (10 - Medicine.) The manitou may only use this embodiment upon a particular wound once; additional uses have no effect. It costs the manitou 2 animus to use this embodiment. The manitou heals the wound by summoning healing spirits that invisibly bind the wound. Only a few eldritch and fantasts can see the spirits. Predator's Gaze Total Cost: 25 Effects: The manitou can evoke terror within a subject simply by looking into her eyes. A Presence (8 - Intimidate) versus the subject's Spirit (IO - Courage or similar quality) draw is made. For each success the manitou achieves over the subject, the subject gains +2 points in the persona quality Cownrdice, directed against the manitou, for the remainder of the scene. This embodiment can cause the subject to flee or cower in abject terror before the manitou. It costs 1 animus t o use this embodiment.

Seed of Life Total Cost: 30 Effects: This embodiment allows the manitou to impregnate a female subject simply by looking into her eyes and touching her stomach. A child, with the mother’s same genetic makeup slightly altered by spirits, will be born after the normal gestation period. It costs 7 animus and 5 destiny points to use this embodiment. Spirit Voice Total Cost: 30 Effects: This embodiment allows the manitou to communicate with other beings within the Astra and upon Earth simultaneously, regardless of whether the manitou is in the Astra or on Earth herself A Presence (6) draw must be made to use this embodiment. It costs 2 animus and the effects last for the remainder of the scene. T h e manitou must communicate with those within the other realm mentally, without speaking, though those within the other realm will hear the manitou’s disembodied audible voice. T h e manitou must concentrate on communicating with those within the other realm, and must close her eyes and visualize communicating with them when doing so. Spirits of the Hunt Total Cost: 40 Effects: This embodiment allows the manitou to summon powerful war-spirits to fight for her. T h e spirits are intangible and cannot be harmed by those they attack. T h e manitou must make a Presence (IO - current predation, hate, or otherwise aggressive persona quality) draw. For each success, the spirits cause 2 points of debilitating damage, plus an additional +2 debilitating damage. T h e spirits will fight for 2 turns (in which the manitou may act) before leaving, but may be kept around for one additional turn for each additional animus point spent. T h e victim looks as though she is wrapped in swirling, glowing energy patterns. Occasionally a spectral claw or animal head will form in the energy and attack the victim. T h e manitou must have her intended victim within her line of sight. It costs 3 animus to use this embodiment. Spiritual Connection Total cost: 20 Effects: This embodiment allows the manitou to commune directly with spirits within any of the Sacred Lands. This takes the form of mental imagery and telepathy. T h e manitou must concentrate upon communicating with the spirit. T h e spirit may refuse to communicate, if it does not wish to do so. An Intellect (9) draw must be made t o establish communication. Communication may last until broken, but no longer than one scene. It costs I animus t o use this embodiment. Stalker’s Form Total Cost: 25 Effects: This embodiment grants the manitou a chameleon power, which allows her to blend into the environment easily, making it hard for others to spot her. An Instincts (9 Stealth) draw may be made in contesting any Perception draw made by someone trying to spot the manitou. In addition, the manitou cannot be spotted unless moving rapidly or unless someone is actively looking for the manitou. Summon the Wild Total Cost: 25 Effects: T h e manitou can look deep into the eyes of a human and evoke wild animalistic behavior in her. A Presence (8) draw versus the subject’s Intellect (9) is made. For each success the manitou achieves over the subject, the subject gains +2 points in Animalism (a persona quality just like the manitou’s torment) for the remainder of the scene. This embodiment costs 2 animus to use.

Book of the Spirits Q Page IS

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When determining a new host‘s aspects, use the character creation system for mortals. W h e n the human becomes enspirited, add the totem’s aspects and the host’s aspects then divide by two, rounding down. T h e result becomes the aspect scores for the new manitou. Persona qualities for the totem and the host are handled the same way. If one does not have the persona quality listed for the other, then half the persona quality score (round down) and use that as the manitou’s score in that quality. A totem’s abilities, except for shapeshift, carry directly over to the new host at the same score they are for the totem, and embodiments carry over at the same power level. If the host’s score in an ability is higher than the totem’s score, use the host’s score instead. The shapeshift score is always 3 after possessing a new host, and it can be raised normally through experience points. Any reasonable Distinctions also carry over, such as Eldritch Ties and Biography, plus Resources and Servitors - if planned for in advance. Temporal Ties, Physique, and even Supernature will not likely carry over.

The stranger walks out into the prairie, looks all around, then bends down on his knees and sings: Bonheur, Manselk, bon, bon, b o d Bonheur, Manselk, Cest bon, bon, bon! Quick as a wink, shoom! The man was changed into a big black bull. -JJ Reneaux, lean Malin and the Bull-Man T h e following animal-specific inheritances may be gained from the different totems: Adaptation (I) - T h e manitou’s body is well adapted to one chosen climate that is normally considered hostile to human life, such as the deep desert or the polar icecaps. T h e manitou can breathe normally in the environment and her senses are adapted to it. T h e manitou’s Survival score is at +2 in this environment. T h e manitou has +2 Resilience against weather effects common t o her environment, such as strong winds, bursts of heat, and so on. Adaptation (2) -The manitou’s body is well adapted to one chosen climate that cannot normally human life, such as the ocean depths or underground environments completely cut off from the surface world. Her breathing is adapted to suit both the normal human environment and that of the particular climate you choose. T h e manitou’s senses are adapted to it and suffer no penalties. Her Survival score is at +2 in this environment. The manitou has +2 Resilience against any common climate effects like those within her environment. Alternate Sight (I) -The manitou has an additional sense that serves as an improved form of alternate “sight.” This sense does not require her eyes, or even a source of light, t o provide the manitou with visual images as if it were perfect daylight. T h e sense does, however, require some activity on the manitou’s part in order to function, be it humming (for active sonar), concentration (for radar), or the emergence of some concealable sensory organ (such as a third eye.) T h e Alternate Sight cannot be used t o read or denote color, since it just defines shapes and distances. T h e range and width of the manitou’s sensory perception is the same as it is for her normal vision. Perception and Inspiration are used in conjunction with this sense in the same manner they are used with normal sight. Body Armor (1) - T h e manitou suffers one less points of damage from all physical attacks, except Insidious Attadcs (see Insidious Attack described below for more details), after a Resistance draw is made. Body Armor (2) - Same as the basic embodiment, except the manitou suffers 2 less points of damage. Body Armor (3) - Same as the basic embodiment, except the manitou suffers 3 less points of damage. Body Armor (4) - Same as the basic embodiment, except the manitou suffers 4 less points of damage.

weaponry, which may be concealed normally. It may be horns, antlers, fangs, tusks, claws, talons, beaks, and so on. T h e manitou’s body weaponry provides her with a (Strength/2) -3 attack that causes debilitating damage. Body Weaponry (2) - T h e manitou has body weaponry as described above, except that it provides her with a (Strength/2) -I attack that causes debilitating damage. Body Weaponry (3) -The manitou has body weaponry as described in the basic power section, except that it provides her with a (Strength/2) +I attack that causes debilitating damage. Clinging ( I ) -The manitou has the power t o cling and climb upon dry walls with ease, requiring no card draw. A card draw is required whenever any dangerous stunts are attempted, whenever suspended upside down, and whenever the surface is slippery. A Dexterity (8 - Climbing) draw is required for certain instances and it costs 2 animus t o use this power. Enhanced Senses (I) -The manitou’s five senses are superior to human senses. Through this embodiment, the senses double in sensitivity, in of spectrum width and range, The manitou is at -I on all her difficulties for card draws involving sight, sound, smell, or taste. This power is always o n and is not turned on and off like other powers. Enhanced Senses (2) - As above, but -2 difficulty. Enhanced Senses (3) - As above, but -3 difficulty. Enhanced Senses (4) - As above, but -4 difficulty. Evoke Insanity (1) -The manitou has the power to evoke temporary insanity wrthin a subject. T h e manitou can only induce one type of dementia (compulsions, phobias, manias, etc.), or insanities related to only one particular thing (death, heights, snakes, etc.). T h e subject gains a persona quality in that particular form o f dementia, and, for each success the manitou achieves, the quality’s score increases by I point (maximum score of 12.) T h e effects wear off at a rate of one point per five minutes. All remaining effects wear off after the end of the scene. A Spirit (7) versus the subject’s Spirit (9) draw is required and it costs I animus to use this embodiment. Evoke Insanity (2) - Same as for the basic effects, except that each success the manitou achieves, the quality’s score increases by 2 points (maximum score of 12.) T h e effects wear off at a rate of one point per fifteen minutes. A Spirit (7) versus the subject’s Spirit (9) draw is required and it costs 2 animus to use this embodiment. Extra Animus (variable) -The manitou has 5 additional animus points per level in Extra Animus. This increase in animus score does not affect any of the aspects on which the score is based. Extra Life (variable) -The manitou has 5 additional life points per level in Extra Life. This increase in life score does not affect any of the aspects on which the score is based.

Book of the Spirits @ Page I55

,

onds. A Dexterity (10 - Acrobatics) draw maybe for aerial power t o ride thermals (if present), allowing her to rise back up

Regeneration (1) - T h e manitou has the power to regenerate humans. T h e manitou can recover from normal damage at a rate

such as swooping or sharp turns. T h e manitou has the power to ride thermals (if present), allowing her t o rise back up into the air by making a Dexterity (7 - Acrobatics) draw, rising her elevation by five feet per success. Hidden Knowledge (2) -The manitou can look into mind of a mortal or spirit and draw out lots of information. T h e manitou stares at the victim, and the victims thoughts are simply drawn out without the victim even realizing it. For each success the manitou gets on a Presence (9) versus intended victims Presence (8) draw, one bit of information becomes known. This power costs three ani-

cycle, whether the spirit acts during that turn or not. It costs the manitou one animus per five Life points regained and a ininimum of one animus. Regeneration is automatic and is not turned on and off like other powers. Regeneration (2) - T h e manitou has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e manitou can recover from normal damage at a rate of two Life points per combat cycle, per wound, and from debilitating damage at a rate o f one Life point per 2 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the spirit acts during that turn or not. It costs the manitou one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other

Insidious Attack (I) - T h e manitou has the power to cause insidious damage to a subject through a venomous bite. This attack, if a bite is successful, causes three points of insidious damage, plus one per success on a 6 (9) draw versus the subject’s Resilience (9) draw. Like all forms o f insidious attack, Resilience and

venom prevents the damage. It costs no animus to USE this power. Invisibility (2) - T h e manitou can turn invisible. When the manitou moves about, other eldritch might notice her, if looking directly at her. Direct observers may make a Perception (I 1 - Alertness) draw to spot the manitou. If the manitou becomes spotted, the spotter will see the manitou until she stops moving and may attack the manitou normally until that time. The manitou is invisible to thermal and ultraviolet vision, and any sound she makes will not be heard. The manitou does not leave any visible footprints, but other eldritch with the appropriate preternaturae might still sense her through her presence, aura, and thoughts. A spirit (6) is required to become invisible. It costs 3 animus to activate this embodiment. Multiple Forms (1) - T h e manitou can take on two different physical forms, usually these are its animalform and its humanform. (The two forms must be chosen when this embodiment is taken.) T h e manitou prefers its natural, animal form. It costs I animus to switch from one form to the other. Other eldritch can make

E

body parts and heal at a rate vastly superior t o normal humans. T h e manitou can recover from normal damage at

whether the spirit acts during that turn or not. It costs the manitou one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers. Vision Powers - Ultravision: Ultravision allows the manitou to see as well at night as during the day, provided even the smallest amount o f ultraviolet light is provided; even a single star’s light on a dark, clouded night will provide enough UV light. Vision Powers - Itfraviston: Thermal vision allows the manitou to detect the heat patterns of creatures, even in pitch darkness. A subject’s heat pattern glows against the cooler background and her shape may be made out. Vision Powers - Tekscopir Ksron: Telescopic sight allows the manitou to see at 20 feet what most people see a t 100 feet.

EVERLASTING @ Page I56

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Web-Spinning (I) - T h e manitou has the power to produce a spidery, web-like substance, or any other type of entrapment material, from her body. T h e manitou can use this as a form of bonds that have Resilience 6 and Life 4. For each success the manitou achieves, the bonds gain + I Resilience and +I Life. T h e range for this is 15 yards. The manitou can "spin webs" from the substance covering a five foot by five foot area for each animus spent. T h e manitou can also use the webbing as rope for the purpose of binding things or for use in climbing. It costs three animus for creating bonds out of webbing and various amounts (two to seven) for entire webs depending on size and complexity. A Dexterity (IO) draw is required to spin a web or other trap-like area. A Dexterity (IO - Accuracy) draw is required to hit a target with webbing. Successes determine the web's resilience and life. Wings (I) -The manitou can sprout wings which allow her to fly at speeds of up to 45 miles per hour. A Dexterity ( I O Acrobatics) draw may be required for aerial maneuvers. It costs 2 animus to use the wings for up to the remainder of the scene, plus two animus per additional scene of flying. Wings (2) - T h e manitou can sprout wings which allow her to fly at speeds of up to 75 miles per hour. A Dexterity (10 Acrobatics) draw may be required for aerial maneuvers. It costs 2 animus to use the wings for up t o the remainder of the scene, plus two animus per additional scene of flying. Wings (3) - The manitou can sprout wings which allow her to fly at speeds of up to I25 miles per hour. A Dexterity (IO Acrobatics) draw may be required for aerial maneuvers. It costs 2 animus to use the wings for up t o the remainder of the scene, plus two animus per additional scene of flying.

On daze, like this I n times like these Ifeel an animal deep inside Heel to haunch on bended knees - The Sisters of Mercy, This Corrosion Here are some possible totem spirits.

Alligator Totem Persona: Predatory 4, Protective 3, and Patient 3 Aspects: Instincts 5, Intellect 5, Perception 5, Dexterity 5, Resilience 8, Strength 7, Inspiration 5, Presence 5, Spirit 6 Abilities: Athletics 0 (Swim 3), Criminal 0 (Stealth 3), Influence 0 (Intimidate 3), Martial Arts 0 (Bite 6, Grapple S), Modern Life 0 (Alertness 2), Naturalism 0 (Hunt 5, Survival 6), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry ( 3 ) Speed 2, Life 21, Animus IS,Destiny 15, Backlash 5 Full Shapeshift: 2 successes (Become an actual alligator) Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Adaptation: water [2], Body Weaponry [I]; Inst + I , Res +I) 2 Successes (Adaptation: water [2], Body Weaponry Inst +I, Res +2) 3 Successes (Adaptation: water [2], Body Weaponry Inst +2, Res +2, Str + I ) 4 Successes (Adaptation: water [2], Body Weaponry Inst +2, Res +2, Str + I , Pres + I ) 5+ Successes (Adaptation: water [2], Body Weaponry [ 3 ] ; Inst +2, Res +3, Str +I, Pres + I )

Bat Totem Persona: Mysterious 2, Social-oriented 2, Aggressive 2, and Nocturnal 5 Aspects: Instincts 6, Intellect 4, Perception 7, Dexterity 8, Resilience 4, Strength 4, Inspiration 3, Presence 5, Spirit 5 Abilities: Athletics 0 (Acrobatics 3, Fly 4), Criminal 0 (Stealth 3), Influence 0 (Intimidate 2), Martial Arts (Bite 4, Evasion 2), Modern Life 0 (Alertness I), Naturalism 0 (Hunt 3, Orienteer 3, Survival 5, Track 2), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry (I), Alternate Sight (2) Wings (2) Speed 4, Life 13, Animus 13, Destiny 2 Full Shapeshift: 2 successes (Become an actual bat)

Book of the Spirits @ Page I57

imum aspect score through shapeshift is

12.)

2 Successes (Body Weaponry [I], Alternate Sight [2], Wings [I]; Inst +I, Per +I, Dex + I ) 3 Successes (Body Weaponry [I], Alternate Sight [2], Wings [I]; Inst +2, Per +I, Dex +2) 4 Successes (Body Weaponry [I], Alternate Sight [2], ings [I]; Inst +2, Per +I, Dex +2, Pres +I) 5+ Successes (Body Weaponry [I], Alternate Sight [2], Wings [2]; Inst +2, Per +2, Dex +2, Pres + I )

Persona: Calm 4, Aggressive 3, Solitary 4 Aspects: Instincts 5 , Intellect 4,Perception 3, Dexterity 4, Resilience 7, Strength IO, Inspiration 4, Presence 6, Spirit 4

Abilities: Athletics 0 (Climb 2, Run 3, Swim I), Criminal 0 (Stealth I), Influence 0 (Intimidate 4), Martial Arts 0 (Bite 4,

5+ Successes (Adaptation: water [I], Body Weaponry [2]; Inst +I, Per +I, Dex +2, Res +I, Str +I, Spir + I )

Bull Totem Persona: Aggressive 4, Sensual 4, Angry 3 Aspects: Instincts 5, Intellect 4, Perception 4,Dexterity 6, Resilience 7, Strength 9, Inspiration 5 , Presence 5, Spirit 4 Abilities: Athletics 0 (Run 4), Influence 0 (Intimidate 6), Martial Arts 0 (Bite 2, Evasion 2, Gore 5), Modern Life 0 (Alertness 2), Naturalism 0 (Survival 3), Supernatural 0 (Astral 5, Illumination 4,Intuition 2) Embodiments: Body Weaponry (3) Speed 3, Life 20, Animus 14, Destiny 2 Full Shapeshifi: 2 successes (Become an actual bull)

(Hunt 4, Survival 6, Track 3), Supernatural 0 (Astral 5, Illumination 4, Intuition 2)

11

ough shapeshift is 12.) 21; Inst +I, Res +I, Str +I) 1; Inst +I, Res +2, Str +2) 1; Insr +I, Res +2, Str +2,

3 successis

e an a

, Res +2, Str +3,

5+ Successes (Body Weaponry [I]; Inst +I,

Resilience 5, Stren

tial Arts 0 (Bite 3, Evasion 3, Grapple I), Modern Life 0 alism 0 (Hunt 3, Survival 6, Track I), a1 5, Illumination 4, Intuition 2)

2 successes (Become an actual beaver) (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Inst +I, Dex + I ) 2 Successes (Adaptation: water [I], Body Weaponry [I];

Inst +I, Dex +I, Spir + I ) 3 Successes (Adaptation: water [I], Body Weaponry [I]; Inst +2, Per +I, Dex + I , Spir +I)

THEEVERLASTING fD Page 158 0

Speed 3, Life 13, Animus 15, Destiny 2 Full Shapeshift: 2 successes (Become an actual coyote) Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Inst +I, Dex +I) 2 Successes (Body Weaponry [I]; Inst +I, Dex +I, Insp +I) 3 Successes (Body Weaponry [2]; Inst +I, Per +I, Dex +2, Insp +I) 4 Successes (Body Weaponry [2], Hidden Knowledge [2]; Inst +I, Per +I, Dex +2, Res + I , Insp + I ) 5+ Successes (Body Weaponry [2], Hidden Knowledge [2]; Inst +I, Per +I, Dex +2, Res +I, Insp +2)

Crow Totem Persona: Mysterious 4, Speak tn riddles 3, Cunning 2, Suspicious 3, Prankster 2 Aspects: Instincts 4, Intellect 7, Perception 6, Dexterity 7, Resilience 3, Strength 3, Inspiration 7, Presence 5, Spirit 6 Abilities: Athletics 0 (Acrobatics 3), Criminal 0 (Stealth 4), Influence 0 (Intimidate 3), Martial Arts 0 (Bite 3, Evasion 4), Modern Life 0 (Alertness 6), Naturalism 0 (Hunt 2, Orienteer 2, Survival 4),Supernatural 0 (Astral 6, Illumination 5, Intuition 2) Embodiments: Body Weaponry (I), Hidden Knowledge (2), Wings (2) Speed 4, Life I I, Animus 17, Destiny 2 Full Shapeshift: 2 successes (Become an actual raven) Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Inst + I , Dex +I) 2 Successes (Body Weaponry [2],Wings [I]; Inst +I, Per +I,

Dex + I ) 3 Successes (Body Weaponry [2], Wings [2]; Inst +I, Per +I, Dex +2, Insp +I) 4 Successes (Body Weaponry [3],Hidden Knowledge [2], Wings [2]; Inst + I , Per +2, Dex +2, Insp +I) 5+ Successes (Body Weaponry [3],Hidden Knowledge [2], Wings [2]; Inst + I , Per +2, Dex +2, Insp +I, Pres +I)

Persona: Adventurous 3, Predatory 5. Noble 2, Mysterious 2 Aspects: Instincts 5, Intellect 4, Perception 9, Dexterity 7, Resilience 4, Strength 4, Inspiratlon 3, Presence 7, Spirit 4

. Abilities: Athletics 0 (Acrobatics 5, Fly 5), Influence 0 (Intimidate 4), Martial Arts (Bite 3, Evasion 4, Punch 4), Modern Life 0 (Alertness 5), Naturalism 0 (Hunt 5, Orienteer 3, Survival 6), Supernatural 0 (Astral 5, Illumination 4, Intultion 2) Embodiments: Body Weaponry (2) Wings (3) Speed 4, Life 12, Animus 14, Destiny 2

Full Shapeshift: 2 successes (Become an actual eagle) Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Per +I, Dex +I) 2 Successes (Body Weaponry [ I ] , Vision Powers: Telescopic Vision [I], Wings [ I ] ; Per +2, Dex +I) 3 Successes (Body Weaponry [I], Vision Powers: Telescopic Vision [I], Wings [2]; Inst + I , Per +2, Dex +I, Pres +I) 4 Successes (Body Weaponry [2], Vision Powers: Telescopic Vision [I], Wings [3];Inst +I, Per +2, Dex +I, Pres +I) 5+ Successes (Body Weaponry [2],Vision Powers: Telescopic Vision [ I ] , Wings [3];Inst +I, Per +3, Dex +2, Pres + I )

Dolphin (Porpoise) Totem Persona: Playful 5, Peaceful 4, Happy 4 Aspects: Instincts 3, Intellect 7, Perception 6, Dexterity 7, Resilience 5, Strength 4, Inspiration 5, Presence 5, Spirit 5 Abilities: Athletics 0 (Acrobatics 2, Swim 8), Influence 0 (Intimidate 2), Martial Arts 0 (Bite 4, Block 3, Evasion 4), Modern Life 0 (Alertness 2), Naturalism 0 (Hunt 3, Orienteer 4, Survival 6, Track 2), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry (I) Speed 4,Life 14, Animus IS, Destiny 2 Full Shapeshift: 2 successes (Become an actual dolphin) Partial Shapeshifi:

3 Successes (Adaptation [2], B

Elephant Totem Persona: Aggressive 2, Loyalty 3, Outgoing 2 Aspects: Instincts 4, Intellect 4, Perception 4, Dexterity 3, Resilience 8, Strength 11, Inspiration 3, Presence 5, Spirit 4 Abilities: Athletics 0 (Run 3),Influence 0 (Intimidate 4), Martial Arts (Tusk Charge 5), Modern Life 0 (Alertness 2), Naturalism 0 (Orienteer 2, Survival 6), Supernatural 0 (Astral 5, Illurnnation 4, Intuition 2) Embodiments: Body Weaponry (3)

es (Become an actual elephant) ct score through shapeshift is 12.) Weaponry [I]; Str +2)

5+ Successes (Body Weaponry [3];Inst + I , Res +4,Str +3)

Book of the Spirits @ Page I5

Hawk Totem Persona: Noble 3, Calm 4, Aggressive I

Persona: Calm 2, Noble 4, Predatory 4, Mysterious I Aspects: Instincts 5, Intellect 4, Perception 8, Dexterity 7,

Naturalism 0 (Orienteer 3, Survival 5), a1 5, Illumination 4, Intuition 2)

,

Modern Life (Alertness 5), Naturalism 0 (Orienteer 3, Survival 6), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry (2),Wings (3) Speed 4, Life 13, Animus 15, Destiny 2 Full Shapeshift: 2 successes (Become an actual hawk) Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Per +1, Dex +I) 2 Successes (Body Weaponry [I], Vision Powers: Telescopic Vision [I], Wings [I]; Per +2, Dex +I)

5+ Successes (Body Weaponry [2],Vision Powers: Telescopic Vision [I], Wings [3];Inst + I , Per +3, Dex +2, Pres +I) Persona: Sly 6, Flexible (willing to change) 3, Nocturnal I Aspects: Instincts 5, Intellect 6, Perception 7, Dexterity 8, Resilience 5, Strength 3, Inspiration 6, Presence 4, Spirit 6 Abilities: Athletics 0 (Run 4,Swim 2), Criminal 0 (Stealth 5), Influence 0 (Intimidate I), Martial Arts 0 (Bite 2, Evasion 5), Modern Life 0 (Alertness 4),Naturalism 0 (Hunt 3, Orienteer

Horse Totem Persona: Love of Freedom 4, Love of travel 3, Sensual 3 Aspects: Instincts 4, Intellect 5, Perception 5, Dexterity 7, Resilience 6, Strength 8, Inspiration 3, Presence 5, Spirit 4 Abilities: Athletics 0 (Run S), Influence 0 (Intimidate 2), Martial Arts 0 (Bite 2, Evasion 4, Kick 4), Modern Life 0

2 successes (Become an actual fox)

31; Inst +I, Dex +2, Res +2,

y [3];Inst +I, Dex +2, Res +3,

THEEVERLASTING CB Page I60

Persona: Predatory 4, Energetic 3, Loner 3, Nocturnal 3 Aspects: Instincts 6, Intellect 4, Perception 6, Dexterity 7, Resilience 7, Strength 6, Inspiration 3, Presence 5, Spirit 4 Abilities: Athletics 0 (Run 4), Criminal 0 (Stealth 4), Influence 0 (Intimidate 5), Martial Arts 0 (Bite 5, Evasion 3, Grapple 3, Punch 2), Modern Life 0 (Alertness 2), Naturalism 0 (Hunt 5, Orienteer 2, Survival 6, Track 2), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry (3) Speed 4, Life 18, Animus 14, Destiny 2 Full Shapeshift: 3 successes (Become an actual leopard) Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Dex +I, Str + I ) 2 Successes (Body Weaponry [2]; Inst + I , Dex + I , Str +I) 3 Successes (Bodyweaponry [2]; Inst +2, Dex +2, Str + I ) 4 Successes (Body Weaponry [3];Inst +2, Per +I, Dex +2, Str +I, Pres +I)

Aspects: Instincts 6, Intellect 6, Perception 7, Dexterity 7, Resilience 4, Strength 3, Inspiration 5, Presence 3, Spirit 6 Abilities: Athletics 0 (Run 3), Criminal 0 (Stealth 5), Influence 0 (Intimidate 2), Martial Arts 0 (Bite 2, Evasion 4), Modern Life 0 (Alertness 3), Naturalism 0 (Hunt 3, Orienteer 3, Survival 6), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry (2) Speed 2, Life 2, Animus 2, Destiny 2 Full Shapeshift: 2 successes (Become an actual rat) Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Bodyweaponry [I]; Inst +I, Dex + I ) 2 Successes (Body Weaponry [2]; Inst + I , Dex +2) 3 Successes (Bodyweaponry [2]; Inst +2, Per +I, Dex +2) 4 Successes (Body Weaponry [3];Inst +2, Per + I , Dex +3) 5+ Successes (Body Weaponry [3];Inst +2, Per + I , Dex +3, Res + I )

5+ Successes (Body Weaponry [3];Inst +2, Per +I, Dex +3, Str +I, Pres +I)

Owl Totem Persona: Nocturnal 4, Mysterious 3, Love of the supernatural

Rhinoceros Totem

, Dex +I) , Dex +2,

Persona: Introspective 3, Quiet 2, Aggressive 2 Aspects: Instincts 4, Intellect 3, Perception 4, Dexterity 3, Resilience 13, Strength 13, Inspiration 3, Presence 4, Spirit 4 Abilities: Athletics 0 (Run 4), Influence 0 (Intimidate 6), Martial Arts 0 (Gore 5), Modern Life 0 (Alertness 3), Naturalism 0 (Orienteer 2, Survival 6), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry (3)

Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Res +I, Str + I ) 2 Successes (Body Weaponry [2];Res + I , Str +2) 3 Successes (Body Weaponry [3];Inst +I, Res +3, Str $2) 4 Successes (Body Weaponry [3];Inst + I , Res +3, Str +3) 5+ Successes (Body Weaponry [3];Inst + I , Res +4, Str t3)

Book of the Spirits @ Page I 6

a

Tiger Totem Persona: Sly 2, Patient 2, Predatory 3, Flexible (willing to go along with change) 3 Aspects: Instincts 5, Intellect 5, Perception 6, Dexterity 6, Resilience 4, Strength 3, Inspiration 6, Presence 6, Spirit 5 Abilities: Athletics 0 (Climb 2, Swim 3), Criminal 0 (Stealth 7), Influence 0 (Intimidate 6), Martial Arts 0 (Bite 7, Evasion 3, Grapple 4), Modern Life 0 (Alertness 2), Naturalism 0 (Hunt 3, Orienteer 2, Survival 5), Supernatural 0 (Astral 5 , Illumination 4, Embodiments:

Body Weaponry (2),Insidious Attack (2) Animus 17, Destiny 2

Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Dex + I , Pres + I ) 2 Successes (Body Weaponry [I], Insidious Attack [I]; Dex +2, idious Attack [I]; Inst +I,

4 Successes (Body Weaponry [2],Insidious Attack [2];Inst +I, Per + I , Dex +4,Pres +I) 5+ Successes (Body Weaponry [2],Insidious Attack [2];Inst +I, Per +I, Dex +4,Pres + I )

Persona: Curious 2, ionate 3, Lustful 3, Predatory 4 Aspects: Instincts 4, Intellect 4, Perception 5, Dexterity 7, Resilience 6, Strength 8, Inspiration 3, Presence 8, Spirit 4 Abilities: Athletics 0 (Run 3), Criminal 0 (Stealth 5), Influence 0 (Intimidate 7), Martial Arts 0 (Bite 6, Evasion 2, Grapple 4, Punch 3), Modern Life 0 (Alertness 3), Naturalism 0 (Hunt 5, Orienteer 3, Survival 6, Track 3), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry ( 3 ) Speed 4, Life 18,Animus 15, Destiny 2 Full Shapeshift: 3 successes (Become an actual tiger) Partial Shapeshift: (Maximum aspect score through shapeshift is

12.) I Success (Body Weaponry [I]; Dex +I, Str +I) 2 Successes (Body Weaponry [2];Dex + I , Res + I , Str + I ) 3 Successes (Body Weaponry [2];Inst +I, Dex + I , Res +2, Str

+I> 4 Successes (Body Weaponry [3];Inst + I , Dex +2, Res +2, Str +2) 5+ Successes (Body Weaponry [3];Inst +I, Dex +2, Res +2, Str +3)

Totem Persona: Introspective 3, Love creating things 3, Sensitive 2, Predatory 3 Aspects: Instincts 3, Intellect 5, Perception 5, Dexterity 5, Resilience 5, Strength 8, Inspiration 6, Presence 4,Spirit 6 Abilities: Athletics 0 (Climb 7, Run I), Criminal 0 (Stealth 4), Influence 0 (Intimidate 3), Martial Arts 0 (Bite 5, Evasion 2), Naturalism 0 (Survival 6), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry (3), Insidious Attack (I), Web-Spinning (3) Speed 3, Life 19, Animus 16, Destiny 2 Full Shapeshift: 2 successes (Become an actual spider) Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Per + I , Str +I) 2 Successes (Body Weaponry [ I ] , Web-Spinning [I];Per + I , Dex + I , Str + I ) 3 Successes (Body Weaponry [2], Web-Spinning [2]; Per + I , Dex + I , Str +2, Pres + I ) 4 Successes (Body Weaponry [2],Web-Spinning [3];Per + I , Dex + I , Res + I , Str +2, Pres +I) 5+ Successes (Body Weaponry [3],Web-Spinning [3];Inst + I , Per + I , Dex + I , Res + I , Str +2, Pres + I )

.d

Wolf Totem Persona: Protective 3, Loyal 3, Predatory 3 Aspects: Instincts 6, Intellect 5, Perception 6, Dexterity 6, Resilience 7, Strength 5, Inspiration 3, Presence 5, Spirit 5 Abilities: Athletics 0 (Run 5), Criminal 0 (Stealth 5), Influence 0 (Intimidate 5), Martial Arts 0 (Bite 4,Evasion 3, Grapple 3), Modern Life 0 (Alertness 4), Naturalism 0 (Hunt 5, Orienteer 2, Survival 6, Track 4), Supernatural 0 (Astral 5, Illumination 4, Intuition 2) Embodiments: Body Weaponry ( 3 ) Speed 3, Life 17, Animus 13, Destiny 2 Full Shapeshift: 2 successes (Become an actual WOIQ Partial Shapeshift: (Maximum aspect score through shapeshift is 12.) I Success (Body Weaponry [I]; Inst + I , Dex + I ) 2 Successes (Body Weaponry [2];Inst + I , Dex + I , Res + I ) 3 Successes (Body Weaponry [2];Inst + I , Dex +2, Res +2) 4 Successes (Body Weaponry [3]; Inst +2, Dex +2, Res +2, Str

+I)

5+ Successes (Body Weaponry [3];Inst +2, Dex +2, Res +2, Str + I , Pres + I )

THEEVERLASTING Q Page I62

wouldn’t it be something , . .for the men killing dolphin to be caught up ly their necks , . , in theirgreedyjshing nets wouldn’t it be iroy . . , f the tunajsh canneries were tofall into the sea . . . dolphins and the whales still lefr alive cry to the stars in the dpep blue night ’there’s nowhere to hi&, the people of earth will not be denied’ what a legacy . . . we’re leaving behind. , , what a legaq -Adrian Bekw, Men In Helicopters

he most difficult part of roleplaying manitou is developing the L

U

balance between human and animal. It can be difficult moving beyond the human concept of “good and evil” to viewing the things in of “natural and unnatural.” As good and natural are not necessarily the same thing, nor are evil and unnatural. Concentrate on how the manitou will find balance living in two worlds. What will happen to her relationships?What about her job? What about her host’s entire life, will it crumble away, or can the manitou hold on to it for sanity and comfort? The best way to develop a manitou protagonist’s personality is simply by roleplaying and constantly working on making the manitou just a little more animal-like.Your wolf manitou does not have to sniff crotches or urinate on trees, but there are other ways in which you can maintain the seriousness, while keeping things entertaining for other participants who never know what the manitou is going to do next. Spirit clans should not be an all important focus that segregates the manitou into distinct groups. The clans only serve as basic structures representing motivations and duties; all are considered equal. Stereotyping by clan only makes protagonists less believable.

Hurt not the earth, neither the sea, nor the trees. - The Revelations of St. lohn the Divine 7:3 When guiding manitou protagonists, help them fit into their fellowship as much as possible. Give them goals that match those of other protagonists, just give them a different angle on how they view their missions. If protagonists include the unliving or the possessed, it is going to be difficult, (but still possible,) for the manitou to get along with them. You should stress that all protagonists (especially the unliving and the possessed) must show a strong respect for Nature, so that the manitou will not feel the need to try and gut them.

u o you

aeiieve in Spirit

Possession?

Possession by. spirits is an ancient belief. Some cultures view it as blessings from the divine; others view it as spiritual assaults by malevolent entities. Some types of mediumship, such as trance channeling, direct voice, and spirit writing, involve temporary possession by spirits-- either dead souls or non-human entities. The term "exorcism" comes from the Greek word exousia or "oath and means "putting the spirit or demon to oath." For the most part, Christianity has widely held possession as a real occurrence. Despite a century of psychological research, the Catholic Church still performs exorcisms. Most cases of possession are said to involve the Devil or demons. During medieval times, the belief was that witches and warlocks bewitched food which, when eaten by an unsuspecting person, caused them to be filled with malevolent spirits. Yet, despite the negative connotation of possession, the Bible includes in the Book $Acts the possession of the apostles of Christ by spirits that caused flames to appear above their heads and which caused them to speak in an unknown language. The Pentecostal church, founded in 1901, includes speaking in tongues, writhing on the floor, and faith healing as part of their religious worship. The Assemblies of God make up the largest group of Pentecostals today, with thousands of in the United States. In Hinduism, Buddhism, Islam, Shinto, and other religions, ghosts and spirits are blamed for many problems and are routinely "cast out". Usually these possessions are not considered battles for the fate of the soul. Among non-Western societies, spirit-possession is sometimes . . connected to religious worship as well. Within Santeria, Candomble, and Voudoun, ceremonies that involve singing, dancing, and ecstatic trances lead to the possession of worthy worshippers by their gods. The humans serve as "horses" and the gods "mount" them, giving the characteristics, allowing them to I

The Posse8sed I

Lord's name actually eliminat ple suffering multiple personal1 accepted forms of psychiatric trea

of humans?

Do you believe in Spirit Possession?

But when I slept or when the virtue of the medicine wore 05I would leap almost without transition t o r the pangs of transfoormationgrew daib less marked) into the possession of a face brimming with images of terror, a soul boiling with causeless hatreds, and a body that seemed not strong ugh to contain the raging energies of lge. The rs of Hyde seemed to havegrown with the ss OfJekyll.And certainly the hate that now them was equal on each side. - DK Tekvll and MK Hvde,

by Robert Lewis Stevenson

Book of the Spirits f P Page

:

c he Possessed refers to those poor, doomed, a

a

mortal souls whose bodies have been usurped and corrupted by discarnate entities from the Dreamworlds. These entities, called Ochelum, are bound into earthly amulets, called Soul-prisons, through which the ochelum can take over the bodies of mere mortals and damn their souls into the ochelum’s own soul-prisons when the mortals die. Among the ochelum are two distinct races -- one evil, one good. They are (respectively) the Yugtuhl and the Benedera. T h e Yugtuhul, also referred to as the Elder Nghtmares, are powerful alien entities from a distant dimension that wandered into the human Dreamworlds in prehistoric times. They may have been outcasts, or merely

discovered the yugtuhul and set many of them free accidentally. After discovering the yugtuhul’s evil nature, they tried to bind them into earthly objects with the help of the dragons, but they were not completely successful. While it appeared they had succeeded, the phylacteries could not contain the power o f the yugtuhul, who possessed the priests (who were wearing the phylacteries in remembrance of their own folly.) These first possessed were easily destroyed, but the phylacteries learned to teleport themselves magickally when their hosts died, thus finding new host-victims. T h e priests who became the benedera realized they could not destroy the yugtuhul within their own lifetimes, so they bound their own souls into amulets and still continue their quest for yugtuhul genocide. Rather than punish innocents for the eople, particularly murderremely violent criminals

od and thus rema

ones available as protagonists,) many o f the Unbound now walk the earth. T h e bound yugtuhul prefer possessing and corrupting people who are extreme good and innocent, especially those who are somewhat strong-willed. T h e yugtuhul find their mortal souls much tastier, and greater sport than those of evil mortals. T h e Benedera are also referred to as the Requiters of Dream, as they now take responsibility for hunting down and destroying the yugtuhul who tread the earth wearing mortal bodies, as well as the unbound that once again walk the waking world freely. T h e benedera were once mortal humans themselves, having lived many millennia ago in the Antediluvian Cities.They were adapan priests and magick-workers who

of good with no regard for their mortal lives. Sometimes it IS hard to tell the good guys from the bad without a score card. T h e Dreamworlds are an important part of the Secret World of the possessed. The Dreamworlds are described in great detail within chapter IO, and participants roleplaying possessed protagonists are advised to read that section.

You know what we need, ojicq is like in those

old westerns. A way to tell. White and black. Good p y s wore white. Badpys wore badpy hats. "

"Lt's not that simple anymore. " Pike arched an tyebrow at the carnage all around. You're telling me. " Davidj. Schow, Bad GUYHats

--

Mother Nightfold your dark arms about me, hold me in your black embrace. I sit alone an impotent exile while thisjorce, this presence, returns to torment me. -Darkness, Lepend T h e yugtuhul found their way from a very strange and frightening dimension they call the First Reality into the human Dreamworlds long ago. The yugtuhul coalesced the negative human emotions released into the dream-dimension and

used them in shaping their own vast realm, called the Nghtmare Lands. It is believed that the dream realm of Phantasia was once twice as big as it is now; that the yugtuhul overran Phantasia and conquered half of it before being halted by the Dreamlords. The conquered portion became the Nightmare Lands. T h e yugtuhul populated their realm with the shadow races, foul lesser entities they shaped into their own horrible images. Though they are alien, the yugtuhul are still much like humans in thought. Only their strange, overwhelming compulsion for

When the hosts sleep, they become the wards of their possessors. T h e yugtuhul and hosts are not ed in spirit, thus hosts can actually met their possessors within the Dreamworlds. T h e yugtuhul can control the Somnonums of their hosts, and usually provide their hosts with shadows as their own personal servants . . . or tormentors. T h e unbound are actually free nowadays courtesy of the Ziggttrat of Nod; they can also travel the many Dreamworlds, and their souls are not bound or contained within earthly vessels. They can not only affect humanity through nightmares, but also bring shadows to earth to do their horrible bidding. They also hold greater influence and political power within the Nightmare Lands than most bound yugtuhul.

Yugtuhul are diverse and bizarre in appearance - all are very horrid, but each has its own distinguishing features. No two yugtuhul look alike - some resemble Clive Barker’s cenobites, others resemble Lovecraftian horrors, and still others resemble demons o f legend. Some have horns, tentacles, wings, exo-skeletons, extra eyes, mouths, or other appendages, along with weird skin tones and body shapes. Their voices are deep, metallic, and wholly inhuman, which they sometimes use in direct-voice communication through their hosts, allowing waking-worlders t o hear them. Whenever the yugtuhul take complete control over their hosts, they speak in their own inhuman voices, indicating to

sion was completed, they heir own amulets, so the world would be forever free of their kmd. T h e benedera have never completed their mission, though they have destroyed about half the yugtuhul phylacteries in that time. Many benedera seem reluctant in hunting down the yugtuhul, as they do not wish to end their own lives as they vowed. With the risk of a future Destiny War, the benedera have even more to fear . . and more to fight. T h e benedera have become known as the Requiters to most dream denizens. They are seen as mysterious entities that protect dream denizens against the yugtuhul. A

.

01 a dream realm

omnoriums into

of evil mortals as not burden inno-

hopes of learning more about them, but the yugtuhul began their evil works, trying to attain earthly power. Most yugtuhul went into the service of Sath Stygias, becoming the first Doomlords. After the Destiny Wars, the benedera were forced to capture and imprison the yugtuhul that remained on earth within phylacteries, though some escaped capture. T h e benedera later bound themselves into Amukts, taking a solemn, magickal vow that they would hunt down the phylacteries and destroy them, and

ing. They also prefer those with strong wills, as they last the longest, thus allowing the benedera to use up fewer hosts. T h e benedera resemble humans, but bear certain distinctive features common among the early humans, called the Adapans, who lived in the antediluvian cities. They are tall, thin, and have very little body hair.

Zn the coffin lay an amulet of curious and exotic . . . design, which had apparently been worn around the sleeper’s neck. It was the oddly conventionalized~gure of a crouching winged hound, or sphinx with a semicanineface, and was exquisitely carved in antique Orientalfashionfrom a small piece Of green jade. The expression Of itsfPatures was repellent in the extreme, savorinx at once of death, bestiality, and malevolence. Around the base was an inscription in characters which neither St. John nor Z could identfy; and on the bottom, like a maker’s seal, wasgraven agrotesgue andformidable skull. Immediately upon beholding this amulet we knew that we must possess it; that this treasure alone was our logical pegfrom the centuried grave. - H.P Lovecrgt, The Hound ”

he yugtuhul are bound within Dhvlacteries I

and the benedera are gound within amulets. In actuality, there is little physical difference between the two types of soulprisons. T h e names are merely used by the ochelum as a means of telling the two types apart. T h e yugtuhul’s soul-prisons were named phylacteries by the benedera, who inscribed upon them, in the First Tonpe o f the dragons, the Tme Names of the elder nightmares contained within them, as well as a statement which defined their crimes against the adapans and dragons. All phylacteries have sparkling gems o f priceless value attached to them. Most yugtuhul have long since learned to reshape their phylacteries, realizing their true soul-prisons are the glittering gems themselves, not the gold and platinum around them. T h e yugtuhul have long - since removed their True Names from the phylacteries, and many have removed all the writing, in hopes of concealing the nature of their phylacteries from other eldritch. Many phylacteries have been turned into rings, - pendants, scarabs, earrings, bracelets, and other forms of jewelry. T h e benedera’s soul-prisons were named Arnuletums, which means “means of defense;” the modern translation is amulet.

__

~~

shaped gems of priceless value set within clasps of gold-findrina-steel alloy. T h e clasp has the name (but not True Name) o f the benedera priest contained within inscribed upon it in the First Tongue. T h e benedera can alter the shape of their amulets, but d o not do so, considering it sacrilegious. T h e soul-prisons beckon to those mortals the ochelum want for hosts. T h e would-be hosts are pinpointed by some unknown psychic means and the soul-prisons teleport near them. T h e mortals see the soul-prisons within their dreams and know exactly where to find them. A soulprison cannot teleport anywhere away from its host unless its current host is destroyed. T h e soul-prisons are not only repositories for the ochelum’s earthly power, they are also actual containment vessels holding their souls within them, along with the souls of all the ochelum’s former victimhosts. T h e destruction of a soul-prison sets free the souls of former hosts, allowing them to into the Ajter19, but it destroys the soul of the ochelum bound within it, (at least the souls of the yugtuhul.) Soul-prisons are best destroyed while o n living hosts, as the soul-prisons cannot teleport away until their hosts are dead. T h e soul-prisons are resistant to all harm mept debilitating damage caused supernatural energy (magick,firefrom a supernatural source, etcJ A soulprison has Resistance score of 9 versus allforms of attack, L$ 60, and automatically takes 3 kss damagefrom each individual attack.

Mr Cadaver was merely the willing puppet of an organism so palpably evil that she suddenly understood that all the conflict through the ages between Good and Evil came down to people like herset against this one terrible,foul thing - Gil Larnont, Sinus Ftction

become imprisoned within the ochelum’s soul-prisons. T h e process of possession warps the mind, body and soul to such a degree that destroying one’s own soulprison becomes an impossibility. Mortals are chosen for their great innocence or wickedness, and for their strong-willpower, as they survive the longest. Regardless of their psyche, their bodies wither and decay from the supernatural power of the ochelum that courses through them. Ochelum discover their h t u r e hosts through a telepathic power which allows them to perceive the dreams of mortals and then enter their dreams in the forms of people the mortals know personally. Most ochelum are only without hosts for a few days, during which time they spend their time hunting new hosts, operating solely within the Dreamworlds. Once their new hosts are chosen, the ochelum let the mortals find and put on their soul-prisons. Once they have donned the soul-prisons, they are bound to the ochelum and vice versa; neither can escape. Many hosts spend the remainder of their lives searching in vain for a way of destroying their own soul-prisons. Throwing away the soul-prison accomplishes nothing, as it instantly reappears back upon them. Over time, the hosts become more and more corrupted by the ochelum. T h e ochelum call this the Merging, as their own personalities begin appearing within their hosts’ personalities. Eventually their hosts’ personalities become totally submerged and the ochelum gain complete control.

Book of the Spirits @ Page I

e ochelum’spersona qualities can have scores up to the possessed’s tion scores Host persona scores can be as hlgh as (I 3 current corruption

-

The Merging occurs as a result of battles of will and through dream-brainwashing by the ochelum. Hosts are rewarded by their possessors for giving in to their possessors’ demands. Such wishfillment is the quickest way for the ochelum t o corrupt their Every once in a while, the ochelum take complete control over their hosts’ bodies and d o as they please, free of hindrance. During these times, the hosts’ psyches are completely blacked out. After the ochelum grow tired, such as after expending over half their animus, or after completing some important tasks, the hosts’ minds reawaken, often finding themselves in situations they have no idea how they got themselves into.

“plae ‘Ylamve 05 B ; P ~ s s ~ s s ~ ~ ExiSte‘kce YOM won’t destroy me. You’ll become me - Azmodus, The Suectre #2 7 Desecration) Within the Dreamworlds, the yugtuhul and benedera are very different looking entities, yet they are hard to tell apart on earth, except through their actions (most of the time.) They both share similar preternaturae, called Oneira, and similar weaknesses as well. It may be that the magick that originally bound their souls into the earthly objects created the similarities. T h e following sections define the commonalties, disparities, and distinguishing features of the yugtuhul and benedera.

“Iguess they’ll never want me on the cover of GQ, hh?“ Stark asked. He was grinning. The grin showed more of his teeth andgums (and the empty hoks where other teeth had been) than even the widest grin should have done. Hisface was covered with sores and the skin, seemed to be sloughing o j the underlying tissue. But that wasn’t the whole troubk - that wasn’t what made Alan2 belly crawl with horror and revulsion. Something seemed to be wrong with the underlying structure of the maniface. It was as jf he were not simply decaying, but mutating in some horribk way. - Stephen King, The Dark Hag

nce an ochelum has latched onto a host, (by the host’s act of putting on the soul-prison,) the host’s body becomes susceptible to alteration by the ochelum, who will corrupt it, causing it to wither away, while at the same time making it supernaturally powerful. T h e host will not notice any physical changes for the first week or two, during which time the ochelum will begin invading the host’s mind through dreams, altering her psyche, making the host’s persona qualities more like the ochelum’s own, and rewarding the host whenever she accepts the ochelum’s will through wish fulfillment. After the seeds of corruption are planted, the host’s body begins withering, with the skin turning gray and dry. It starts as dry graying splotches, but over time, (as the host’s torment score increases,) the host’s entire body becomes pale, gray-white, and very wrinkled. T h e host also appears to be aging at an alarming rate.

CorruDtion 1

3

A few small areas, inches in diameter, each year.

become gray and wrinkled.

5

Several fist-sized areas become gray ,

7

Several large sDots. and at least one limb, I become pale gray and wrinkled. T h e body

and wrinkled.

looks at least five years older than the host's

I t i not easy beinp vounp. vrettv. and srngk with a decomvosinp corpse to hide

actual age.

9

At least half the body's skin is gray and withered, while the rest is becoming pale. T h e host's teeth are falling out, nails are f guing

off and not growing back, and nosebleed!s are occurring regularly. T h e body has shrunk about three inches in height and looks at least I5 years older than the host's actual age.

I1

T h e body 1s all gray, dry and wrinkled; it looks at least 30 years older than the host's actual age. At least one-third of the host's original weight is lost. Her hair is turning white and falling out in dumps. Most all her nails and teeth are gone. T h e body also shrinks about six inches.

I3

T h e body is a withered nearly empty shell, barely alive. T h e body also shrinks about a foot and looks about 70 years older than the host's actual age.

Sadl& &ides and

roleplaying the

are

encouraged to come up with other gruesome features as the corruption spreads. Lowering the Corruption score can "heal" some of the affliction, but regardless of how low the score drops, there will always be at least some small sims " of corruption. Hosts die once their Corruption scores reach 13, (which is usually far sooner than it takes other eldritch.) Therefore, most ochelum prefer mortals who are difficult to corrmt. so thev 1 , can retain control over them for longer periods o f time. It is far easier to corrupt the weak-spirited, but they wither away at an alarming rate of speed. Despite the adverse affects of possession, mortal hosts gain some advantages, induding enhanced physical powers, access to the memories of previous hosts (save for how they died, those memories are replaced with more pleasant false ones by the ochelum,) resistance to damage, and increased healing ability, along with numerous illusory and psychic powers. While the hosts' internal organs wither away, supernatural energies course throughout the possessed's bodies, insuring bodily functions continue as normal for as long as possible. T h e hosts will, however, have a putrid breath as a result of their internal organs rotting away. This extreme halitosis starts out mild, but rapidly becomes strong and fetid, especially as the corruption becomes more complete.

urprisingly enough, the hosts are the last ones to

I ConsciousIY influence their own perceptions of themselves, except the ochelum do so on a far greater scale. In addition, ochelum contmually maintain self-illusions, called Dream Facades, which keep others from seeing how their possessed hosts really look. Those who can see into the Reverie can sometimes peer past dream facades, but mundanes cannot. T h e self-illusions of the possessed usually take the form of their hosts' original appearance. They appear to be dressed in whatever type of clothmg pleases the ochelum+ T h e possessed ()ften carry guns and other weapons. T h e yug_ _ . . ~. tuhul use them for defending themselves against the benedera, and in frightening and kdling humans for fun. T h e benedera use weapons for defending their criminal hosts from the mortal authorities and In 'hunting down yugtuhul. ~

9 j,, ,+,,I,,? 3 '43c, ' 4 ' 6 cZc

Teai-Teeding Night takes me always to that place o f horror I have tned not moving, with the coming of nighgall, but I must walk in my slumber,for always I awaken wrth the thing of dread howlrng before me in the pak moonlight, and I turn andfke madly - HI? Lovecrgt, T h e Thin! in the Moonlyht" All the yugtuhul lose three animus points per day by maintaining their personal illusions and by keeping themselves functioning normally. They gain replenishment from causing nightmares to humans. T h e Ply lactey-Bound can also gain sustenance by evoking negative emotions in humans while they are in the waking world, though - they cannot use their emotion-related Oneira in evoking the emotions, they must genuinely create real negative emotions. Yugtuhul feed upon fear and other negative emotions. They gain one animus point for every success a victim gets o n a persona card draw involving a negative emotion evoked by the yugtuhul without the use o f emotion-related oneira.

Book of the Spirits @ Page I

4

i’B;

igtuhul regain one point of mimus for each success their victims achieve onfear, doubt, hate (or other negative emotion) persona rolls. This occurs whether they are utilizing nightmares or doing it in the waking world. Yugtuhul often keep human slaves, constantly scaring them. However, the slaves eventually become desensitized or insane, and lose their usefulness, forcing the yugtuhul to kill them off and get new ones. Some yugtuhul simply enjoy scaring and killing people at random. Most yugtuhul revel in the mayhem they produce and would probably continue doing their nightmare-work even if they gained n o replenishment from it. Their human hosts require no other source of animus, but most continue eating and drinking until they no longer can, in hopes of maintaining their mortal identities. They also sleep a lot, primarily so their yugtuhul possessors can spend time within the Nghtmare Lands. All the possessed sleep a minimum of eight hours per day, many sleep up to 13 or 16 hours.

we are tbe stuff

that dwms are made of: - Vdliam Shakespeare, The Emvest

1

he benedera lose three animus points per day, which are spent maintaining thrir Dream Facades and keeLping their bodies functtoning. They gain replenishment from causing positive emotions, such as love, trust, peace, and happiness to dreamers. However, they primarily gain sustenance by feeding off Shadows, stealing the energy of the evil creatures for themselves, reducing the shadows to nothingness. Benedera gain one animus point for every success a subject gets on a persona card draw involving a positive emotion evoked by the benedera without the use of emotion-related preternaturae. In addition, benedera also gain one animus point for every point of damage it causes to a shadow. Whenever a benedera fights a shadow, the benedera automatically siphons one animus point from the shadow for each point of damage that she inflicts to the creature. If the creature is reduced to zero life, the benedera gains the shadow’s remaining animus and the shadow is dispersed for at least one year. If the shadow’s a n us is drained t o zero before the creature’s death, the creature is o dispersed for one year. Like the hosts of the yugtuhul, benederan hosts do not require food or water, but continue eating and drinking, in hopes of maintaining their mortal identities. They also sleep, so the benedera can regain animus within the Dreamworlds. All the possessed sleep a minimum of eight hours per day, many sleep up to I 3 or I 6 hours.

THEEVERLASTING Page I72

Row, row, row your boat, sen& down the stream, Merrib, merrily, me+, merrily, Lqe is but A Dream. - Childreni rhyme For the most part, the possessed d o not gain any superior senses through their possession by the ochelum, though certain individual ochelum do grant such oneira. The possessed’s only feature of increased perception is perceiving the Reverie, like all other eldritch, except they have extreme recognition concerning patterns of good and evil. T h e possessed notice the good and evil inherent within people, places, and objects. They can look at a group of people and grade them on a scale from most innocent to most wicked. They can look at the ground and tell if someone has been killed there. They can pick up a weapon and tell whether or not it has been used to kill before. They can easily spot demons, kviathans, abominations, the hellbound, hehpawn, the finliving, and other possessed, Demons can easily spot the possessed as well, often believing them t o be demons. (Of course, they do not necessarily treat their own kind any better than they treat humans.) T h e possessed perceive the world in a very dream-like manner. Sometimes the waking world and the Dreamworlds seem to bleed over from one into the other. T h e possessed see objects in one realm which are actually in the other. They sometimes float off into waking dreams, and cross Dream Ktax into the dreams o f humans nearby with ease. This odd, constantly dreamy, surreal state of consciousness is somewhat contagious to mortals (and occasionally eldritch) who are around the possessed for too long - they may begin perceiving the waking and dream worlds in the same way as the possessed.

henever the possessed hosts are killed their souls are absorbed into the o . h ~ I ~ i i i.j:ii.-PrixotiI. i’~ Small tlashes of li$t occur as the soulp o n s wink out of cxistcncc and releport somewhcrc else on cartli.

soul-prison5 thcn tL,lort to locarion3 bt.si;lc the corpses and h o w there for .i moment in the air. T h e soul-vapor rises and pours back dwm into their leiitating soul-prisons. The soul-prisons glow the same color as their gcnis. :ditf;.rent colors for clifferent gt’ms. The glow begins tliikcring and chc soul-prisons tlash in one glowing burst and disappear off t o some orher carrhly

mer hosts contained within tht. soul-prison arc set free, while thc ochelum’s s o d is conbumed. \Vhen enough Llamqz is done to

arises from the ?em in ,I vaporous form th at iikly takes on ph!,sical shape and substance. T h e ochelum take5 on its ran1

points the possessed had upon destruction. I n most cases, the hosr dies shortl!, alier the ochcluin’s dcsrruition, bur will not suficr imprisoninent in the soul-prison.

*

There’s these . . things, “he said

our vitality. They’re like

,

,

slow^. Thty look enough like you or me to

. I p e s s the best analo, would be that they’re like

- Charles DeLint, T h e Sacred Fire ”

ts insane in 0

the hosts’ psyches weave deep corruption and eventually the mortal psyches are destroyed.

Ochelum have particular persona qualities, based upon their race. These are the persona qualities that not only develop within the host, but are also immediately in Lll effect whenever the ochelum are in Lll possession of their hosts. T h e ochelum’s persona qualities eventually become those of their host, through the merging. T h e process is gradual, increasing in score as the Corruption increases. T h e host’s (protagonist’s) scores in the ochelum’s persona qualities may be as high as the current Corruption score, but no higher than the ochelum’s own scores in the persona qualities.

All F g t u h u l have 24 points (3 cards or 3d12) to divide among the following: Cruel, Murderow, Foul sense of humor, Sadistic, and U P to two other ”evil” persona qualities.

24 points (3 cards or 3dI2) to divide : Honorabk, Protective of Innocents, Destroy yugand up to two other ”good persona

mortal hosts’ wishes come true. quicker than if she fights back by refusing.

111 controlling their hosts than most torments. ( pens several times during a story.) If a host fights the ochelum’s attempt at controlling her, a Spirit (8) versus Corruption (8) draw is made. If Corruption gains more successes, the ochelum gains control, and if the ochelum gets twice as many successes as the host, the host gains one point in Corruption. For each success the ochelum gets, the ochelum can remain in control o f the host for one scene. Whenever the ochelum merely wishes to influence the thoughts of the host without trying to take control, a Corruption (difficulty ranging from 5 to 12, depending upon how objectionable the host would find the command) draw is made. If successful, the host will do as the ochelum wishes, believing she (not the ochelum) had the thought. The number of successes determine the host’s willingness to perform the command. A separate card draw must be made for each command. If the card draw is a Disaster, the ochelum may not attempt to implant a thought for the remainder o f the story.

THEEVERLASTING @ Page I74

addition, all in the presence of the Ochelum will experience reality as if it were a dream in some respects (with the details best left to the storytellers.) Decreasing Persona Qualities: All good or moral persona qualities for Yugtuhul / All evil or immoral persona qualities for Benedera (these qualities may not have scores any higher than I3 - current Corruption score) Increasing Persona Qualities: For Yugtuhul - Sadism, Cruelq, Bmtaliq, Cunning, Othenvorldliness; For Benedera - Desire to Sleep, Deathwish, Cunning, Othenvorldliness (for each point in Corruption above three, the ochelum gains three points to divide among the above persona qualities)

Those who have compared our 1 9 to a dream were right

We sleeping wake, and waking skep. - Michel Eyquem de Montaigne, Essays

The kingdom o f perpetual nght

- Wtlliam Shakespeare, Richard ILl

ong before the benedera

n prehistoric times, the yugtuhul that walked the wakin world unfettered

existed, there were yugtuhul; they are an ancient race from a parallel dimension. They worshipped alien monster-deities of vast potence. One day their worship brought one .dthese seemingly mindless gods to their world and it began destroying everythmg. The most powerful sorcerers among the yugtuhul escaped through a portal into the Dreamworlds of earth. The yugtuhul found the Dreamworlds especially delightful due to its vast reservoir of negative psychic energies and the realm’s incredible psychoactive potential. They began reshaping the realm to suit their needs, t servants, thus they began craftman dreams. It was at this time

f

freely crafte many cyclopean step-pyramids that served as houses of sacred step-chambers. These step-chambers were portals between the waking and dreaming worlds. These Ziggurats of Dream, as they became known, were very beautiful and required many years of backbreaking slave labor to build. These buildings were hollow, and their great entrances were well guarded at all times by hulking beasts not of this earth. At the heart of each ziggurat lay lavish inner chambers, and the inner most chamber was the dreamstairs A set of gold and basalt stairs, lmed in red velvet rug led downward into darkness. Oddly

murals. At the base of the sta ime between earthly locations by varie journey on earth. T h e dreamroads connectyugtuhul, whom they then sought out. T h e benedera dimension. T h e benedera brought some of the yugtuhul to ear in secret, but the yugtuhul had tricked the benedera and, once earth, they opened portals, Ziggurats of Dream, that allowed many other yugtuhul onto earth. Little did the yugtuhul know, the earth was governed by dragons and merodachs, entities far more numerous and powerful than themselves. They eventually allied with other dark powers, such as the Razithan and d p n . Their leader became Sath Stygias Most were powerful leaders during the Destiny Wars. Many yugtuhul were destroyed, while others were captured and bound into the phylacteries, which the benedera were forced to wear as a symbol of shame for bringing them into the waking world. T h e Phylacteries, however, could not contain the yugtuhul, which were able to possess the minds and bodies of the benedera who wore their phylacteries. They escaped the antediluvian cities and fled into the uncivilized lands. T h e benedera were charged with the responsibility of hunting them all down. After decades, it became obvious they would not finish in their own lifetimes, so rather than ing on the burden to the next generation, they bound themselves into amulets and possessed criminals and slaves, so they could continue indefinitely until they destroyed all the yugtuhul. They swore they would destroy themselves after completing their holy mission, but they have yet to complete it . . . and many do not wish to do so.

ackness at the base o f the dreamstairs featured only a med golden cobblestone road at first, but eventually the became night and then day as travelers moved into pareamworlds, depending upon the paths chosen along the eading in a different direction. A traveler would have to which way to go in order to reach the proper earthly destinae who left the dreamroads could quickly become lost never find the path again. In addition, there were many creatures and other threats that could endanger the lives the most cautious travelers. For the most part, the ziggurats were used by the yugtuhul primarily for moving their nightmare legions around during the Destiny Wars. Later on, the ziggurats were used by adapan trade caravans for a short time period, but the dangers grew too great even for caravans guarded by merodachs and somnomancers. Most of the ziggurats were torn down and covered up completely, though the dreamgates and dreamroads may still remain, buried under millennia of compacting earth, to serve Zurgoth, the new dark lord of the north. At least one dreamroad and ziggurat still exists, and it is a large one called the Zigurat of Nod. It lies within the Doombnds of the North It is currently in use by the Unbound as a means of ing to and from the earth and the Dreamworlds. T h e unbound are using

Book of the Spirits @ Page I75 -

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ltggurat as a means of bringlng their legions ot ntglitmdre -reatures onto the earth. It is said that the ziggurats have counterpart mirror forms of -themselves within the Dreamworlds and that most of these are well guarded by powerful benederan servants. These Dreamworld ziggurats are located throughout many different Dreamworlds, most all of which are very ancient and untraveled in modern times, but many dream creatures may still thrive within those realms. T h e Ziggurat of N o d is unblocked and lies within a realm called Kahizar, which is now controlled by the yugtuhul. This Dreamworld has become a gathering point for shadows. T h e creatures are organized and positioned among the other Stysians, within the ranks of the Army of Doom, before being sent into the waking

Tut' I have done a thousand dreadful things As willing4 as one would krll a f b

dked the earth unbound, during the Age of Legends, they ed forces with a powezul dark being that became known as Sath Stygras. This powerful eldritch being instigated the Destiny Wars and is also credited with creating the first Doomlands - the land of Gors Ugol, which was later destroyed. Sath Stygias gained the of many evil djinn, razithan, and merodachs who aided the dark lord in smithing thirteen swords of power from a meteorite. T h e dark lord used the secret geometry of the djinn to bind powerful spirit beings into the swords and he bore the two most powerful one as a sign of his power and ruthlessness. T h e others he entrusted to his most loyal and powerful doomlords. There was one sword crafted for each of the nineplanets of the solar system, one for the Dreamworlds, one for the Astra, one for earth's moon and one for the sun. These swords proved t o be the first devices with the power to bind spirits. It is believed that the swords were destroyed along with Sath Stygias, but, in fact, the adapan somnomancers who became the benedera acquired at least one of the swords and used it as their model for capturing and binding the yugtuhul. Thus the yugtuhul, with the aid of the dlinn, brought about the method for their own accursed imprisonment. It is believed that some of the benedera may still possess knowledge of the djinn's secret geometry, and they may be capable of binding other spirits into soul-prisons if they so desire.

THEEVERLASTING @ Page I:76

T h e yugtuhul and the benedera are forever locked in conflict with one another - each the opposite of the other, each representing both good and evil, neither truly being one or the other. T h e genocide of each other race is a central conflict within their odd lives throughout all time. T h e benedera are the hunters, but the yugtuhul are dangerous prey, using every opportunity to destroy the benedera. Many o n both sides, however, have chosen to avoid other ochelum as much as possible, especially the benedera, who fear destroying the yugtuhul will only lead to their own demise.

Mathew - our lord is Dream , , . This is his castle, his seat ofpower, at the heart of the Dreaming, In this place, he can do whatever he wishes. - Neil Gaiman, The Sandman [Season of Mists)

- Willram Shakespeare, Titus Androntcus

v

You're the devil in me I brought infrom the cold You said your body was young but your mind was very old. - The Chemical Brothers, Settin9 Sun

T h e ochelum are intensely interested in the Dreamworlds, so they spend much of their time there by forcing their hosts to sleep for extended periods of time through the use of sleeping pills and other sedatives. T h e yugtuhul spend most of their time holding court and handling political affairs within the Nightmare Lands. Sometimes they attend at the higher courts of yugtuhul of greater power than themselves, and at other social and political events. Being the nobility of the Nightmare Lands, they are forced to uphold the laws of their own overlords, while shadows and yugtuhul of lesser status must abide by their laws. Each yugtuhul controls its own domain within the Nightmare Lands. T h e most powerful ones are like kings, controlling vast dominions, divided into lesser provinces ruled by yugtuhul of lesser status. T h e entire system is much like the feudal system, except that the yugtuhulic rulers decide which of their lesser servants control which territories and there is an incredible degree of treachery and intrigue among the courts of the yugtuhulic

High Lords. T h e yugtuhul generally prefer seclusion within their own walled keeps and towers, controlling their shadows, which serve them not out of loyalty, but out of fear. T h e human-like inhabitants of the Nightmare Lands are slave-like subjects of the yugtuhul, who often demand tribute from them in the form of blood sacrifice. Yugtuhul spend one or two hours each night personally bringing terrible nightmares t o dreamers. If they are very successful, their efforts cause serious problems for their victims in their waking lives, such as the loss of sanity, emotional upheaval, loss of love, intensification of doubt, fear, hatred, and much more.

T h e benedera use their time among the Dreamworlds meeting in Emanitus with other benedera and traveling about the realms destroying shadows. In Emanitus, the benedera live peaceful lives in a realm which has all the advantages known so long ago within the antedlluvian cities. T h e benedera consider themselves equal to one another, though they do have elected leaders. Aside from the benedera and their few dream servitors, no one else has ever visited the realm, nor will they if the benedera have anything to say 1 about it. Some eldritch wonder if they are hiding 1 something of great importance. When in the waking world, the ochelum allow their hosts to control themselves most of the time, taking 1 control only to perform actions they cannot otherwise convince their hosts to perform. Yugtuhul try to convince their hosts of the value of committing evil; they even reward them for performing evil deeds and punish them for their good deeds, shaping their behavior. Yugtuhul enjoy sewing terror and murdering innocents, but, since their hosts often oppose, the yugtuhul take full control over their hosts to commit the foul deeds. Some yugtuhul e.veri delight in terrorizing and murdering their hosts' loved ones, but most yugtuhul find it works best by starting off helping their hosts against the hosts' own enemies, then working up t o strangers, and finally on to family and friends. Benedera try to convince their hosts of the value of goodness and personal ability; even going so far as to reward those who serve good and punish those who cause evil. Benedera war not only against the yugtuhul - bound and unbound, but also against the demons and other eldritch who pose a threat to humanity. In fact, the benedera are actually far more militant than the yugtuhul against other eldritch. T h e benedera seldom take control over their hosts, but do prevent them from committing major wrongdoings.

'Don't think $jghtlng me, " Aurehnus said a s$t but carrying vol~e. "YOU '"9' be as POWe!@ as a shark, but I am a sun that can d9' your whole sea " - Tim Powers, The Drawin9 of the Dark

Many of the yugtuhul were never bound into soul-prisons; these Unbound, as they are called, lost the Power to enter into the waking now.The Unbound tread the earth Once * * . more, since the discovery and restoration of the Ziggurat of Nod. They have become doomlords in the service of Zurgoth. T h e Unbound are unfettered by the restraints imposed upon the bound Yugtuhul. Unfortunately for the Yugtuhul bound to re-enter the waking through the soul-Prisons~they Z W F a t of Nod; attempts to do SO have all failed, either leaving them with 1nJurJ' Or temporary Insanity. It as if the very dreamgates are a force field barrier to them because they are composed of both waking world and dream matter.

T h e Unbound II cad th own making. Their forms are usually anthropomorphic, but they are usually inhuman, frightening, and very imposing. Their skin, hair, eye, and nail colors are often very bright and non-human. Their choice of clothing reflects their regal nature, combined with exotic, strange styles found only in dreams. '

I

WaXS of t a & ~&&me& Breams are, "said Eldin 1mean, thty're damned queer things, dreams There we were, presumably, dreamers in the waking world,fashroning dreams like mad, never believrngfor a moment that thty were real, with peopk Irving in 'em a d ' I one day we died, I S Y P 0 5 4 and Lame here And here, what ao we ao st'!ffcI 15 . " ... ~ 1.. but dream/At least I do, and damned strange ones at that so - 9 Y U M ) K C W l J U i z'm getting at - l f r n d the whok thrnk qurte fascrnatrni I mean, thty go inward and outward, probablyfor ever n

T

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T.C.

Ochelum are dream entities, rulers of the lands of sleep, Sandmen - born of the myths of Hypos, Oneiros, Morpheus, and other eods of the Dreamworlds. T h e Dreamworlds are very impor;ant to the ochelum, not only their mundane activities in Emanitus and the Nightmare Lands, but also their fantastical escapades of traveling through the Sornnoriums of others, covertly altering dreams, bringing dreamers peace or restlessness. T h e lives of the possessed should focus half upon the waking world and half upon the Dreamworlds. T h e two realms should be equal, but should often meld together as one. Dreaming is incredibly lucid for ochelum, while their waking lives are very dream-

like. T h e possessed have the power to open Dream Kstas, windows into the dreaming minds of sleepers, giving them the power to divine their secret dream lives. T h e ochelum can easily slip in and out of the dreams of these mortals with ease, unseen and unfettered, altering them as they see fit. Some eldritch even refer to them as the Sandmen because of they are the true masters of the

Dreamworlds.

Book of the Spirits @ Page 177

In the Dreamworlds, moon cheese is a real, edible food source. It is a rare and expensive, spongy, cheese-tasting fungus that many dream denizens dine upon during special occasions. The moon cheese comes in many varieties, depending upon the region of the Moon. T h e cheese from the Sea Tranquility is said t o be the most smooth and creamy, while that from the darkside is said to be sharp and tangy. Some even claim that, if prepared properly, moon cheese from the darkside of the moon can be used as a poison. Moon cheese grows wild and has not been cultivated as a crop with any success. Cheese scroungers are much like truffle hunters in the waking world; they have to get out and forage for their product. It is said that any of the ochelum can manifest moon cheese from the dream reality onto earth. Many are known to enjoy it, preferring it t o the foods of the waking worlds. An unfortunate side effect on waking worlders (other that the possessed) is that it often induces dangerous hallucinations and stomach cramps. However, it can increase a person's Dream skill by one point if an Inspiration (I I - Dream) draw if made and no successes are gained. (Even the ochelum's hosts who eat the moon cheese may gain this strange and beneficial side effect.)

It is understood in the land of dream that the Other Gods have many agents moving among men; and all these agents, whether wholly human or slightly less than human; are eager to work the will of those blind and mindkss things . . . - H,l? Lovecr& T h e Dream Quest of Unknown Kadath"

of

THEEVERLASTING @ Page I78

Ochelum have access to many varieties of dream entities, which will serve their needs within the Dreamworlds. Whenever an ochelum summons dream entities to its service a Presence (IO - Eldritch Ties) draw is made. On one success, one servant is available. Double the number for each additional success. Reduce the number for especially powerful servants or increase the number for exceptionally weak servants.

T h e Dreamworlds are realms much like the astral spheres. T h e Dreamworlds are filled with countless strange entities, some like those o f the Astra. In fact, it might be possible to find spirits that inhabit both the Astra and the Dreamworlds, ing back and forth between the realms. Dream entities are so diverse that it is impossible to make generalized statements about the nature of their existence. There are many different types of beings, each with different powers and vulnerabilities. While they can be harmed, it is nearly impossible to permanently destroy them, as they only reform later. T h e only way in which they might possibly be destroyed is through magick. It usually takes a spirit thirty days, minus one day per point of Spirit they have, t o re-coalesce its morpharm (the substance of which it is composed) and then reform somewhere in one of the Dreamworlds. Dream denizens replenish their animus in a variety of ways, but the most common is by performing certain functions that help keep the Dreamworlds functioning in a particular way.

Shadows insure negative energies, while the benedera insure positive energies, while the sornnomancers and others use their powers in shaping the Dreamworlds. Supernatural powers within the Dreamworlds are called oneiros, while the one ability common to a few native inhabitants and all conscious dreamers is a power called both dreamshaping and xornno-

mancy.

As mentioned in the manitou chapter, many earthly animals are very intelligent and have their own cultures; the cats of earth are among the brightest and most powerful of the smaller animal races. The cats have their own culture, political structure, and social practices within the waking world. Many cats d o live as pets within human culture, but that only s for about half of their lives - often even less. They are far more intelligent than believed, but - since they exist within the Reverie, alone for much of the time - they only appear to be mundane animals. Still, many fantasts and eldritch sense the power and "cat wisdom" of these feline fiiends. When cats sleep they into the Dreamworlds. Cats are naturally powerfd creatures within the Dreamworlds, possessing innate powers and strong talents for somnomancy. While cats tend t o be loners in some respects, within the Dreamworlds they move about in packs. Each cat is a somnomancer of great power. They are so dangerous and potent that even the ochelum have reason to fear them. In addition, cats openly reveal their great intelligence within the Dreamworlds and even speak their cat language freely, and in such a way that non-cats can learn t o communicate in the natural language of the felines. However, cats will only teach their language to those humans who are worthy.

and maintain a local clan structure with their elders serving as advisors and mentors. Though they are defined as a monarchy, they have a democratic voting process. T h e queen only makes the daily operational decisions, but, when she disagrees with her clan, she may overrule them. Other cats may challenge her right to rule, and such contests are decided by combat. Cats, being precocious and curious creatures, often travel freely and alone, taking up hip in whatever local clan of cats they wander upon. This is because cat clans are not rivals, and a cat is always considered t o be a member o f the clan whose territory she is within. Thus, cats never have other earthly cats as their enemies, though they may still have them as rivals; however, cats from other planets are considered enemies. Among the various positions of responsibility within cat society are scouts, warriors, messengers, thinkers, lorekeepers, teachers, and spies. However, many cats give themselves interesting personal titles, such as a Calico scout calling herself "Llyrrah the Waymaker," or an alleycat warrior calling himself "Murlo Houndslayer." Cats are named by their mothers at birth, which is why they are so reticent about not answering when called by their masters most of the time; they consider obeying humans, who do not even respect their names, out of the question. Cats seldom interact with the other sentient creatures of the Dreamworlds, and even nightmares, somnomancers, and ochelum avoid making enemies out o f cats. Harming a cat is very bad luck, since cats throughout the Dreamworlds always unite against - and know about through messengers - any who intentionally kill cats. Local cats may still avenge accidental harm, but most cats choose not to exact revenge in cases where the killer was not to blame. Cats will befriend benevolent eldritch, including protagonists, so long as they are friendly and nice to all cats.

Creating cats as characters for earthly and Dreamworlds adventures may be done as follows: Aspects: 28 points Maximums:

Strength 2, (3 for bobcats and similar sized cats) Resilience 3, (4 for bobcats and similar sized cats) Dexterity 9 All other aspects 6

Minimums:

Instincts 3, (4 for any non-domesticated cat) Dexterity 3 Spirit 2

Abilities: aptitudes 7, skills 20 (Plus, Dream +3 and Intuitiod2)

Book of the Spirits @ Page I79 Xr

*o.

1

oil, check the clip I .. , _,damage t o someone hit who thinks the gun is real. It someone tried to put real bullets into it, it would seem as though the bullets

. . .

!Earth and Other Worlds) Enhanced Senses (2):T h e cat’s five senses are superior to human senses. T h e senses are double in sensitivity in o f spectrum width and range. T h e cat can see clearly in near darkness, hear a pin drop at 50 feet, and smell a person’s scent. T h e cat is at -2 on all her difficulties for card draws involving her senses. This power is always on and is not turned on and off like other powers. Normal Perception card draws are required. Heghtened Grace (3):T h e cat can move with a superhuman fluidity and grace that can force mortals to pay attention to her. T h e cat retains perfect balance even on tightropes, though a Dexterity (8) draw is Leaping (I): The cat can leap three times the distance and height her Strength normally allows. Simply determine the results of the character’s leap normally and multiply the results by up to three. Sixth Sense (Spirit Sght) T h e cat can easily spot any dead souls or dream spirits nearby within the Reverie and can communicate with them freely, (though the spirits are under no obligation t o talk to the cat.) No card draw is required and it costs no animus. Special Communication (Catspeak) T h e cat can communicate with other cars in a language all their own. Other creatures can learn this language as well, if the cats are willing to teach them.

(Dreamworlds Only) Dream Illusions (I): T h e cat has the power to produce simple illusions. An illusion is real to one sense for each success that the cat achieves on an Intellect (difficulty 6 to I I , depending upon complexity of illusioii) draw. All present, unless the cat specifies otherwise, witness the illusion as part of their reality. A subject may try I per to disbelieve it by voluntarily making a Perception (6 additional sense beyond the first to which the lllusion seems real) draw, but should have a reason for disbelieving. The illusion may simulate an attack, but any damage caused by , assuming it seems real to the touch, is illusory damage. An illury attack must seem real to touch and sight. T h e attack causes 2 oints of illusory damage per success. If the subject has not disbeeved the illusion, she suffers the damage normally, and wounds em to appear on her. The damage, however, is not real and it disappears after the Scene 1s over. The most ”real damage” an illusory attack can actually do is knock a subject unconscious. It may seem to kill a subject, but the subject merely awakes at the beginning of the next scene t o find it was not real, (provided she is not killed by some other attack in the meantime). Illusory objects have the same capabilities and limitations as their real counterparts. For instance, an illusory gun, provided that it is real to sight, smell, and touch, would look smell and feel like a real gun. A subject will feel its weight, can pick it up, smell its gun

+

I

Y

THEEVERLASTING Page 180

going Into the gun’’ the floor where

are

.

but they

Just remain unseen* ’Ince the subject would believe the bullets are in the gun’s clip. It One per Scene for a particular effect+ Onto

Stellar Leap The cat may leap off a ,r , roortop, or any otner surrace tnat is at least ten feet higher than ground level, allowing her to instantly float up into the interstellar dream ethers too the Dreamworlds of other planets. T h e cat can travel to the moon within a couple of minutes, to Mars in ten minutes, and as far as Pluto or Charon in as little as one full day. (It takes other dream transports anywhere from five t o twenty times as long to cover such distances. T h e cat must pay one animus and must make an Inspiration (10 - Dream) draw each time this power is used. It costs one additional animus per planet of distance away from the earth and moon to travel to a distant world. For instance, traveling to Venus or Mars ’ 1 I I costs cwo animus. iravei to iviercury or Jupiter costs three animus. Travel t o Pluto costs six animus. Cats can carry other travelers with them. Anyone ”carried on the backs of cats” must, o f course, first have the permission of the cats. It takes ten cats to carry one human-sized individual with them. (engers do not need to make any draws and do not need to spend any animus.) Each cat aiding in transporting a enger must One extra point Of animus* T

Senhanaltcers Behold, this dreamer cometh - Genesis 3 7 Z 9

i -!I w -

he somnomancers are those V l w [waking worlders who have 1 1 gained complete conscious

L

their dream lives.

Inhabitants

greatest

Of

are

the human-1ike

to have supernatura1 powersf the the which the abi1i’7 to reshape The ’OmnoOf

dreamlords9 refer to this Power as dreamshaPin& mancers, and all mortals with strong will and full consciousness can shape the through dreamshaping. Most dreamlords are

average

but can ConSCioUSIY and learn dreamshaping.

enter the

Most somnomancers are noblcs in a dream realm known as Phantasia. Phantasia was created in the late 1600’sthrough the combined efforts of the most powerful o f somnomancers. They now serve as rulers in Phantasia, and other somnomancers serve them as nobles of lesser rank. Some of the dreamlords have actually died in the waking world and now permanently reside in the Dreamworlds. Dreamlords bear many titles, duties, and privileges based upon their rank, station, and political aggressiveness. Somnomancers are feared, loved, despised, respected, and needed by the native inhabitants of Phantasia. T h e dreamlords are the ones who gave them life, and they can take it away, plus they are the only ones powerful enough to fend off the invasion attempts by the shadows. Any dreamer who somehow finds her way into Phantasia, and is recognized as such, is considered a somnomancer by the inhabitants, including the other dreamlords. Most are sought out as soon as their dreamshaping powers become apparent. They are taken in by one o f the noble houses and trained to serve the emperor of that particular kingdom within Phantasia. A somnomancer who refuses to pledge fealty to one of the emperors is considered a rogue and is usually treated as an outlaw. She may even wind up banished from the kingdoms. Dreamlords usually wear expensive clothes, carry jeweled, magickal weapons crafted by the best Phantasian smiths, and live in huge castles and manors filled with servants and entertainers. They use their dreamshaping to permanently alter their appearances in the Dreamworlds, and most also use it to improve their aspects and abilities in the Dreamworlds. Somnomancers give themselves preternaturae that function only in the Dreamworlds; these powers are called oneiros. Somnomancers’ waking lives almost always pale by comparison. Most find the waking world so boring and terrible that they simply refuse t o return to the waking world, leaving their bodies in comas.

BOWdown: I am the emperor of dreams. - Clark Ashton Smith, The Hashish-Eater Somnomancers may be created like normal humans, except that they have scores of 5 (minimum) in Dream and may possess other skills under the Supernatural aptitude. In addition, they practice the powers of somnomanry within the Dreamworlds, and they may also possess preternaturae within the Dreamworlds, such as Regeneration, Heightened Senses, Flight, and so on. While most mortals should not begin with a score higher than five in any quality, somnomancers can begin with one or two scores that are as high as six or seven, (but they are that high only within the Dreamworlds.) Somnomancers develop such deep connections to the Dreamworlds that their waking lives become worthless to them. They begin believing only in their dreams, while their real lives wither away. This is represented by their torment, Delusions, which is a more specified version o f the common human torment of Insanity. T h e greater the score, the more dreamy the somnomancer is in the waking world.

Cateqorv Persona

Point Allocation / Card Draw / Die Roll I5 pts. / 2 cards/ 2dI2 divided among 9 or

Attributes

more Persona qualities 27 pts./ I card divided by 3 per aspect/ Id12

Abilities

8 pa./ I card/ Id12 pts. divided

Skills

20 pts./ 2 cards/ 2dI2 pts. divided among

Distinctions

8 pts./ I card/ Id12 pts. divided amone Distinctions none

Preternaturae

Speed, Life, and Animus are determined normally. Somnomancers protagonists t y p d l y start with 30 destiny points, but, as ing characters, they start with only 10 destiny points. T h e Guide may also award increases in particular qualities or experience points for the participant to spend on various qualities of her own choosing. These experience points may be used to purchase psychic powers and magickal knowledge. I t is advised to limit experience point bonuses t o a 200 point maximum for somnomancer characters.

To the north of Phantasia, beyond a great wall and barren stretch of land, lies the realm Phantasians call the Nghtmare Lands

It is home t o creatures called shadows and nghtmares They are strange entities given form and sentience by a far more ancient and powerful race of Nightmare Land inhabitants called the yugtuhul and simply the elder nghtmares Shadows are similar t o demons and, in fact, may be the Dreamworld equivalents o f those astral entities. Born of a vast, writhing darkness, they now exist eternally, tormenting the dreams of mortals with their nightmare work. However, unlike demons, Shadows confine their efforts t o dreams and do not normally into other realms, except through the Doomlands. In recent years, many shadows ed the Unbound in their service to Zurgoth, and now they work with orcs and other creatures in carrying out all sort of foul schemes. Shadows regain animus very similar to the way demons replenish themselves. Instead of drawing from Pandemonzum, however, they draw from the free-floating currents and chaotic storms of negative emotional energies that exist between dream realms. Shadows sneak into the dreams of mortals and terrify them, feeding on the fear they create: (treat this as the same way demons feed o n emotions.) Shadows are turned away by any display of strong positive emotions or willpower. A Spirit (I4 - Hope, Faith or other related quality) versus the Shadow’s Spirit (9 - Intimidate) draw is requires. They also flee in terror from the benedera, a race of dream protectors, who can permanently destroy shadows. Shadows come in all ranges of power and in all shapes and sizes. They may be divided up into what are called the shadow races, but for the most part they are highly individualistic and solitary entities. T h e only time they gather is when they wish to feed together on a mortal’s dreams or when serving the elder nightmares. In the past they have come together briefly forming a vast army, and it is believed that the Army .f Doom in the northlands has several thousand o f these entities.

THEEVERLASTING @ Page I82 i.

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,

Aspects Instincts 5-8 Intellect 1-6 Perception 3-8 Dexterity 3-12 Resilience 3-12 Strength 3-12 Inspiration 5-10 Presence 3-9 Spirit 3-9

Abilities (These are just some common ones) Athletics 0 (Climb 3, Run 4) Criminal I (Legerdemain 4, Murder 4, Stealth 5) Humanities I (Languages 4) Influence 0 (Deception 5 , Empathy 5, Intimidate 4) Martial Arts 3 (Claw 4, Evasion 4) Melee 3 Modern Life 3 Naturalism 0 (Hunt 4, Orienteer 3, Track 5 ) Science I (Psychology 3, Rationalize 3) Supernatural 2 (Dream 6, Illumination 4, Intuition 4)

Speed 2-6, Life 9-33, Animus 11-31, Destiny IO, Backlash 5 Common Persona Qualities: Scare People (they call this their Nightmare Work), Compulsive liar, Gross, Frighten little children, Cruel, Twisted sense of humor, Sadist, Masochist, Aggressive, Impulsive, Predatory, Prideful, Cowardly, Lustful, Fear of master, Cunning, Greedy, Murderous, Delusional, Obsessive behavior, Fear (or Hate) benedera, Fear yugtuhul, Hate (or Fear) somnomancers, Power-hungry

Common Distinctions: Biography 0 to -3, Eldritch +4 to -3, Physique +3 to -5, Psyche 0 to -9, Resources +4 t o -2, Servitors +5 to -3, Spirituality 0 t o -5, Supernatural +5 to -7, Temporal Ties +3 to -3

Typical Oneira (Powers) possessed by some Shadows: Adaptation (I) - T h e shadow’s body is well adapted to one chosen climate that is normally considered hostile to human life, such as the deep desert or the polar icecaps. The shadow can breathe normally in the environment and her senses are adapted to it. T h e shadow’s Survival score is at +2 in this environment. The shadow has +2 Resilience against weather effects common t o her environment, such as strong winds, bursts of heat, and so on. Adaptation (2) - T h e shadow’s body is well adapted to one chosen climate that cannot normally human life, such as the ocean depths or underground environments completely cut off from the surface world. Her breathing is adapted to suit both the normal human environment and that of the particular climate you choose. T h e shadow’s senses are adapted to it and suffer n o penalties. H e r Survival score is at +2 in this environment. The shadow has +2 Resilience against any common climate effects like those within her environment. Body Armor (I - 4): The shadow suffers one to four less points of damage (depending upon the individual shadow) from all physical attacks, except Insidious Attacks, after a Resistance draw is made.

Bob Ilrupon? (I - 3,:’rhe shadow has horns, t‘ilons, Lings, tusks, or some other form of body weaponry. T h e body weaponry provides it with an attack that causes: (level Z): (Str/2) - 3 debilitating damage; (level 2): (Str/2) -I debilitating damage; ( b e l 3): (Str/2) +I debilitating damage Clinging (I): T h e shadow has the power to cling to and climb upon dry walls with ease, requiring no card draw most of the time. A Dexterity (8 Climbing) draw is required whenever any dangerous stunts are attempted, whenever suspended upside down, and whenever the surface is extremely slippery. It costs one animus to use this oneiros, and the effects can last up to one scene or until the shadow quits walking on walls or ceilings. Enguy (I): T h e shadow can swallow a human-sized being whole and digest them while they are alive. T h e digestion causes them two points of insidious, debilitating damage each combat cycle. Only those who have a Special Resistance against corrosives are protected against the damage. T h e ingested subject is at +3 difficulty on all attacks in his attempts to escape. T h e shadow’s Resilience is half (round up) its normal score against attacks with bladed weapons by the subject from inside her body. It costs I animus to use this power. A Dexterity (IO - Grapple subject’s Grapple) to capture a subject is required, and a Resilience (6 to IO depending upon subject’s size) is required to swallow a subject whole, Enhanced Senses (I -3):T h e shadows five senses are superior to human senses. T h e shadow is gets a bonus o f - I t o -3 on all normal Perception draws. Evoke Insunity (I) -The shadow has the power to evoke temporary insanity within a subject. T h e shadow can only induce one type of dementia (compulsions, phobias, manias, etc.), or insanity related to only one particular thing (death, heights, snakes, etc.). T h e subject gains a persona quality in that particular form of dementia, and, for each success the shadow achieves, the quality’s score increases by I point (maximum score of 12.) T h e effects wear off at a rate of one point per five minutes, All remaining effects wear off after the end of the scene. A Spirit (7) versus the subject’s Spirit (9) draw is required and it costs I animus to use this oneiros. Evoke Insanity (2) - Same as for the basic effects, except that each success the shadow achieves, the quality’s score increases by 2 points (maximum score o f 12.) T h e effects wear off at a rate of one point per fifteen minutes. A Spirit (7) versus the subject’s Spirit (9) draw is required and it costs 2 animus to use this oneiros. Extra Animus (variable) -The shadow has 5 additional animus points per level in Extra Animus. This increase in animus score does not affect any of the aspects on which the score is based. E x t m L$ (variable) -The shadow has 5 additional life points per level in Extra Life. This increase in life score does not affect any of the aspects on which the score is based. Flight (I): The shadow can fly at speeds up to 75 miles per hour without any apparent means of propulsion. T h e shadow can also levitate in one spot or float about slowly. T h e use of this oneiros costs 2 animus and flight may be used for the remainder of the scene at no additional animus cost.

+

stares at the victim, and the victims thoughts are simply drawn out without the victim even realizing it. For each success the shadow gets on a Presence (9) versus intended victims Presence (8) draw, one bit of information becomes known. This power costs three animus per use. Insidious Attack (I) -The shadow has the power to cause insidious damage to a subject through some means (venom, sonic blast, etc.) This attack, if successful, causes three points of insidious damage, plus one per success on a 6 (9) draw versus the subject’s Resilience (9) draw. Like all forms of insidious attack, Resistance and Body Armor does not protect against the effects of the attack, but immunity to the attack form prevents the damage. It costs I animus to use this power. Illusions (I): See the power’s description under the oneira listed for the possessed. Intangibility (2): T h e shadow can become desolidified, though its form appears normal. T h e shadow can through solid physical objects and cannot be harmed by kinetic attacks, though energy attacks affect it normally. If it goes unconscious, it reverts back into its solid physical form, though only part of it will be visible in three-dimensional reality, T h e shadow cannot interact kinetically with the world while intangible. It costs 3 animus each time the shadow becomes non-corporeal, and the effects may last up to the remainder of the scene. A Spirit (IO - Focus) draw is required for the shadow to become intangible. Invisibility (2) - T h e shadow can turn invisible. W h e n the shadow moves about, other eldritch might notice her, if looking directly at her. Direct observers may make a Perception (I I - Alertness) draw to spot the shadow. If the shadow becomes spotted, the spotter will see the shadow until she stops moving and may attack the shadow normally until that time. The shadow is invisible t o thermal and ultraviolet vision, and any sound she makes will not be heard. T h e shadow does not leave any visible footprints, but other eldritch with the appropriate preternaturae might still sense her through her presence, aura, and thoughts. A spirit (6) is required to become invisible. It costs 3 animus to activate this oneiros. Levitation (I): T h e shadow can rise into the air and float about, as if it is weightless. T h e use o f this oneiros costs I animus and levitation may be used for the remainder of the scene at no additional animus cost. Mind Reading (I): T h e shadow can read the minds of other creatures. T h e shadow can only read the surface thoughts of a subject. It costs I animus t o use this oneiros, and a Spirit (7) versus the subjects Spirit (9) draw is required, with the number of successes determining how much of the subjects surface thoughts may be read. The range is line of sight. Multripk Forms ( I to 3) - The shadow can take on two, three, or even four different physical forms. (The additional forms must be chosen when this oneiros is taken.) T h e shadow prefers its natural form. It costs I animus to switch from one form to the other. Other eldritch can make Inspiration (12 - Illumination) draws to see beyond its human form, viewing the shadow’s true form. For I to 2 successes, the shadow’s true form is seen only briefly or in flashes, while for 3 or more successes, it is viewed continuously.

Book of the Spirits 6B Page Y

I

parts and heal at a rate vastly superior to normal humans. Wp

occurs during the tenth turn of the combat cycle, whether the character acts during that turn or not. It costs the shadow one ani-

live, as we dream - alone. -Joseph Conrad, Heart of Darkness

T h e possessed d o not get along well with most other eldritch. Still, many ochelum are dependable allies and, over the centuries, a few benedera have developed friendships with other eldritch.

eneration is automatic and is not turned on and off like other

points per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 2 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the spirit acts during that turn or not. It costs the shadow one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other Special Resistance. Radiation, acids, diseases, gas attacks, intense pressure, and drowning (3):The shadow has an especially strong resistance to damage caused by preternaturae (powers) directly related to the

ughts into the mind of another sentient being. A Spirit (8) w is required by the shadow. The number of successes determines the clarity of communication and how long the message may be. One success represents a couple of sentences, while five successes allows communication for the remainder o f the scene. T h e effective range is line o f sight. It costs I animus t o use this oneiros and may be maintained for up to the remainder of the Wsion Powers (1-3):T h e shadow has one or more of the following: ultravision, thermal vision, and telescopic vision. Ultravision

enough UV light. Ther

E

EVERLASTING @ Page I84

Abominations - "They can be useful pawns on earth, though they are usually more difficult to control than our own shadows." Angels - "They are useless aliens that protect humanity out of stupidity. They are powerful too, so it is best to avoid them." Daevas -"Very human. They have no idea what we are, use that against them. They are so fun t o terrorize." Dead Souls - "Bind them t o your will if you can, as they can be useful. They seldom pose a threat to us, and destroying them can be fun." Demons - "Not so bad, really. T h e only problem is that they want control over what we already possess, thus making them our enemies at times." Dragon - "They know our weaknesses and they destroyed many of us long ago. Avoid them at all costs." Dwarves - "Possessing these midgets can be fun." Elves - "They would be as fun to possess as humans, if only they were creatures capable of dreaming." Faerie - "They are enigmas from another realm. Perhaps we would fair better corrupting their world should the demons take over this one." Gargoyles - "It is best to avoid these fiends. They would love a taste of your soul." Ghuls - "They appear to be creatures little better than wild dogs. Many are so stupid you can frighten them into your service . . . but they are also powerful enough you can hunt them for sport." Manitou - "Their kind have gutted me before and no doubt would d o so again." Orcs - "They are stupid fodder. Their only use is to die for us in battle within the Army of Doom." Osirians - "They are harder to truly destroy than ourselves, watch out for them." Questers - "Disgustingly descent. Yuch! They make me want to heave up this poor fellow's guts." Revenants - "Useful pawns, dangerous enemies. Avoid their politics and beware their touch, they can reduce a host to ashes in seconds." Vampires - "The self-styled princes of darkness play the same games we do. Use them if possible." Wer - "Bestial, ignorant, and disgusting, but they are useful if you can gain possession of one." Minions - "Mortals and shadows have n o value, save for what they can do for you. Show them the ways o f pain and teach them the penalties of disobedience before they get the opportunity to learn it through their own failings."

Abominations - ”Destroy them. They represent a dangerous enemy.” Angel - “While their purpose is divine and intentions are just, it is best to fear them and avoid them at all costs.” Daevas -”They are useful allies, but they do not understand our condition. You must be careful around them.” Dead Souls - ”We long for their world, but will never find it. They are dangerous and mysterious.” Demons - ”They are dangerous enemies, but they must be stopped.” Dragon - ”They are dependable allies, but they have their own agenda and no love for any humans . . . even former adapans.” Dwarves - ”They can be useful allies against the Unbound.” Elves - ”They have fought along side us against the yugtuhul during the Destiny Wars long ago. Hopefully they will do so again.” Faerie - ”Such odd creatures. Like them, we too were once human, now we are forever . . . changed. They are to be pitied, but we must never pity ourselves. Gargoyles - ”They can help even the darkest hosts atone for their past transgressions.” Ghuls - “Leave them to their bone digging and they will leave you alone as well.” Manitou - ”Stay clear of them. While many fight against evil, they have no love for our kind.” Orcs - ”Potential victims, potential hosts.” Osirians - ”Most are honorable and incredibly powerful.” Questers - ”They hold us in contempt as evil things, yet if only they understood our torment, they would n o doubt be useful allies. Their cause is just and true.” Revenants - “Their so-called rule over mortal cities is much like the yugtuhul’s rule over the Nightmare Lands. They are dangerous, destroy them when you can.” Vampires - “They are too much like the yugtuhul. Look at their souls, you will see that evil is strong within them all.” Wer - ”Beware . . their disease can infect our hosts. Avoid them at all costs, some are pawns of the demons, possibly even the yugtuhul.” Minions - ”Treat them fairly and do not rely upon them, else you will grow weak.”

.

I have become the nghtmare you once thought me to be - Sabine, The Three Musketeers (movieformat) T h e possessed can provide the most intense and maddening roleplaying of all the everlasting. For those up t o the greatest roleplaying challenge in The Everlasting, the following guidelines will help you in creating, roleplaying, and guiding these complex creatures.

For the most part, initial character creation is handled just as described in chapter 2. However, there are some slight variations when it comes to the ochelum taking over a new host. The following guidelines make creating a possessed character easy.

Choose Race Choose either a yugtuhul or a benedera. T h e choice will affect the entire direction the protagonist takes.

Sources of Sustenance (Fear-Feeding or Shadow-Consumption) T h e following forms of sustenance can use to replenish the possessed‘s animus spent using magick and preternaturae, as well as the three animus points normally lost each day: (The Possessed Host) None T h e possessing Ochelum provides all the sustenance needed. Sleep All the possessed sleep a minimum of eight hours per day, many sleep up to 13 or I6 hours, though they gain no animus from it directly.

(Yuguhul) Negative emotions Regain I animus for each success a victim gets on a persona roll involving a negative emotion (fear, doubt, hate, etc.) which the yugtuhul instigates. Typically the person provoked must draw I to 5 cards (diff. 9) with the number o f cards based upon how strong the yugtuhul provokes the emotion. For each success, the victim gains one point in the negative emotion until no longer provoked, or until the end of the scene. (Benedera) Positive emotions Treat as Negative emotions, described above, except that the benedera evokes positive emotions. Shadows Regain I animus for each point of damage inflicted to a shadow from the Dreamworlds. Cannot gain more animus than the shadow’s Life score.

Book of the Spirits . L I

Page I8

11 host of the ochelum th a Corruption score

~~.-, __ -n the soul-prison. nrh~*.m hecome corrupted uc LllC

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ies eventually blacken lwdued and taken over by

LIICII I I I I I I U ~d l C SIUWIY

LIIoughtsof the ochelum. -11. - m.. Ll--i-.Le-

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---+ 1

bodies, but the ochelum soon begin influencing their hosts’ thoughts and eventually integrate their own minds into those of their hosts. T h e hosts’ minds are consumed by the ochelum, and, shortly afterwards, so are their bodies and souls. Then the ochelum seek out new hosts and the process begins anew. Whenever an ochelum takes full control over the host, use the ochelum’s aspect scores during that time.

Backlash for the Possessed Ochelum (the Possessed‘s possessors) gain 7 baddash points each time they kill one o f their hosts. Benedera also gain 7 backlash, if they choose hosts who are not criminals, violent, o t inclined towards evil behavior.

Injury and Death for the Possessed Sujjier debilitating wouiidsfrom - All supernatural attacks which specifically state that they cause debilitating damage; Attacks by empowered weapons; Plus fire and intense cold. Brought to true death by - Any attack which brings the damage suffered t o twice the host’s life score kills the host, but in order to destroy the possessor, its “soul-prison” must be destroyed. Soulprisons are resistant to all harm except debilitating damage caused by supernatural energy (magick, fire from a supernatural source, etc.) A soul-prison has Resistance score of 9 versus all forms of attack, Life 60, and automatically takes 3 less damage from each individual attack.

All the possessed have the following oneira (pretetnaturae):

(Preternaturae of the Possessed) n---mC--**J vdLyLlig

lCvclJ

f

7).Tho nnccocsed can use this power at three

CIICCL.

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LtLy

dlc,

lLom weakest to strongest, as fol-

If the subject close her eyes and htering an altered state of consubconscious minds sessed must be within a rew reet or tne suoject to use tnis oneiros and she can take no 4 e r actions while in this state. T h e possessed may be visible or c cycle.

xsxu

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EVERLASTING Page 186 _

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visible, the possessed may take whatever form she chooses and she may communicate freely with the subject. (Level Two) The possessed has the power to alter dreams as an outside force the subject cannot see, without having to enter the dream in order to do so. T h e possessed has Somnommcy, like all dreamers possess, in of altering dreams, but her difficulties o n card draws within the subject’s dream are the same as they would be if the possessed was in one of her own dteams.The aub~ectmay also alter the dream as if it were her dream, since it is her dream. (Level Three) T h e possessed has the power to pluck a sleeper from her own dreams and place her into the possessed’s own dream. T h e possessed may be a visible or invisible presence within these dreams, depending upon her wish. T h e possessed‘s difficulties within the dreams are reduced by -2, while the subject will have difficulties escaping from the dreams, and all the subject‘s attempts to alter the dream are treated as though it were not his dream. It takes an Inspiration (9 - Dream) draw to activate this power, and it costs one animus for the level one effects, two animus for the level two effects, and three animus for the level three effects. The effects will last for the entire scene. T h e possessed can pay the difference between levels to move the effects upward in level of effect. Heightened Attributes: Strength + I , Inspiration +I, Spirit + I Illusions (i):T h e possessed has the power to produce simple illusions both in the Dreamworlds and in the waking world. An illusion is real to one sense for each success that the possessed achieves on an Intellect (difficulty 6 to I I, depending upon complexity of illusion) draw. All present, unless the possessed specifies otherwise, witness the illusion as part o f their reality. A subject may try to disbelieve it by voluntarily making a Perception (6 + 1 per additional Sense beyond the first to which the llluslon seems real) draw, but should have a reason for disbelieving. T h e illusion may simulate an attack, but any damage caused by it, assuming it Seems real to the touch, 1s 1llusor)i damage. An 111~sory attack must seem real to touch and sight. The attack causes 2 points of illusory damage pet success. If the subject has not disbelieved the illusion, she suffers the damage normally, and wounds seem t o appear on her. T h e damage, however, is not real and it disappears after the scene is over. T h e most ”real damage” an illusory attack can actually d o is knock a subject unconscious. It may seem to kill a subject, but the subject merely awakes at the beginning of the next scene to find it was not real (provided she is not killed by some other attack in the meantime.) Illusory objects have the same capabilities and limitations as their real counterparts. For instance, an illusory gun, provided that it is real to sight, smell, and touch, would look smell and feel like a real gun. A subject will feel its weight, can pick i t up, smell its gun oil, check the clip of illusory bullets and even fire it, doing illusory damage to someone hit who thinks the gun is real. If someone tried t o put real bullets into it, it would seem as though the bullets are actually going into the gun’s clip, but they would actually lust fall onto the floor where they would remain unseen, since the subject would believe the bullets are in the gun’s clip It costs one animus per scene for a particular effect.

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Personal Alteration (I): T h e possessed has the power to alter her own voice and appearance through illusion. T h e change can be used to make both subtle and drastic changes. T h e possessed can become extremely attractive or horribly monstrous. She also has the power to "transform" her flesh through illusion into new shapes, textures, colors, and so on. She can change her hair color and length and her eye color as well. T h e degree of success the possessed has in transforming is based upon the number o f successes she achieves. Should the possessed get a Disaster, she disfigures herself, though this can be fixed through the use of this power. A Perception (9) draw is required to make a transformation. It costs 2 animus to create an illusory mask. Three destiny points may be spent to make any effects perpetual; otherwise the possessed may revert back at will or retain the changes until the end of the scene. Rapid Healing (I): T h e possessed heals at twice the normal human healing rate against all forms of damage, including insidious and debilitating. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e possessed regains two points of Life per success. Debilitating damage can be healed at a rate of one point per success. While healing does not require any sort of special treatment, herbalism and medicines can reduce the healing difficulty. Sixth Sense (Dream Sense): T h e possessed can look into the dreams of sleeping people near by. T h e possessed opens up a Dream Ksta, which is like a window in her mind's eye, allowing her to look in on the sleeper's dreams. No card draw is required and it costs no animus to use this oneiros.

In addition, the soul-prisons themselves have the following: Teleport (5):This oneiros allows the soul-prison t o teleport anywhere in the world, but only within the earthly dimension. It costs no animus t o use this oneiros, but it can only be used when the most recent host dies. T h e host cannot use these oneira without first making a Spirit (8) draw each time she wishes to access the oneira. T h e host should gradually learn about these preternaturae and should not have immediate access to them. The learning process is left to storytelling rather than system mechanics. Future hosts d o not get any additional points t o spend o n additional oneira. Any preternaturae gained through experience belong t o the ochelum as much as t o the host, so they carry over to the ochelum's next host.

It would come, and it would come, a grisly thing, a specter born in the black caverns of terror, a power primeval, cosmic, shadowing the tortures of the lost SOUL flung out to chaos and destruction. It was cwel, iron-hard, and hour after hour thy would cringe in its grasp, alone, alone There would be no one to hear them 9 they cried out, there would be no help, no mercy

henever the first host is killed, a new host must be found. Hosts should be created as normal for mortals. Add the host's attributes to those of the ochelum and divide by two (round up) to determine the possessed's attributes. (Use the host's attributes and the ochelum's attributes separately when they are within the Dreamworlds, as they are separate entities within that realm.) T h e ochelum and the host may use one another's abilities, but the host must make a Spirit (6) draw to d o so, and the ochelum must make a Corruption (6) draw to do so. Persona qualities are described in a previous section. Distinctions of both the ochelum and the host are added together, becoming those of the possessed and the possessor.

T h e following method may be used for creating ochelum. This way they may be used as separate independent characters within the Dreamworlds. Categorv Persona

Point Allocation / Card Draw / Die Roll 24 pts. / 3 cards / 3dI2 divided among those listed for ochelum

Attributes

50 pts. / 6 cards / 6d12 divided among them

Aptitudes

18 pts. / 2 cards among Aptitudes

Catezor y Skills

Point Allocation / Card Draw ,/ Die Roll 35 pts. / 4 cards / 4dI2 pts. divided

/ 2dI2 pts. divided

among Skills Distinctions

13 pts. / 2 cards / 2dI2 pts. divided among Distinctions

Oneira

none (However, they solely control all the oneira of the possessed.)

Book of the Spirits @ Page I87

3

Total Cost: 25 Effects: This oneiros allows the possessed t o render others unconscious simply through the wave of her hand. A Spirit (6) versus the subject’s Resilience (IO) draw is required. If the possessed gets more successes, the subject falls unconscious. For For each additional success, the time doubles. It costs I animus to use this oneiros. This oneiros does not affect those who do

Breath of Dreams Total Cost: 25 Effects: This oneiros allows the possessed to cause a dreaming person to dream about whatever the possessed wishes the subject to dream about, including people, places and events the possessed may know, but the subject does not. The subject may glean some sort of insight through these dreams, if the possessed is sending the subject the dream so they will glean a particular insight. The possessed may also communicate with the subject through the dreams, sending messages within the dreams, though the subject cannot send any messages back. The possessed blows out a slow breath that coalesces into a vaporous form that es immediately t o the subject. For this oneiros to work, the subject must be asleep and within visual range, unless the subject is someone the possessed knows personally, in which case there is no range limit. This oneiros only functions on earth. An Inspiration (7) draw is required and it costs 1 animus.

Total Cost: 40 Effects: This oneiros allows the possessed to move about almost unseen. Those nearby may see the possessed move, but only out of the corner of their eyes. T h e possessed is not invisible, but only those who see the possessed in the corner of their eyes can make Perception ( I I) draws versus the possessed‘s Instincts (9 - Stealth) draw to even see the possessed, otherwise the possessed is somehow supernaturally out of view, possibly by ing totally into the Reverie and out of the Real World. A Spirit (8) draw is required to initiate this oneiros. It costs 3 animus to use this oneiros and the effects last for the remainder of the scene, unless turned off sooner by the possessed, or the possessed actively engages in communication, combat, etc. Dream Armor Total Cost: IO (double the cost for each additional level) Effects: This oneiros grants the possessed supernatural protection from magickal attacks and the supernatural attacks of eldritch. The possessed gains + I Resilience against these attacks. This oneiros is constantly in effect and costs no animus. Resilience cannot be raised beyond I 2 through this oneiros.

THEEVERLASTING @ Page I88

Dream Flight Total Cost: 35 Effects: This oneiros allows the possessed to float about at will. T h e possessed can move at speeds up t o 50 miles per hour. It costs 2 animus to use this oneiros and the effects last for the remainder of the scene, unless the possessed turns off the oneiros sooner. Eyes of Hypnos Total Cost: 40 Effects: This oneiros allows the possessed to mesmerize a person so that she will obey the possessed‘s verbal commands. A Spirit (7) draw versus the subject’s Spirit (9) draw is required. If successful, the subject may be issued a simple command that she will attempt to carry out, so long as it does not take more than one scene for her to d o so. T h e subject will not realize she is being mind controlled. It costs I animus to use this oneiros. T h e range is line of sight, and eye to eye must be made with the subject. Eyes of t h e v o i d Total Cost: 30 Effects: This oneiros allows the possessed to turn her eyes into pools of blackness that are somehow connected to the Void within the Dreamworlds. Those who stare into the possessed‘s eyes will feel a stark terror unlike anything they have felt before. A Presence (6) draw versus the subject’s Spirit (IO) draw is required. If successful, the subject suffers one point of Terror, (as a persona quality,) per success, for the remainder of the scene. In most cases, those who suffer the effects cower in fear or try to run away from the possessed. T h e eyes remain that way for one turn and all who look into the possessed’s eyes during that time may be affected, including any allies of the possessed. I t costs 3 animus to use this oneiros. Morphean Conjuration Total Cost: 40 Effects: This oneiros allows the possessed to bring into being, within the waking world, physical objects composed of morpheum (the substance which composes everything within the Dreamworlds.) An Inspiration (8) draw is required. Each success allows the possessed to conjure one square foot or I5 pounds of non-precious material. This amount may be halved, or further reduced, for precious substances, such as gold or jewels. T h e objects fade away after one scene, unless I animus is paid for each additional scene they are to remain. It costs I animus per success when using this oneiros. Destiny points (the number determined by the Guide) may be spent to make the objects permanent; (around 2 destiny points per success is usually reasonable.)

Total Cost: 10 Effects: This oneiros allows the possessed to transform her face into that o f a monster. T h e possessed decides what her appearance will look like. This is a handy oneiros for frightening mortals. A Presence (7) draw is required. This oneiros costs I animus to use and the effects last for up to one scene, but may be turned off at will, or caused to flicker from a normal face to a monstrous one multiple times. Reshape Hostflesh Total Cost: 50 Effects: This oneiros allows the possessed to reshape the flesh of her earthly body into new shapes, colors and textures. T h e possessed can make herself extremely attractive or monstrous. T h e

weapons. The body wea

Sandman's Form Total Cost: 60 Effects: This oneiros into a sand-like substanc and appearance. A Spirit formation. The possessed

Total Cost: 35 Effects: This oneiros allows the possessed to spread her own corruption from her body into people, places and objects. T h e possessed may defile something simply through her touch, causing the subject to suffer terribly corruptive effects. People become gnarled, sick, or suffer weird and detrimental physical or psychological effects. Wood rots, plastic melts and deforms, glass cracks, metal rusts, and stone crumbles. When used on places, the vegetation within the area usually dies and nothing will grow in that spot again, or else everything becomes gnarled and horribly mutated. A Spirit (7) draw is required. T h e number of successes determine the degree o f defilement. For places, the size of the area affected ( I success for 20 yard radius, plus 10 yards per additional success.) Against mortals (even eldritch with human bodies), a draw versus Resilience (IO) draw is required. Multiply d compare to the Corruption chart for the us to use this oneiros and the effects are perrestore people to their former condie might also restore objects or places.

T h e possessed are eas

ugh cracks, but cannot

goes unconscious, she r T h e possessed can still chooses, by increasing the c She can do this with portion costs 5 animus t o use this o remainder of the scene.

challenging of the everlasting agonists. They are not for the certainly provide the most excitement, new roleplaying ance of the constant struggle it is central to who and what

mor, and personal insight.

Soothsay Total Cost: 30 Effects: This oneiros allows the possessed to st ness between the Dreamworlds to see glimpses of the future. Inspiration (I2 - Intuition) draw is required to peer into the future possibilities. T h e actual future may be altered by the possessed gaining knowledge of the future, as the future the possessed sees is how it would have become if she were not viewing it. The prophecy should be very vague and the possessed has n o control over what the vision will be about unless four or more successes are achieved. The prophetic vision should be filled with signs and omens of a symbolic nature, rather than actually revealing specific events in complete detail. It costs 2 animus t o use this oneiros. Soothsay may be used in the Dreamworlds, but also in the waking world via a Dream Ksta

redible fun experiences. This may be balanced by far more concrete and real-world than the host's experiences within the realm, as they actually have responsibilities within the Dreamworlds. Keep the waking world dream-like by mentioning things that have no real connection to what is going on, such as talking to a butterfly, or objects seen only by the possessed, which appear and disappear. Also, keep in mind that you should make the possessed likable and dependable enough that they can fit into a fellowship; else all the other protagonists will grow tired of the possessed and may become so fearful they try to destroy the ochelum and host. T h e possessed must be kept somewhat sympathetic, or you should simply stick to roleplaying them within single-protagonist Odysseys.

Book of the Spirits CB Page I89

r$4 live on a placid island o f ignorance in the midst o f black seas o f i$inity, and it was not meant that we should voyagefa?: The sciences, each straining in its own direction, have hitherto harmed U S little; but some day the piecing together of dissociated knowledge will open up such terrfiing vistas of real$, and ourfrigh+I position therein, that we shall eithergo madfrom the revelation o rfleefrom the deadly light into the peace and s.fety of a new dark age. - H.P LoveLrgft, The Call of Cthulhu ”There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy,” and you will discover that many of them are all too real. We can close our eyes, but our mind‘s eye remains unfettered . . we cannot escape them. T h e witching hour is upon you and it is time to hop with horned toad. It is time to dance with Azathoth and revel in the void between the stars. Welcome to the fearsome lands of the djinn and the chaosdefilement of the alien abominations. Theirs is an exquisitely terri$ing existence that lies as much within the organ behind your eyes as it does within this physical world. Theirs is a reality of unbidden and unstoppable stark nightmare. Enter now the home of these things that were not meant to be .There are many mysteries of the Secret World waiting t o be revealed.

.

..

Do you believe in the Great Old Ones? Humanity is an insignificant mote of dust that is o f no value in a vast cosmos o f primordial horrors far more ancient than even the first signs of life o n our own

hot ball o f mud.

Old Ones in our imagination, of Cthulhu, who sleeps in death below the ocean in the City o f Rlyeh. O n e day Cthulhu and the other Great Old Ones wilI awake from death, and the desecration of the known universe will begin. T h e entrail-coated baptism into utter hopelessness will go unnoticed by the Great Old Ones themselves - for all of our torment and our inevitable Lovecraft awoke the Great telling us

destruction will seem to them as no more than the fecal content in tainted air they breathe

. . . unnoticeable.

not even be a sweet release for humankind from

Death might

the shadows

o f an extraplanetary, transdimensional Hell o n earth that Cthulhu will bring. Humanity will become a carpet to be trod upon, a fungus to be consumed, and liquid-spilling toys for the amusement of dark god-like monsters. We cannot h o w them; for just as Yog-Sothoth is said to be the gate, these timeless entropic forces exist outside our three-dimensional reality and bleed over into the spaces and the non-spaces in-between. Things that even

the monsters of

- things we cannot fully visualize, comas real - will give us unyielding, perpetual

our nightmares fear prehend, or accept

suffering that will extend human consciousness and the physical threshold into uncharted regions beyond the psychological and physiological capacity

of humankind at its current evolu-

tionary stage. Such will be the gift o f Cthulhu and its brood. And it is the stark, alien, unbearable potential for these things t o be real that is the mystical source

of power within

Lovecraftian horror.

If

H.P. Lovecraft's works, o r even of Robert Bloch, August Derleth, and

you've ever read any of

the Lovecraftian works

other writers, then you know what being exposed to that brand terror

of horror is like. You know the void o f nihilism, the of our blasphemous inability to affect the future, and

the comedic, uncaring chaos of a universe in which no divine force exists to protect us from those alien-god-monsters bound betwixt the stars and beneath the earth.

H.R. Giger's

artwork is a pale shadow of their forms -

almost cute in the familiar, earthly qualities and anthropomorphic features it tries to impose. T h e symbolic axe the Great

Old Ones will use

in splitting open our lizard brains with

their reality will make Armageddon seem like a nayve child's fancy. Could such beings as Cthulhu exist in a universe such as ours?

Do you believe in the Great Old Ones?

On glassy wastes beheld by none,

terrible and unyielding force of alien horror, Lovecrafiian abomination, unnatural mutation, and death presses upon the world through its many foul agents. This force is known by the manitou as Otgon. It is a sentient alien planet from a different vibrational level o f reality that seeks t o overtake the Earth, transforming it into an alien world filled with monsters and unspeakable things. Otgon is aided by millions of alien creatures called abominations, by earthly minions called tainted ones, and by the dreaded demons of dragonkind - the kviathans. Even some demons acknowledge and serve this force of alien horror. T h e manitou make it their job to oppose Otgon, since the planet's ultimate goal is the end of Nature and the death of all earthly life. Some consider Otgon to be one of the Old Ones, though some suspect Otgon may be one of the Elder Lords. It is Otgon's goal t o reshape the Earth into its own image. (For the best information on Lovecraftian horror, check out Call of Cthulhu, one of the oldest yet still greatest of the horror games o n the market today.)

This place had onre been the seat of an evil older than mankind and wider than the known universe. I t was a place of pain and sulj'ering bgrond human understanding. -John Trent, I n the Mouth o f Madness

There is an alien world from which all manner of threats have emerged onto Earth. It is a planet of unspeakable horrors, o n which many sentient races of monsters live and thrive. These Abominations, as they have become known, have their own civilizations, cultures, sciences, technologies, religions, and motivations. From their homeworld, the abominations have launched their assault on the Earth. This alien world is known as Otgon, and it is a primordial force of evil and overactive entropy. It is a chaotic, blasphemous, unnatural, destructive, idiotic, expansive defiler of Nature from which true horrors are born. To the manitou, there is n o good and evil, only natural and unnatural. Otgon represents all that is unnatural. Otgon is a planet roughly I 15% the size of Earth, with slightly greater gravity, and an atmosphere similar enough to allow captives from Earth to survive on the alien world. The climate ranges from polar regions similar to those of Earth, to equatorial conditions that are more humid and warmer than common conditions on Earth. T h e humidity level is high all across the globe, with low clouds and fog being common everywhere. There is only one ocean, which is slightly larger than the Pacific. Otgon's flora and fauna are as diverse as those of Earth are, but there seems to be a far greater percentage of predatory plants and animals.

P

There are no mammals or birds on Otgon, but there are more reptilians creatures, carapaced creatures, insectoids (and of far greater size), arachnids, mollusks, and gelatinous creatures. Animals ranEe from flying, snake-like creatures, to living gas bags with tentacles, to twelve-legged two-foot tall humanoids, t o thirty-foot tall, pyramidal, jelly-like, supra-intelligent, floating creatures. Plants range in color from blue, to purple, t o red, to yellow, t o black, to gray, but there are no green plants. Fungi make up 80% o f the vegetation. Some of the plants are fully mobile, and the majority of them are omnivorous, herbivorous, or carnivorous. There are cities all across the planet, with some that are even greater is size and population than the cities of Earth. T h e technology of the abomination race both inferior and superior to hum nology in many respects. T h e archite across the globe is bizarre, frighten1 unwholesome in an alien way. T logical shock of visiting Otgon down the minds of many mo cities vary greatly in design there are: Gigeresque nightma breeding pits, cities of living mac monolithic mound cities built in antfashion, hive-like comdexes spirits, and unholy, primordi standing two miles high. The most unthinkable horror concerning Otgon is that, like Earth‘s Gaia Hypothesis or Mother Nature, the planet is alive and fully conscious. Indeed, it may be said that Otgon is a sentient, corrupt, predatory entity. It seems that there have always been small gateways and temporary portals between Otgon and the Earth, but it has been in the last twenty years that the F$h Defiler War has been waged between the manitou (agents of Earth) and the abominations (agents o f Otgon.) T h e newest conflict is due to the opening of many interdimensional vortices and gateways, possibly because of the daevas’ pre-emptive assault on the demons. There have been four previous “Defiler Wars” between Otgon and Earth. These previous invasions and assimilation attempts lasted various lengths, ranging from as long as 1,800years to as short as I7 years.This

fifth war is shoiwing no signs of diminis ing, plus, this time, the demons and Zurgoth‘s doomlords are also on the loose, creating many other problems on Earth that reduce the manitou’s ability t o fight the abominations’ efforts. Some say this Fifth Defiler War might last for the next 500 years. This time, the invasion is not only taking place o n the physical plane of Earth; it is also occurring within the inner realms (Astra and Dreamworlds) and the Underworld. T h e abominations have had the most success in the Underworld, under the leadership of the Shadow of Shadows - one of the three most powerful generals in the service reason for Otgon’s interest in Earth a mystery, but it can be assumed kilI Nature, replacing it e of its own alien self, thus turnrth into a second Otgon. To this f abominations have been g onto the Earth, creating regions areas are home to all manand fauna brought over are permanent portals hings to travel between rld within these areas is like sores on Mother Nature, and - like infecread over time. These bear Otgon’s consciousness to limited degrees. Over time, the Otgoncontrolled regions will increase in size and number unless the manitou are successful in their war. Gaia’s warriors and defenders, the manitou, have been instrumental in waging the war against Otgon’s forces. There have been a rare few scouting missions to Otgon which have provided what little is known about the realm. However, these reconnaissance missions were not without heavy casualties, and the totems of manitou killed on Otgon d o not return to the Earth, they are captured and tortured. T h e abominations are ruled by a council of powerful, supra-intelligent entities known as the Parliament of Horrors This council is made up of three leviathans, the Shadow of Shadows, and at least five other god-like abominations, possibly including some Old Ones

on Otgon are: the Cathedral of Zuethar, the Leprous Plain, the Toxic Sea of Krugui, the Lost Cities of the Duchum, the Mountains of Unbidden Horror, the Prison Realms of Vakas, the Scabrous Seas, and the City o f Uttering Madness. The whole landscape of Otgon is horrifying. Odd features in various locations include: pus-lakes, blood-soaked swampland, trees and plant-like things made of flesh, bone and blood - some of them dead and rotting, and ground not unlike flesh-covered muscles, knotted with chunks of bones for rocks. All artificial structures were fashioned through Otgonic bio-architecture, and they all seem to have odd angles that confuse and terrifj. the mind. There are strange statues, sickening idols, and freakish features covering the buildings, giving them a Gigeresque look. T h e most disconcerting feature about Otgon is that it is visible in the night sky t o the manitou, certain fantasts (primarily those that work with manitou), and to a rare few other eldritch. It is far enough away to appear as a second moon, though its color is a dingy greenish-brown with patterns on the surface that look like terrain features and the faint outlines of cities.

ut in the depths of IESEZZY space, I

there are true lurking horrors that are so starkly terrifying that sight o f them can kill humans. Those beings are not from Otgon, but may be of similar origin. Some do, however, serve Otgon in exchange for unknown rewards. Worse yet, equally indescribable and alien monstrosities creep insanely through other dimensions parallel to the Earth. All these horrors are truly freakish and incomprehensible in nature. It is impossible to understand the thought processes o f these beings, but the one thing easy to recognize is their total disregard for

Book of the Spirits @ Page

t-

deep ones, mi-gos, and

ian life. Some horrors completely ore humans until they pose a threat t o them, but most simply kill humans on sight and destroy all obstacles in their paths. Few of these beings even attempt to communicate or respond t o communications with humans, and few speak human Horrors vary greatly in size, power, and appearance. There appear to be races of things, but most are unique in their offensive non-anthropomorphic, quivering forms. Tentacles, gapping maws, eye stalks, gelatinous humps, pseudopodia, feelers, pincers, clumps of hair, and half-ethereal bodies are common features in any number or combination. Many can phase in and out of existence through the Reverie, and some can become invisible at will. Telepathy, energy attacks, chemical attacks, flight, immunity to various forms of damage, insanity-related powers, and

Wllett read over it again, and could not make its essence sound as empty and insane as both its bombastic verbiage and its lack offuJdillrnent would seem to imply. Its terror was too profound and real, and, in conjunction with what the doctor already knew, evoked too vivid hints of monstrositiesfrom beyond time and space, to permit of any cynical explanation. Ihere were nameless horrors abroad; and one ought to stand prepared for any sort o f action at any time. - HJ? Lovecraft, The Case ?f Charles Dexter Ward

hile the abominations within the

of the Spirits are primarily tied to the planet-entity Ogon, there are other abomination-related forces at work in the Secret World. Most of these creatures can be linked to the Outer Gods, Elder Lords, and Old Ones described in stories by Howard Phillip Lovecraft and a host of other horror writers. These entities are completely alien, with motives beyond the capacity for human understanding. These beings are unfathomably ancient and come from either the stars or from beyond space and time. According to Lovecraft, our universe is only a delusion, a speck within a vast, inescapable darkness. Humanity is of infinitesimal value in this view o f reality, yet humans have still played an important role in fighting unspeakable horrors. Within the Lovecraftian view of reality, supernatural alien lore, such as the Necronomicon and other grimoires, have made humans aware of these terrors from the stars. It drives many to madness, yet causes others to the fight against these creatures, (until they are either killed or driven insane like the rest.) Humankind has destroyed Great Old One cults, and have banished or destroyed many strange

Book under normal circumstances. They are forced t o utilize lesser versions of themselves that serve as avatars. These lesser selves are not as powerful as their true selves, and some even take on humanoid forms. T h e lesser races of these alien horrors are often no more powerful than eldritch. These creatures often accompany more powerful horrors, serving as their minions. Though cosmic in scale and totally alien in nature, the most powerful of these beings do seem to have human worshippers. T h e mortals and eldritch who serve them somehow draw powers and even immortality from their alien masters. Yet these cultists are often totally insane, completely depraved, highly intelligent, and most likely future meals for their masters. Unspeakable rituals and bizarre human sacrifices are the cultists’ common activities, and, for the most part, they are like the tainted ones that worship Otgon, leviathans, and powerful abominations. Some utilize strange magicks and weird alien devices, and some can summon, control, bind, and banish alien horrors.

THEEVERLASTING Page I96

serpent men. Some eldritch scholars claim that Otgon is one of the planets within the Glyu’Uho star system in outerspace, which is considered by some to be the home of the Elder Lords. According to the Lovecraftian mythos, the outer gods appear to be cosmic and formless in nature, and most are alien, idiotic horrors of immense power best left alone. Out of the fearsome abysses of the unconscious and its primitive pulsation these enigmatic ultradimensional entities arose. These entities existed before space and time, creating the Chaos from which they were then born themselves. It is said in many magickal paths that the outer gods are as far removed from the Tree of Lge as possible, and that ”they slumber amniotically in the watery abyss.”

Azathoth, the daemon sultan, is the greatest o f the outer gods. This protoplasmic, idiotic god-thing resides outside space and time in some form of eternal night, (possibly within what some magicians call ”Universe B”), writhing formlessly t o the piping of a flute. This proto-monad of pure chaos is orbited like a celestial body by idiotic, lesser outer gods. Yet some of the outer gods do seem to possess advanced mental faculties that allow them t o interact with humans and other beings. For instance, Nyarlathotep is the messenger of outer gods, and it has been known to appear in the form of a dark-skinned mortal man Among the other known outer gods ar Shub-Nigurath, Tulzscha, Ubbo Sathla, EbbT h e Elder Lords are a collection of po that are responsible for the imprisoning o are fairly benevolent, but seldom become opposing the Old Ones. These beings ap they may no longer visit the earth at al Lords are Bast, Hypnos, and Nodens gods and other gods The Old Ones, also known as the outer gods are, yet they alien and beyond human compr masters of strange magick and s most advanced sort. Cthulhu is and it is believed to be the ruler of the are many others, such as Hastur, ”Him who shall come again from the dark sta in the Hyades.” Among the other well are Atlash-Nacha, Bokrug, Chaugnar Fa Eihort, Ghatanotha, Glaaki, Zthaqua, Lo Quachil Uttaus, Rhan-Tegoth, Shudde M e and Zoth-Ommog T h e Old Ones have existed since believed to have come to Earth durin od. They supposedly remained inactive w landmasses formed on the surface of the Ear Old Ones and their servitor races c for some undetermined period of time. Suppo their own cities near the north pole and south built temples unto themselves, possibly the gre was R’lyeh, which sank into the oceans as the priso Many believe the Old Ones were once tied Elder Lords. Some claim they were part of th they began experimenting with the darkest of nologies. Others claim they stole sacred records from the Elder Lords and desecrated the Elder Lords’ homes. T h e Elder Lords imprisoned the Old Ones in various places throughout the stars, including on earth. According to Lovecraft: ”The Ancient Ones who remained on earth were imprisoned forever, exiled from the star-kingdom of Betelgeuse, under the 5-pointed star which was the seal of the Elder Gods.” The shaitan of the djinn, the deep ones, the star spawn of Cthulhu, and other servitor races seek to free the Old Ones from the void. It is said by Cthulhu’s faithful that there will come a time when the sleeping Old Ones will awake. Cthulhu and the others will arise and, together with their servitor-childzealots, they will offer the world horror as the antidote t o fear.

mythos, there are many other ancient races, such as the serpent peo-

pk, gnoph-keh, dimensional shamblers, byakhee, deep ones, nghtgaunts, sanddwellers, mi-go, elder things, and the great race of E t h Many of these races possess supra-advanced alien technologies, supernatural power, and potent magicks. For instance, the great race of Yith‘s earthly outpost is a library that contains illimitable information o n the billions of races within the universe, and the elder things gy weapons, and other devices. ser races” are enemies of one another; the mi-go to the northern hemisphere of the ace of Yith was almost wiped out millions

is in the sea

;I

l

ancient of the ons knew fear, anger, ions of the dragons gave life to the he psychoactive Astra. These as the hiathans n many human demons, but there ally since the Fall of the Dragons and the e dragons abandoned the earth, the ut, as the dragons return once more, anity, the leviathans’ power grows le dragons, but thei r true forms are abominable masses of flesh wittlout tures, while others retain basic reptilian avering maws, masses of eyes, rotting and s, running sores, and bulbous nodules are

ely powerful, so much so that it is very , as they are shadowy, unfathomable entities. They mostly work through lesser avatars of themselves. When manifested on earth, they are at least the equals of dragons, though most are even more powerful in true form. Leviathans are self-sustaining entities, but they are not above consuming all manner of living things for the sheer enjoyment of it. They find demons especially delicious and feast on the ones that will not serve them.

Book of the Spirits @ Page I97

*

t

19

Leviathans are alien in thought, but understand human thinking, and especially understand dragons, whom they especially wish to torment. Leviathans have virtually n o with human mortals, except through their agents. Most of the leviathans work with Azhr Dehaka (eaters of dragon souls) and use the otgonic spirits called abominations, particularly the freakish siltrm Leviathans are dedicated to the destruction of the Great Work of the dragons - Nature itself. During the previous Otgon-Earth Defiler Wars, the leviathans sided with Otgon in hopes of destroying Nature. In fact, most all the leviathans now have personal spirit realms ties to both the Earth and Otgon. They even have their own vast physical domains o n Otgon itself. Many leviathans control legions of abominations and rule cities of alien monsters. Indeed, the leviathans are some of the most uowerful entities on both Otgon and Earth.

Aspects Inspiration 9

Modern Life 2

Presence 15

Naturalism 3 (Hunt 8, Orienteer 8)

Spirit I5

Science 0 Supernatural 9

Persona: Secretive 7, Hatred of Dragon 7, Hatred of Nature 9, Hatred of Manitou 7, Inhuman 12, Cruel 12, Inscrutable I1 Distinctions: Biography -4, Eldritch -3, Servitors +9 Defilements: Guide may choose whatever is desired, fitting the Regeneration scene and what effects are needed; Body Armor (4) ( 3 ) , and Enhanced Senses (3) are all common. Speed 5, Life 90, Animus 60, Destiny 56, Backlash 34

He does a striptease to operation scars, guiding the reluctantfingers a victim. "fie1 that suppurated swelling in my groin where Igot the lymphogranuloma . . . . And now I want you to . palpate my internal hemorrhoids." . . - Wlliam S. Burroughs, Naked Lunch

rontonthis has been manv names. known bv I I including Bt.hem oth, U

Lu Tzu/, Krrtolzok, and Grokm, among others; not a one of them its true name, (including Urontonthis.) Still, little is known about this leviathan except that it resides in its own realm of lava and fiery black ice, which occult scholars call Rozethe. Urontonthis is currently working through lesser avatars of himself with an Azhi Dehaka in attempting t o capture newly S.

,this The avatar of Urontonthis appears very rarely. It stands I20 feet tall and weighs several hundred tons. T h e creature takes up a temporary residence and draws its servants to it. It appears when summoned by ritual, but seldom otherwise, as the expenditure of energy upon it is draining and forces it into the equivalent of dragonsleep for long periods of time. Abilities Athletics 7 Criminal 6 Humanities 3 Influence 5 Martial Arts 3 (Bite 7, Claw 7, Tail 6) Melee 0

THEEVERLASTING @ Page I98 *

-

here are many unnatural spirits of freakishly disgusting origin, power, and motive. These servants of Otgon are called the abominations. They exist throughout the Reverie, the Astra, and the Dreamworlds. N o doubt they lurk about the darkest corners of the agarthic spheres as well. These entities are composed of flesh, bone, and ooze within their home spirit realms. They are like other spirits in that they can be destroyed only by much greater powers, otherwise they simply reform later. In addition, these creatures may become very real and solid o n earth as well, though seldom for long periods of time. Otgon is the creator and slavemaster o f countless - possibly millions or billions o f - abominations. Leviathans and other unspeakable horrors also have been known to control their own abominations. There appear t o be many actual races of abominations, but many of them are very difficult to define, as they vary greatly in shape and are capable of shifting forms.

the manitou serving in the Defibr War Most are organized, but some are independent evils that simply serve their leviathan masters by doing what comes natural to them - destroying and corrupt-

Strength (")

ing things.

3,

Inspiration 5 Presence ("*)

These following section describes some possible abominations,

Spirit 5

Melee I (Axes 2, Clubs 2) Modern Life I (Alertness 3) Naturalism 0 (Hunt Orienteer 3, Track 3) Science I Supernatural 2 (Astral 5, Empower 3, Illumination 4)

* T h e creature can divide any number of points from 3 to 19 among these three scores, but no score can go over 9 or under 1. **The creature can have any score from I to 7. Defilements: Body Armor ( I -4)depending upon form, B O ~Weaponry V (2): Claws, fangs, horns, Enhanced Senses (2),Personal Alteration (I), Regeneration (3) Speed variable (1-5) Life 7-19, Animus I I - 17, Destiny I I, Backlash 5

t

I nese

creatures are spirit oeings that can assume human form and other forms. They can warp and mutate their flesh at will, transforming themselves as they see fit. They can grow tentacles, claws, tails, spikes, organ stalks, patagia (skin wings), extra heads, mouths, eyes, arms, legs, - and SO on. They can expand and contract their various parts and even their entire bodies as they see fit. They can alter their skin texture and color. Normally these creatures have no body hair, even in human form, and are cold and clammy to the touch. They continuously emit sweat except in cold . environments . . .. -. . . . Tucy c-----t ~ i i i u itake on the likeness of humans or othler earthly creatures.

Bloated Things

Aspects

Abilities

These monstrous creatures resemble grotesquely obese humanoids. They have

Instincts 5

Athletics 2 (Climb 2, Run 4,Swim 4) Criminal I (Stealth 4) Humanities I Influence I (Deception 2, Intimidate 4) Martial Arts 3 (Grapple 5)

'---

Intellect 4 Perception 5 Dexterity (")

Resilience (")

Aspects Instincts 6 Intellect 4 Perception 5 Dexterity 5 Resilience 9

Strength 9 Inspiration 5 Presence 5 Spirit 4

Abilities Athletics 0 Criminal 0 Humanities 0 Influence 0 (Intimidate 4) Martial Arts 0 (Block 4,Grapple 5, Punch 4) Melee 0 (Knives 2) Modern Life 0 Naturalism 0 (Orienteer 2, Track 2) Science 0 Supernatural 2 (Astral 6, Illumination 4)

Defilements: Body Armor (I), Body Weupony (I), Extra I+ (6), Regeneration (2) Speed 3, Life 52, Animus 14, Destiny 21, Backlash 13

Amoliators T

and the) are capable of charging at prey with tremendous speed. Some have tentacle-like appendages on their abdomens and backs. Their arms drag down to the floor and they have huge hands and feet. They are insane by human standards.

long droopy necks making their heads hang down between their pendulous chest flab. Their skin is pale, rotting and putrid. Maggots and flies live in and around them. They have somewhat human faces, but have mouths with many pointed teeth where their eyes should be. They have eyes on shoulder stalks. Their bodies often secrete fluids that are said to grow into blobs.

These monsters vary in origin: some are races of large oozes, jellies, and slimes; others are parasitic infestations that scavenge bodies and make them almost totally liquefied, though mouths, eyes, faces, and entire heads are often visible swishing across their surfaces. Blobs vary in size, often growing as they take in more and more victims. All, however, are equally horrifying, causing the squeamish to lose their lunches. Those who see them must make a Spirit (7) draw or feel nausea if they receive no successes (sufffering a +2 difficulty against the Blob). Blobs vary in their attack effects, but most envelope their victims and digest them with acidic digestive juices. Some expel clothing, guns, skeletons, and other non-digestible items, though a few do not. Some leave slime trails; others leave trails of blood from their victims; while still others leave n o trail other than their stench.

Book of the Spirits (z, Page 199

Aspects Spirit 1-4

Abilities Science 0 Supernatural 0 (Illumination 3, Intuition 5)

Aspects Instincts 6 Intellect 3

Defilements: Body Armor (3) Body Weaponry (I), EnpJ (I) costs no animus to use this power, Extra Lfe ( 3 4 , Regeneration (5) Speed 2-4, Life 24-50, Animus 5-13,

Perception 5 Dexterity 7 Resilience 7

Destiny 8, Backlash 5 Strength 5 Inspiration 4 Presence 5 Some reproduce by division, but some cannot reproduce and simply grow larger. Most seem to be affected by one or more o f the following: alkaline, acid, alcohol, strong poison, radiation, fire, and intense cold. It is hard to say what substances affect particular blobs and what substances d o not, though some very experienced monster hunters may be able to identify blobs by particular races or breeds. Since they seem to have no vital organs, they are nearly impossible to kill with guns and Most blobs do not exhibit any preternaturae, but a rare few might. One type IS believed to be capable of telepathically beckoning potential victims to them. They have virtually no intelligence and live only to eat, expel waste, and reproduce. Some ghuls claim their own solomart (wizards) and the Iblis, (a ghulish race deep within the earth,) know how to create foulsmelling ointments that repel blobs. Some claim the ghuls have also created some blob species themselves, though most likely by

Instincts 5-7 Perception 3-6 Dexterity 4-8 Resilience 4-10 Strength 4-10 Inspiration 2-4

HE

Athletics 0 (Swim 2) Criminal 0 (Stealth 5) Humanities 0 Influence 0 Martial Arts 0 (Takedown 4) Melee 0 Modern Life 0 Naturalism 0

EVERLASTING @ Page 200

Spirit 4

Abilities Athletics 0 (Climb 4, Fly 5 ) Criminal 0 (Stealth 4) Humanities 0 Influence 0 (Intimidate 3) Martial Arts 2 (Punch 4, Evasion 5, Kick 4) Melee 0 Modern Life 0 (Alertness 3) Naturalism 0 (Orienteer 2) Science 0 Supernatural 3 (Astral 5, Dream 5 , Illumination 4)

Defilements: Body Armor (2) Body Weaponry (2), Flight (I), Rapid Healing (2),Vision Powers (I) (360-degree vision), Wings (2) Speed 4, Life 26, Animus 13, Destiny 14, Backlash 8

Dhylocs Dhylocs are flying humanoid monsters with oily, dark red-brown chitinous bodies. Their carapace segments have bright yellow strips along their lower edges. Their heads are turtle-like in shape, with beak-like, pointed mouths with hard hook-like tips, (like some turtles.) They have solid liquid black eyes. Under the black protective coatings are multifaceted 360-degree vision eyes. They have four-clawed hands with opposable thumbs and long arms. Their legs are kangaroo-like and made for hopping, even though they too are covered in carapace. They have short orange to red tongues. Dhylocs have large, telescoping wings with black chitinous frames and slick redbrown flight membranes that are bright red o n the underside. They have vertebrae-like prehensile tails that are upwards of four feet long, which they use for balancing and holding things. Dhylocs stand around six feet tall, but they walk hunched over at about four feet in height.

Faminers These whirling spindles of red sparkling light, dust, and electricity emit a low childlike moan and sizzle like bacon frying. They smell very fragrant, but leave an almost cloying sweet taste in the mouths of those near them. Anyone touched by a faminer has the vast majority o f the water in her body drained out immediately into the creature. The faminer burns nutrientfilled water up like a fuel. Victims are left as desiccated husks. These creatures tend to appear singularly and stand about three'feet tall and half a foot wide. They grow from feeding until they reach double their size, then they reproduce through division, becoming two creatures. It generally takes the deaths of about three adults for a Faminer to reach the size required for division.

victim’s flesh and sucking out both blood and lifeforce. These creatures can communicate with one another through mental images and are either found alone or in herds of up t o Gfq. They float about only at speeds up t o ten miles per hour. They give off chemical-like noxious fumes after

Athletics 0

Perception 7 Dexterity 5 Aspects Instincts 5 Intellect 4 Perception 6 Dexterity 7 Resilience 6 Strength 2 Inspiration 3 Presence 5 Spirit 5

Abilities Athletics 0 (Accuracy 2) Criminal 0 (Stealth 3) Humanities 0 Influence 4 (Intimidate 5) Martial Arts 0 (Evasion 6) Melee 0 Modern Life 0 (Alertness 3) Naturalism 0 (Orienteer 3) Science 0 Supernatural 0 (Astral 7, Illumination 5, Intuition 4)

Defilements: Flight (I), Intangibility (2), Insidious Attack (2), Invisibility ( 2 ) Speed 4, Life 13, Animus 13, Destiny 13, Backlash 6

Resilience 6 Strength 2 Inspiration 2 Presence 3 Spirit 6

(Stealth 3) Humanities 0 Influence 0 (Intimidate 2) Martial Arts 0 (Evasion 5 ) Melee 0 Modern Life 0 (Alertness 2) Naturalism 0 (Orienteer 2) Science 0 Supernatural 3 (Astral

5, Illumination

4)

Defilements: Alternate Sight (I), Body A r m o r (I), Flight (I), Imitation (I) with no animus cost, Mind Reading (I), Ranged Attack (I), Rapid Healing (I), Tbought Projection ( 2 ) Speed 3, Life 14, Animus 16, Destiny 8. Backlash 6

Ilithgor There is an ancient alien race that has long lived in the Astra, studying and feeding upon humans and spirits in secrecy. They avoid the eldritch of earth and live in large communities unto themselves. They look like a cross between a grasshopper, a frog, and a human. They have very insectlike heads, long spindly arms and legs, exoskeletal plates, and rubbery lizard-like skin. They have glowing royal blue eyes and purple striping all over their bodies. Each Ilithgor has a unique pattern of striping. They talk in a language of creaks and chirps. They have their own bizarre alien technology and they worship the greater unspeakable horrors through all sorts of vile rites.

Intellect 5

Criminal I

Glogks Glogks are large ball-shaped creatures that float about in the air. They are typically about three feet in diameter and float about seven feet off the earth. They have rough, pinkish-purple flesh, and are usually glowing light green due to some sort of electro-psychic energy they continuously emit. They can render prey incapacitated through electrical shock at up to fifteen feet. Once their prey has been incapacitated, long slender tubes come out of orifices

(For their own culture, Dexterity 5

Influence 2

Resilience 4 Aspects Strength 7 Inspiration 4

(Evasion 4, Kick 4) Abilities Melee 2 Modern Life 2 (For their own culture,

Book of the Spirits

Page

Dexterity 6

Influence 0 (Empathy I , Intimidate 3) Martial Arts 2 (Evasion 3, Grapple 4, Bone spikes 4) Melee 0 Modern Life 0 (Alertness 3) Naturalism 0 (Animals I , H u n t 4, Orienteer 4, Track 4) Science 0 Supernatural 0 (Astral 4, Illumination 4, Intuition 2)

Naturalism 0 Resilience 4 (Physical Science 4) Supernatural 2 (Arcana 4, Astral 4, Illumination 4)

Distinctions: Resources +3 Defilements: Body Armor ( I ) , Enhanced

Strength 4 Inspiration 3 Presence 4

nsa ( I ) , Rapid Healing (2)

Speed 3, Life 16, Animus 14, estiny 12, Backlash 7

Spirit 3

They have three-section bodies like insects and their thorax section has many opaque bulbous sacks that contain captured spirits (and living creatures) they bind and slowly digest over a period of weeks. These creatures make deep, haunting echo-like wails and seem t o use the sounds for astral navigation and communication with others of their own kind. They are usually alone, but occasionally five to seven are found in packs. They are often under the mental domination of more powerful abominations, such as leviathans, and feed like frenzied sharks on any human or nature spirits they encounter in the Astra.

Aspects

Abilities

Instincts 4

Athletics 0

Deuements: Enhanced Senses (2) Body Weaponry (I): Bite, bone spikes, Invisibilip (2), Rapid Healing (3), Wings (2) Speed 3, Life I I, Animus IO,

(Fly 4) Intellect 2 Perception 4 Dexterity 5

Criminal 0 Humanities 0 Influence 0

Aspects

Abilities

Resilience 8

Martial Arts 0 (Bite 3, Block 2, Evasion I , Grapple 2) Melee 0 Modern Life 0 Naturalism 0 (Orienteer 4) Science 0 Supernatural 0 (Astral 5, Illumination 3, Intuition 2)

Destiny 5, Backlash 3

Strength 9 Inspiration 2 Presence 6 Spirit 4 These creatures are like little imps. They malevolent, alien, and bloodthirsty. They umanoidb with large bat-like wings. r entire bodies, including their wings, covered in black hair, and they have near

Defilements: E n g u y (I), Rapid Healing ( 2 ) Wngs ( 3 ) with no animus cost

Speed 3, Life 30, Animus 12, Destiny 14, Backlash 7 ey have higher-than-animal intellice, though far less than human intellice. They cannot talk, but they can learn to mimic and understand the meaning of many phrases and words.

(Climb 3, Fly 4, Run 3)

Perception 5

(Murder 3, Stealth 4) Humanities 0 (Language I)

EVERLASTING CB Page 202

Murgoleths

Rugaloti (Organ Feasters)

These creatures are giant squat-bodied creatures with six large skin membrane patagia that allow them to propel - - themselves through the air in the inner realms and even on earth. These creatures have two short grasping tentacles with three opposable appendages. They also have three spider-like legs that serve as a tripod for them to stand on. They have huge round mouths filled with rows of teeth. They are around forty feet long, ten feet high, and five feet wide.

These creatures (named after one of their human victims who was attempting to study . them) somewhat resemble flying eels, except that they are solid black and have heads that are more like spear blades, They travel in schools and float throughout the deepest reaches of astral space. Some claim they can be found in the Underworld and Dreamworlds as well. They spear into victims, wiggle their way below the flesh and eat out the organs. Typically eight or ten

I

~~

I

organ feasters can finish off a human adult in less than a minute. These creatures ignore potential victims when they are not hungry and they will not feed on any diseased creatures. They normally eat spirits, but can eat living humans while manifested o n earth.

leathery skin on top, but underneath thci have a huge yellow and black-spotted gaping maw with dagger-like teeth all around it. Their arms have tiny hooks that allow them to climb and hang o n walls and ceilings. They can also rip open flesh with their arms. Anyone lying on the floor near them will get eaten whole. They can use their tentacles to even knock down even large humans, whom they can consume in minutes, spitting out their entire skeletons when done with their meal. Aspects Instincts 5 Intellect 2 Perception 4 Dexterity 5 Resilience 8

Aspects Instincts 2

Abilities Athletics 0

(Fly 4) Intellect I Perception 2 Dexterity 7 Resilience I Strength 2 Inspiration I Presence I Spirit I

Criminal 0 (Stealth 3) Humanities 0 Influence 0 (Intimidate I) Martial Arts 0 (Evasion 4) Melee 0 Modern Life 0 Naturalism 0 Science 0 Supernatural 0 (Astral 7, Dream 5, Illumination 4)

Defilements: Body Weaponry (3), Flight (I) with no animus cost, h i t a t i o n ( I ) with n o animus cost Speed 4, Life 4, Animus 3, Destiny 3, Backlash I

Red Shamblers There are some huge lumps of quivering, blood-red flesh that vaguely resemble starfish, except that their bodies stand upwards of five feet off the floor and their seven starfish-like arms are each seven feet long. These creatures are covered in thick

Strength 7 Inspiration 4 Presence 5 Spirit 4

Abilities Athletics 0 (Climb 5, Swim 2) Criminal 0 (Stealth 5) Humanities 0 Influence 0 (Intimidate 5) Martial Arts 0 (Takedown 4) Melee 0 Modern Life 0 Naturalism 0 Science 0 Supernatural 0 (Astral 4, Illumination 3, Intuition 3)

Deaements: Bob Armor (3), Eng@(2), Extra L$e (3), Regeneration (I) Speed 3, Life 34, Animus 13, Destiny 17, Backlash 8

cerj hard to identi+ them as races, but there arc a t lea\t mpected races of abomination spirits that become siltim, ng with the countless unique mutants among them. Psychologically, the siltim go from human-like creatures with somewhat evil, depraved, predatory instincts and urges into completely terrifying and sickening alien things that lack any human though whatsoever. Siltim are highly intelligent creatures possessing freewill, yet their possessing abominations are like the manitou otems in that they are bound to the cycle of life and death hrough the possession of hosts. Many siltim go about pursuing their own personal goals, but they are all drawn to the darkness and serve Otgon regardless of almost whatever their personal goals, intentions, and actions may be. Over time the siltim hosts run the risk of becoming just like their possessing abominations, just as manitou hosts can become totally like their totemic possesThey have "Abomination" as their torment. As the human hosts become more alien and evil, they lose their sanity and begin killing more capriciously until they are either killed by the manitou (or others), or until they become too great a threat and their possessing abominations kill their own hosts on suicide missions. T h e siltim are loyal to their particular masters, whom they view as harsh and demanding gods. Even the leviathans of earth now use siltim as their servants. ominations often operate alone, but they also be encountered in groups of various sizes, depending upon their missions and whether or not they are expecting encounters with manitou and other earthly eldritch. Siltim mark their future hosts through claw and bite marks that leave the wounds permanently infected. Discolored marks, warped flesh, or other disfigurements are left when the marks heal. Siltim without marked future hosts either fade back t o the realm of Otgon or into oblivion; the truth emains unknown. Even if they do back to Otgon, they are most likely destroyed by their harsh masters for eing weak and unworthy of existence. Siltim possess supernatural powers known as d$ihents (same as ominations' powers.) Over time, as their score in Abomination es up, siltim host bodies develop weird, unnatural features, such mutated flesh, glowing eyes, constant flatulence, strong body odor, monstrous multiple voices, scaly skin, and so on. Siltim are used by many o f Otgon's generals and overlords as earthly servitors, since they are especially effective operating within human society. T h e siltim have become powerful enemies of the manitou, and they often rival them in their fearsome combat abili-

x

Here is one sample siltim.

Jason Bruster Jason is in his twenties and is currently unemployed. He recent-

ly quit work as an assistant manager of a fast-food restaurant after becoming possessed by a Faminer spirit. Now Jason can transform his body, or just portions of it, into the energy-dust form of a Faminer. Jason is insane now and left home three weeks ago. H e has robbed, burglarized, and killed enough t o have all he needs to live o n for a good long time, including lots of guns and a nice new truck. Jason is actively working for the leviathan, Urontonthis, as its agent. H e works with a group of other siltim and performs many services. Jason has killed two manitou hosts, though both were very inexperienced, like himself. H e currently is working o n polluting water supplies, even introducing chemicals that can cause mutations and birth defects in all living creatures, (like what is already happening in the real world with frogs.) Currently Jason is on assignment in hunting down the whereabouts of a manitou that has been a real pest to Urontonthis in the past. Aspects* Instincts 4/ 4

(Fly 2 ) Intellect 4/ 4

Far more will be presented on the siltim in later supplements.

* E

EVERLASTING @ Page 204

Abilities Athletics 3

Criminal I (Firearms 2, Murder 4, Security 3, Stealth 5) Perception 5/ S Humanities I Dexterity 6 / 8 Influence 2 (Deception 5, Intimidate 3) Martial Arts 2 (Block 4, Grapple 3, Punch 4) Strength 5/4 Melee 0 (Knives I) Inspiration 4/4 Modern Life 1 (Alertness 2) Presence 4/ 7 Naturalism 0 (Orienteer 4, Survival 3) Spirit S / S Science 0 (Rationalize 3) Supernatural 0 (Astral 3 , Empower 2, Illumination 4, Intuition 4) Aspects are listed by human form / Faminer form

I

Persona: Hatred of liumans 4, Hatred of Nature 6, Hatred of inanitou 6, Loyalty to Urontonthis 3, Fear of Urontonthis 6, Suspicious 5, Secretive 3, Cruel 5, Murderous 5 Distinctions: Eldritch -2, Psyche -4, Resources +2, Servitors + I , Temporal - I Defilements: Adaptation (Otgonic Environment) (I), Enhanced Senses ( 2 ) Body Weaponry (2): Faminer-like energy hands, Multiple Forms (I): Faminer form (has the Defilements of a Faminer in that form), Regeneration (2),Sixth Sense (Eidolon Sight), Special Communication (Otgonic Link) Speed 3/ 4, Life 161 13, Animus 13/ 16, Destiny 16, Backlash 9

“UYI ’$*It:,

a ti

Among- the alien horrors that have found their way to the Earth is a race of monstrous semi-humanoid, semi-octopoid beings called the Url’Goltzati. This ancient race has taken up residence within the Astra, Dreamworlds, and the Reverie. They are physically capable of travelling many different dimensions, but they d o not appear to normal humans except to capture them. Url’Goltzati have humanoid bodies from the waist up, with long slender arms. Each of their small hands have six long- fingers, including two opposable thumbs. From the waist down they have three strong leg-like limbs and seven smaller tentacles along their waists. Their heads are oval-shaped with two liquid-black eyes located further apart and lower than human eyes. They ~~

teeth-filled maws on the bottom-side of their tentacles. Their skin ranges from cream white to dark gray, giving rise to the belief that there may be sub-races of these creatures. Url’Goltzati have their own language of sounds. They have their own art, architecture, culture, history, religions, and mythology, yet these monsters remain very mysterious and alien. They live in communities of varying sizes and do not tolerate outsiders. They eat other creatures, particularly humans, as certain human organs are delicacies t o them. They are very alien in thought, with incomprehensible goals. Url’Goltzati possess psychic preternaturae, but they are physically weaker than many humans are. Many of these creatures have magickal talents and access to strange alien technology. Their life spans and mating habits are unknown. Aspects Instincts 3-8 Intellect 4-10 Perception 4-7

Abilities Athletics 0 Criminal 2 (Murder 5, Stealth 3) Humanities 2

Dexterity 5-9

culture 4, Language 6) Influence I

Resilience 3-5

Martial Arts I (Block 3, Grapple 3,

Strength 2-5 Inspiration 4-8

Melee I (Knives 4) Modern Life I

Spirit 4-10

Science 2

(Astral 5, Empower 4, Illumination 5 ) Defilements: Evoke Insanity (I), hitation (I), Mind Bolt (I), Mind Reading (I), Personal Alteration (I), Regeneration (I), Thought Proption (I) Speed 3-5, Life 9-20, Animus 23, Destiny 8, Backlash 5

Book of the Spirits CB Page 205

Spirit

5

Science 2 (Life Science 2, Physical Science 2) Supernatural 2 (Astral 4, Illumination 4, Intuition 4)

Defilements: Body Armor (2),Body Weapony (2), Clinging (I), Rapid Healing (I), Wings (1) Speed 3, Life 12, Animus 13, Destiny 4, Backlash 2

upon those victims whose minds they touch. Aspects Instincts 7 Intellect 9 Perception 9 Dexterity 5 Resilience 13 Strength I5 Inspiration I 2 Presence I2 Spirit I3

Abilities Athletics 0 Criminal 0 Humanities 0 Influence 0 (Intimidate 13) Martial Arts 5 (Grapple 7) Melee 0 Modern Life 0 Naturalism 0 (Orienteer 9) Science 0 Supernatural 5 (Astral 9, Empower 12, Illumination 12)

Distinctions: Servitors +8 Defilements: Adaptation ( 2 ) Body Armor (5) Body Waponry (3):Tentacles, Dream Control (3) (see chapter 6 for details), E n p g ( 3 ) , Evoke Insanity (2), Extra Animus (4) Extra Lfe (8), Levitation (I), Regeneration (3), Sonic Attack (I), Thought Projection (I); plus any other additional defilements that are appropriate, such as attacks, weather control, interdimensional gates, and so on. Speed 6, Life 83, Animus 59, Destiny 48, Backlash 27

Zqrgatic garyae These monsters are like avatars of greater entities of unspeakable evil. Few people have survived to tell of these monsters; those who have claim they stand as large as two-hundred feet tall. They are said to resemble huge somewhat pyramidal masses of flesh with three tentacles on each side, save for underneath. They move about o n a layer of slime and giggling flesh. They are grey, black, and green in coloration and they have eyes randomly placed all over their bodies. They eyes are somewhat human-like, except they are about ten times as large and most have deep black irises. They emit a sound like white noise, except that it is so deep that it can barely be heard. These creatures can communicate telepathically and can read minds, but they are so alien that they

Adaptation (I) -The bo,+ well adapted one chosen climate that is normally considered hostile t o human life, such as the deep desert or the polar icecaps. T h e abomination can breathe normally in the environment and her senses are adapted to it. T h e abomination’s Survival score is at +2 in this environment. T h e abomination has +2 Resilience against weather effects common to her environment, such as blood rain, acid rain, whispering winds, and so o n Adaptation (2) - T h e abomination’s body is well adapted to one chosen climate that cannot normally human life, such as the ocean depths or underground environments completely cut off from the surface world. Her breathing is adapted to suit both the normal human environment and that of the particular climate you choose. The abomination’s senses are adapted to it and suffer no penalties. Her Survival score is at +2 in this environment. T h e abomination has +2 Resilience against any common climate effects like those within her environment. Alternate Sight (I) -The abomination has an additional sense that serves as an improved form of alternate ”sight.”This sense does not require her eyes, or even a source of light, to provide the abomination with visual images as if it were perfect daylight. T h e sense does, however, require some activity on the abomination’s part in order to function, be it humming (for active sonar), concentration (for radar), or the emeraence of some concealable sensory ;rgm (such as a third eye.) T h e Alternate Sight cannot be used to read or denote color, since it just defines shapes and distances. The range and width of the abomination’s sensory perception is the same as it is for her normal vision. Perception and Inspiration are used in conjunction with this sense in the same manner they are used with normal sight. Body Armor (I -4)-The abomlnatlon suffers one points of damage (depending upon the individual abomination) from all physical attacks, except Insidious Attacks, after a Resistance draw is made. Body Weaponry (1-3) -The abomination has horns, talons, fangs, tusks, or some other form of body weaponry. T h e body weaponry it with an that causes: (bel (Str/2) 3 debilitating damage; (level 2): (Str/2) -I debilitating damage; (level 3): (Str/2) + I debilitating damage

climb upon dry walls with ease, requiring no card draw. A card draw is required whenever any dangerous stunts are attempted, whenever suspended upside down, and whenever the surface is slippery. A Dexterity (8 - Climbing) draw is required for certain to use this power. instances and It Engulf (I) -The abomination can swallow a human-sized being whole and digest them while they are alive. T h e digestion them points Of insidious’ each combat cycle. Only those who have a Special Resistance against corrosives are protected against the damage. T h e ingested subject is at +3 difficulty on all attacks in his attempts t o escape. The abomination’s Resilience is half (round up) its normal score against attacks with bladed weapons by the subject from inside her body. It costs I animus to use this power. A Dexterity (IO - Grapple subject’s Grapple) to capture a subject is required, and a Resilience (6 t o IO depending upon subject’s size) is required to swallow a subject whole. Enhanced Senses (I -3) -The abominations five senses are superior t o human senses. T h e abomination is gets a bonus of -I to -3 on all normal Perception draws. Evoke Insanity (I) - T h e abomination has the power to evoke temporary insanity within a subject. T h e abomination can only induce one type o f dementia (compulsions, phobias, manias, etc.), or insanity related to only one particular thing (death, heights, snakes, etc.). T h e subject gains a persona quality in that particular form of dementia, and, for each success the abomtnation achieves, the quality’s score Increases by I point (maximum “Ore Of 12.)The effects wear Off remaining effects wear at a rate Of One Point Per five minutes* off after the end of the scene. A Spirit (7) versus the subject’s Spirit (9) draw is required and it costs 1 animus t o use this defilement. Evoke Insanity (2) - Same as for the basic effects, except that

+

points (maximum ’‘Ore Of 12+)The effects wear Off at a rat of one point per fifteen minutes. A Spirit (7) versus the subject’s Spirit (9) draw is required and it costs 2 animus t o use this defilement. Extra Animus (variable) - T h e abomination has 5 additional animus points per level in Extra Animus. This increase in animus ’‘Ore does not affect any Of the aspects On which the “Ore based.

Book of the Spirits 6,Page 2

ct any of the aspects o n which the score is based. Flight ( I ) -The abomination can fly at speeds up to 75 miles per hour without any apparent means of propulsion. T h e abomination can also levitate in one spot or float about slowly. T h e use of this defilement costs 2 animus and flight may be used for the remainder of the scene at no additional animus cost. Gliding (I) -The abomination has the power to glide at a speed of 25 miles per hour, falling at a rate of fifteen feet per 30 seconds. A Dexterity (IO - Acrobatics) draw maybe for aerial maneuvers such as swooping or sharp turns. T h e abomination has the power to ride thermals (if present), allowing her to rise back up into the air by making a Dexterity (9 - Acrobatics) draw, rising her elevation by five feet per success. Gliding (2) -The abomination has the power to glide at a speed of 50 miles per hour, falling at a rate of ten feet per 30 seconds. A Dexterity (8 - Acrobatics) draw maybe for aerial maneuvers such as swooping or sharp turns. T h e abomination has the power to ride thermals (if present), allowing her to rise back up into the air by making a Dexterity (7 - Acrobatics) draw, rising her elevation by five feet per success. Insidious Attack (I) - T h e abomination has the power t o cause insidious damage to a subject. This attack causes three points of insidious damage, plus one per success on a Dexterity (9) draw versus the subject's Resilience (9) draw. Like all forms of insidious attack, Resilience does not protect against the effects o f the attack, but any appropriate immunity may nullify the attack completely. It costs no animus to use this power. Insidious Attack (2) - T h e abomination has the power t o cause insidious damage to a subject. This attack causes three points of insidious damage, plus two per success on a Dexterity ('9) draw versus the subject's Resilience (9) draw. Like all forms o f insidious attack, Resilience does not protect against the effects o f the attack, but any appropriate immunity may nullify the attack completely. It costs no animus to use this power. Intangibility (2) -The abomination can become desolidified, though its form appears normal. T h e abomination can through solid physical objects and cannot be harmed by kinetic attacks, though energy attacks affect it normally. If it goes unconscious, it reverts back into its solid physical form, though only part of it will be visible in three-dimensional reality. T h e abomination cannot interact kinetically with the world while intangible. It costs 3 animus each time the abomination becomes non-corporeal, and the effects may last up to the remainder of the scene. A

looking directly at her. Direct observers may make a Perception

(I I Alertness) draw to spot the abomination. If the abomination becomes spotted, the spotter will see the abomination until she stops moving and may attack the abomination normally until that time. The abomination is invisible t o thermal and ultraviolet vision, and any sound she makes will not be heard. T h e abomina-

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invisible. It costs 3 animus to activate this defilement. Levitation (I) - T h e abomination can rise into the air and float about, as if it is weightless. T h e use of this defilement costs I animus and levitation may be used for the remainder of the scene at n o additional animus cost. Mind Bolt (2) - T h e abomination can generate a bolt of psychic energy that es from her mind into the mind of any target within her line o f sight. The mind bolt causes 2 points of debilitating damage for each success the abomination achieves on a Spirit (8) draw, resisted by the targets Spirit (7). T h e mind bolt costs 2 animus t o generate and is invisible except to those who see auras. Mind Reading ( I ) -The abomination can read the minds of other creatures. T h e abomination can only read the surface thoughts of a subject. I t costs I animus to use this defilement, and a Spirit (7) versus the subjects Spirit (9) draw is required, with the number of successes determining how much of the subjects surface thoughts may be read. T h e range is line of sight. Multiple Forms (I to 3) -The abomination can take on two, three, or even four different physical forms. (The additional forms must be chosen when this defilement is taken.) T h e abomination prefers its natural form. It costs I animus to switch from one form t o the other. Other eldritch can make Inspiration (12 Illumination) draws to see beyond its human form, viewing the abomination's true form. For I to 2 successes, the abomination's true form is seen only briefly or in flashes, while for 3 or more successes, it is viewed continuously. Personal Alteration (I) - T h e abomination has the power to alter her own voice and appearance through illusion. T h e change can be used to make both subtle and drastic changes. T h e abomination can become extremely attractive or horribly monstrous. She also has the power to "transform" her flesh through illusion into new shapes, textures, colors, and so on. She can change her hair color and length and her eye color as well. T h e degree of success the abomination has in transforming is based upon the number of successes she achieves. Should the abomination get a Disaster, she disfigures herself, though this can be fixed through the use of this power. A Perception (9) draw is required to make a transformation. It costs 2 animus to create an illusory mask. Three destiny points may be spent to make any effects perpetual; otherwise the abomination may revert back at will or retain the changes until the end of the scene.

once per day. T h e abomination regains two points of Life per success. Debilitating damage can be healed at a rate of one point per three successes. While healing does not require any sort of special treatment, herbalism and medicines can reduce the healing difficulty.

normal human healing rate against all forms o f damage, including insidious and debilitating damage. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e abomination regains four points of Life per success. Debilitating damage can be healed at a rate of one point per two successes. While healing does not require any sort of special treatment, herbalism and medicines can reduce the healing difficulty. Rapid Healing (3) - T h e abomination heals at six times the normal human healing rate against all forms of damage, including insidious and debilitating damage. Healing from normal damage without medical treatment requires a simple Resilience (8) draw once per day. T h e abomination regains six points of Life per success. Debilitating damage can be healed at a rate of one point per success. While healing does not require any sort of special treatment, herbalism and medicines can reduce the healing difficulty. Ranged Attack (I) -This power allows the abomination to fire an energy bolt from at a target within 25 feet. A Dexterity (I I - Accuracy) is required t o hit the target. T h e damage caused is 5 points, plus one point per success. It costs 2 animus to use this defilement. Regeneration (I) -The abomination has the power t o regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e abomination can recover from normal damage at a rate of one Life point per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 3 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the spirit acts during that turn or not. It costs the abomination one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers. Regeneration (2) -The abomination has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e abomination can recover from normal damage at a rate of two Life points per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 2 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the spirit acts during that turn or not. It costs the abomination one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers. Regeneration (3) - T h e abomination has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e abomination can recovet from normal damage at a rate of three Life point per combat cycle, per wound, and from debilitating damage at a rate of one Life point per minute, per wound. Healing occurs during the tenth turn of the combat cyde, whether the spirit acts during that turn or not. It costs the abomination one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers. Sixth Sense (Eidolon Sight) -This power allows the abomination to see all spirits, including dead souls, present within the Reverie. It costs no animus and no draw is required t o use this preternaturae.

and with such supernaturalT)otency, that its unnatural sound causes damage t o all others within 30 yards of her. A Resilience (IO) draw is required by the abomination. For each success, the scream causes I points of insidious, stun damage to all 1’isteners and causes the victims temporary deafness as well. T h e damage lasts for the remainder of the scene. It costs 2 animus to use this defilement. Special Communication (Otgonic Link) -The abomination’s master always knows the abomination’s location and the master and the abomination can both one another telepathically. In addition, this allows abomination t o always recognize other abomination on sight and know whether or not they serve their own master or some other powerful entity. Special Resistance (3) - (Examples: Radiation, acids, diseases, gas attacks, intense pressure, and drowning) T h e abomination has an especially strong resistance to damage caused by preternaturae (powers) directly related to the above forms of infliction and damage, and automatically resist all damage and effects from attacks of that sort, including insidious attacks. Thought Projection (I) -The abomination can send its own surface thoughts into the mind of another sentient being. A Spirit (8) draw is required by the abomination. T h e number o f successes determines the clarity of communication and how long the message may be. One success represents a couple of sentences, while five successes allows communication for the remainder of the scene. T h e effective range i s line of sight. I t costs I animus to use this oneiros and may be maintained for up to the remainder of the scene. Vision Powers (1-3) - T h e abomination has one or more of the following: ultravision, thermal vision, and telescopic vision. Ultravision allows the abomination t o see as well at night as during the day, providing that even the smallest amount of ultraviolet light is provided; even a single star’s light on a dark, clouded night will provide enough UV light. Thermal vision allows the abomination to detect the heat patterns of creatures, even in pitch darkness. A subject’s heat pattern glows against the cooler background and her shape may be made out. Telescopic sight allows the abomination to see at 20 feet what most people see at IO0 feet. It costs I animus to use vision powers, but the effects may last for the remainder of the scene. Wings (I - 3) -The abomination can sprout wings which allow her to fly at speeds of up to: (level I) 45 mph; (level 2) 75 mph; (level 3) I25 mph. A Dexterity (10 - Acrobatics) draw may be required for aerial maneuvers. It costs 2 animus to use the wings for up to the remainder of the scene, plus two animus per additional scene of flying.

Book of the Spirits @ Page 209

Do you believe in the Djinn? According to Islam, djinn are invisible beings that supposedly live in a world parallel to the human world. The djinn live among humans and represent a central part of the Muslim worldview. The belief in djinn is orthodox, as they are mentioned several times in the Koran. Djinn are a part of the realm of God, and Muhammad ed on the message of Islam to them. The existence of the djinn is so fully accepted in Islam that relations between man and djinn have been legally defined in of marriage and inheritance. Djinns were created from smokeless flame, while man and angels are creatures of clay and light. Sometimes these beings manifest themselves to humans, often with malicious intentions; but it suffices for the human to mention the name of the God for the djinn to disappear and for their spell to be broken. The divine or non-divine nature of djinn is in question by Muslim scientists, as well as whether or not Satan comes from them. The concept of djinn is actually pre-Islamic in nature; they constitute the myths of prehistoric Arabia. In fact, during the age of Muhammad, they were revered as lesser gods. The djinn are said to be like animals in that they are guided by their appetites - be they for food or sex - unlike humans, whom God distinguished with the faculty of thought and self-control. The djinn, like human beings, are divided into many races and tribes, and they speak different languages. The djinn normally speak in the accent of the country that they inhabit; but in China there is one tribe of djinn that speak in Arabic. When one of them possesses a Chinese person, the host begins to speak in Arabic. In Syria there is only one tribe of djinn that speaks in the local dialect, and the same in India. But the area most heavily populated with tribes of djinn is that from the Jordan Valley to Saudi Arabia, because this area is said to be a prison for djinn and fallen angels. However, there are said to be no djinn in the holy city of Mecca. Some believe Petra was not built by humans, since they could never have built such a peculiar city, nor reached such high places to carve the decorations; folklore holds that the monuments must have been built by djinn. Djinn abound in the Petra area, and their tribes are said to range from Muslims, to Christians, to Jews, as well as some devils. A human can subdue the djinn into servitude, but the ability to do so is considered a gift from God. This is why magicians have a lot of money, because they are served by the djinn. Such magicians can be found in Morocco, Yamen, and Sudan. T h e djinn prefer action to thought; when they decide to do something they will do it, regardless of the consequences. But they are also absent minded, and would not come to a human until they are summoned. Solomon dealt with all sorts of djinn, including the lower and the higher ones. The higher djinn can not descend to earth, but, if they afflict a human being, the person cannot be cure by a doctor nor by a fuqara (shaman). The afflictions of the lower djinn can be treated through the Koran and the Sunna. The lower djinn can adopt any form they wish, be it of an animal or an inanimate object. Could these creatures truly exist? Because we do not share the folkloric traditions of the Middle East, and because we have not experienced the daily reality of the ancient people of that region, how can we judge their beliefs? Could there be real spirits wandering the desert wastes?Would you not be afraid if left alone in Petra for just one night? ,+

bJ1NN

Do you believe in the Djinn?

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Book of the Spirits 6B Page 1

here exists a race of creatures that are half-earthly and half-spirit in nature; for they are com- ' posed of the Smokeless Fire, which is not unlike the "subtle matter" of angels. Mortals rarely see these entities, and those mortals who d o see them usually wish they had not, for they are a race possessing great power and the capacity for great violence. They are the Preadamites, roaming the earth before humanity, and they once were the masters of a vast empire called Ubar. It is said that their ancestors came from the stars and were the slaves and offspring o f Elder Lords. They are called the neutral angels: the hoary reverie dwellers known best as the Djinn. They are well known in The Arabian Nights, but there is far more to the djinn than just being spirits bound into Aladdin's lamps. In antediluvian times, even before the adapans built the dragon cities, the djinn ruled their own half-earthly and half-astral kingdom called both Ubar and the Empire Kaf. It was a land located totally in the reverie, surrounded by a mountain ring, called the Emerald

themselves. In addition, the djinn know their own form of magick called Srhr Halal. This magick involves a special form of geometry, called Secret Geomety, which differs from Gmatrra (sacred geometry). Language, however, is one of their strongest sources of magickal power. T h e djinn have their own secret language called the Ashen Tongue, understood only by the dragons and angels, yet unspeakable by either. This "forbidden language" consists of an alphabet of letters that hold great power. Some magicians have suggested that the ashen tongue may be connected to the sephirot of the Kabbalah, but the two systems do not seem to be linked in any known way. In addition, djinn possess raw strength, the ability to change forms, and the ability t o fade in and out of the earthly realm. Djinn are creatures o f intense emotions, far moreso than mere humans. They are best known for their pride, hedonism, courage, vengefulness, and cunning. They consider themselves far superior to the talking monkqs, and some djinn even keep humans as slaves, considering it fair since some of them were once enslaved themselves by King Solomon or Sukyrnan. King Solomon supposedly bound 72 djinn to his own magick

the War of the Ruby Sword From that p many djinn forsook their self-imposed isolation and became active travelers, traders, and adventurers in the world. When the first of the Destiny Wars began, many djinn tried to remain neutral, but some ed with the dark legions in hopes of extending the influence of their empire, as well as their own personal power. Later on, during the second of the Destiny Wars, the djinn split into factions - some serving light, few preferring neutrality, and a great many serving darkness. T h e djinn get their power from a source called the Smokekss Fire, or Thal. This energy IS said to erupt from the astral Kid and may come from the Elder Lords or Old Ones

enslaved of their own race. Djinn are credited as "neutral angels" and are said to have brought the Holy Grail to earth from heaven, It has been suggested that there is some sort of connection between the djinn and angels physiologically. It is believed that the djinn's progenitors - and even the first djinn - were once six-dimensional creatures, and that they had knowledge of the higher realms of the angels. Djinn have also been linked to the Elder Lords mentioned in the AI Az$ (better known as the Necronomrcon,) supposedly written by Abdul Alhazred the "Mad Arab" in 730 A.D. In fact, the djinn are believed to be the watchers who are mentioned in the Necronomicon. It is said that they were summoned to

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watch over sorcerers and to provide them with things they needed in their magickwork. In hushed tones, the other eldritch say that some among the djinn are actively looking for the Keys to the Kid, which will unleash the Old Ones onto earth. It is unknown as to what these “keys” may be; they might be actual artifacts, but they might also be formulae, individuals, places, or anything else. T h e djinn are not simply creatures of Arabian folklore, they are mentioned as the spirit tribe in the folklore of several Native American tribes. They are also known as demons in Europe superstition. T h e djinn were considered gods in preIslamic Arabia. Many Muslims believe in the djinn, for the djinn are included in the Koran, and belief in them is considered ”orthodox.” It is said that Muhammad first thought that his visions might have been the work of evil djinn, and that later o n he assigned the verdant upper lands to the good and faithful djinn and the desolate lower wastelands t o the evil and disbelieving djinn. There are even details in custom and law concerning relations between humans and djinn, such as in marriage and inheritances. T h e real reason the djinn are best known in the myths and folklore of North Africa, Egypt, Syria, Persia, and

Turkey is because the Empire of Kdf was once located in that geographical region. The empire of the djinn was vast and powerful. During the time of their civilization, the djinn bred with mortal creatures and produced the dhabi, a large group of earthly, astral, dream, and halfearthly monsters. Some have even linked the legend of Melili, ”queen of the night monsters,” t o the djinn’s perverse breeding practices. The djinn consist of two factions the malaika (or solarians) and the shaitan (or lunarians.) Today the lunarians work both with and against demons in whatever capacity best increases their own power and influence, while the solarians continuously work against the demons for fear that the demons will take over Irem - the djinn’s city - if they succeed in taking over the Earth. These two factions are also divided in of their of the forces o f light and darkness; many lunarians have ed the Army of Doom in the Doomlands o f Zurgoth. Two are even lunarian doomlords. In addition, there are several tribes of djinn, including the hat$ marids, and grits. These tribes are like clans or families, and some of them have among both factions.

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he djinn are a race of halfspirit and half-earthly creaturg that usually exist solely within the reverie. They have their own city that is accessible through secret paths, which few other eldritch know about, leading deep within the reverie. They can travel the Astra, Dreamworlds, and Earth without changing forms, but must "gatherfltsh within whatever realm they enter into fully. Djinn must "gather flesh" if they are to walk among humans, otherwise they are physically real and visible only t o those who are within the reverie. T h e djinn are a superhuman, and very non-human, race, though they typically

THEEVERLASTING @ Page 214

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earth, since it allows them to move freely without drawing any unnecessary attention. They can, however, take on more unusual forms, such as that o f animals, whirlwinds, and fires. Legend has it that they can even rest within inanimate objects such as stones, trees, ruins, winds, wells, and underneath the earth. It is said that the djinn are descendants of the Elder Lords, an extradimensional race of vastly powerful alien entities that represents order and law within a chaotic universe. However, some eldritch scholars suspect the Efrit and certain other tribes are descendants, or a lesser servitor race, o f the Old Ones, whom the Elder Lords imprisoned. T h e djinn developed and evolved independently as a race once they were on earth. They took on more humanoid characteristics and bred with numerous races of spirits and animals, including early humans, to produce the dhabi races (monstrous beings.) T h e following sections will detail the physical nature of the djinn.

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jinn are supernatural entities with both animalistic and spirit-like features. When examining their physiology, one must take into the fact that they have multiple forms and all of them are different in many ways. Yet all except for the elemental form, bear physiological features like those of their Elder Lord ancestors rather than like those of earthly creatures. Even the most rudimentary medical exam would turn up countless small abnormalities. Djinn anatomy is alien in that their four lungs are spongelike, shaped almost like multi-level crescents, not to mention green in color. Their hearts are purplish, and are located within the lower center of their chests, behind their own internal bone structures. Their intestines are gray and white, smaller in diameter, more web-like, and woven together in a roping pattern of tubules. Their eyes are more oval, their teeth number 48, and their stomachs are more triangular shaped. The bones of the djinn are covered in a light dust-thin layer of coppery minerals. Their muscles also have minerals embedded within them; they are hard as stone when flexed and their grip is like iron. These minerals may also be reflected in their superhuman strength. Djinn do not sweat, but they do excrete a body scent much like cologne or perfume whenever they get overly excited or overheated. It is said that the thal within them combines stardust, alien blood, and fire together with the breath of the Elder Lords to produce djinn. Some even claim the smokekssjre of which they are composed is much like the subtk matter of which angels are composed. Indeed, legend has it that angels are made of light and djinn are made of fire, linking them in the sense that light produces heat while fire produces light. Certainly, the djinn do possess a memory and consciousness that exists on a cellular level, as well as on an

hat allows thcm to take their many different forms. Their bodies are composed of a composite terrestrial-astral material that combines ephemera with earthly matter. Their bodies are thus neither fully astral nor earthly, and exist solely within the reverie. T h e act o f "gathering f l e s h or "gathering spirit" involves the increasing of mass by psychokinetically drawing in either earthly material or ephemera, thus enabling their full shift into the Astra or onto Earth, since their bodies completely change their makeup. Often the gathering of flesh or spirit involves the release of tbal - the smokeless fire - in the form of crackling energy swirling all about the djinn. Djinn experience a far greater range of pleasure and pain from every sensation, yet their tolerance threshold for both are near limitless. Djinn must eat and sleep to replenish themselves, just as humans must d o so. They are subject to the same sorts of injuries, but they have a superhuman recuperative ability. They are immune to most diseases, toxins, and common ailments. Djinn are very endurant; they can physically resist heat, cold, radiation, pestilence, and other harsh environmental factors that humans cannot survive within for long. T h e physical forms of djinn change over time as their Hubris grows. They go from peaceful and beautifully exotic forms to frightening and monstrous ones as their anger, pride, lust for power, and cruelty grows. T h e grit and ajam are living embodiments of this transformation, for most are considered sbaitan (demons) by the other eldritch. One very unique feature about the physiology of the djinn in any form, aside from elemental, is that the djinn can procreate with any race of earthly spirit or animal. Their offspring are usually monstrous and are sometimes crazy as well; these hybrid offspring are called the dhabi. Djinn have a typical lifespan o f 400 to 700 years. Some djinn that are bound to talismans, lumps, bottks, and so on actually stop aging the entire time that they are bound, thus they are immortal while suffering the curse of servitude, and death will not come to free them from their fate.

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Djinn are born with particular group of natural f;brms and cannot change them, except unintentionally through the growth of their own Hubris. Each tribe of djinn has certain strong traits, thus certain forms are predc)minant among each tribe; for instance, marids tend to transform into waterspouts and usually have black hair and deep green eyes, Each and every djinnee has the follo,wing forms, though their appearance and nature varies from individual to indiiiidual, and from tribe t o tribe: Dural (Ancestral): Their natural form, which t:qpically looks similar to their mortal form, but with some supernatural features and a somewhat ghostly quality. Keemon: Their human or humanoid earthly for'm. Seelah: Their astral or dream form. It is usually even more bizarre and magickal looking than their reverie form. Sekaris: Each djinn has one of the following forms - whirlwind, fire, waterspout, or dust cloud - or some other non-humanoid , seemingly inanimate form. Nafel: Some djinn possess the ability t o take or1 one or more animal forms. It r

can be anything appropriate for their tribe. Urgis: Some djinn possess the ability to take or1 the forms of non-anthropomorphic monsters.

he reverie form is the true, constant, and basic form of the djinn; a diinnee does not alter, switch, or transform its reverie foim. The reverie form exists as a physically real, fleshly form, but solely within the deep reverie. To individuals not within the reverie, the djinn are invisible, intangible, and, for all intensive purposes, not even there. For those within the bare fringes of the reverie, the djinn may be visible, but might be more intangible and spirit-like. However, for those fully within the reverie (3 or more successes on a reverie check), the djinn are quite real and completely physical. Djinn in reverie form can physically interact with their environment completely. They cannot, however, interact with the real world unless they make a reverie check themselves for attempting to move past the reverie onto earth. If they succeed, they can interact to varying degrees. For one success, they can move and touch light things, be heard, or appear for a split second out of the corner of someone's eye. For two successes, they can appear as phantom-like spirits and touch and move heavier things for just a second or two. For three successes, they can appear as real and solid beings briefly. For extended stay in the mundane world, however, they must take on mortal forms. T h e reverie forms of djinn bear all the physical aspect scores as listed for the character. They only suffer penalties and receive bonuses from their other forms. Djinn are composed solely of thal, or smokeless fire, within the reverie. This substance does, however, take on the physical form and functions of earthly physiological features. Thus, even the reverie forms of djinn have warm skin, internal organs, blood, and bones. However, their internal anatomy is very different from that of humans and other terrestrial creatures. Some suggest their physiology is closer to that of the Elder Lords than to that of anything terrestrial.

His head was as large as a dome; his hands like pitchforks; his legs as long as masts; and his mouth as big as a cave. His teeth were like laye stones; his nostrils, jars; his eyes, two lamps; and his look wasfierce and threatening, Now, when thefisherman saw the grit, his entire body quivered; his teeth chattered; his spit dried up, and he was so terr$ied that he could not move or run away. -Arabian Nights, The Fisherman and the ,linnee

s for the mortal forms, the ’gathering of flesh” involves pulling together particles &om things U

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within the immediate surroundinis. These materials are combined with their own reverie forms in becoming animate, living cellular material. T h e bodies are new each time they form on earth, but are composed o f fully living tissue that is subject to the same laws of science and nature as the flesh of other living things. For instance, bullet wounds can cause them trauma and the wounds will bleed and leave them weak. If they jump off a skyscraper, they will go ”splat,” unless they can fly or take some other action t o avoid the natural consequences. Yet despite being subject to earthly laws, the humanoid forms of djinn possess great strength and durability. They also bear a measure of inhuman speed and grace that comes from the spirit side of their nature. Their endurance is often not as great as what one would expect it to be, but this is because the earthly portions of their forms are of inferior design. Normal wounds can kill their earthly bodies, driving them back into the deep reverie and leaving them unable to affect things that are not within the deep reverie. However, normal wounds will not cause serious harm t o their real bodies that exist solely within the reverie, since they have strong regenerative powers in the reverie. They are, however, vulnerable to iron and copper. (See Djinn Klnerabilities and True Death.) The mortal forms of djinn appear to be the same age as the djinn appear t o be within the reverie. Thus, they age very slowly. A revenant that attempts to age the mortal form o f a djinnee can do so, but the djinn’s reverie form remains unaffected. When djinn draw up dust, moisture, heat, and air in taking keemon form, they appear with whatever clothing and equipment they are currently wearing and carrying in dural (reverie) form. When djinn ”cast off‘ their earthly bodies, to return to their true reverie forms, they leave a shell of skin, as if they teleported right out of the thin top layer of their skin. T h e husks are almost like snakeskin in their brittleness. T h e shells will collapse like empty clothing t o the ground shortly after the djinn have returned t o the reverie. Taking on keemon form costs the djinnee 3 animus, (unless the djinnee is forced into earthly form by the destruction of the ephemera in her body.) T h e effects last for as long as one hour, but, for each additional hour, one additional animus must be spent. It costs no animus to revert t o dural (reverie) form. A Presence (IO) draw is required to “gather flesh.”The wearing of jewelry helps “ground djinn, so those wearing a fair amount of jewelry gain a difficulty modifier of -I or -2. Many djinn wear bio-armor created through Iremtech. These living containment suits disrupt the djinn’s astral makeup, allowing long-term stay on earth without the need for paying animus. See the section called Iremtech.

Book of the Spirits CB Page I I

Whenever a djinnee wishes to enter completely into the Astra or Dreamworlds, she must "gather spirit." This taking on o f spirit form is done in the same manner by which the earthly form is taken on, except that instead of absorbing earthly materials, the djinn absorbs either ephemera or morpheum (astral and dream substances respectively.) T h e body of the djinn can then from the reverie o n into one o f the astral realms or Dreamworlds. Just as with the reverie form, the spirit form appears to be physically solid and real. It bears all its natural physiological features, such as organs, bones, and blood, but, unlike the earthly form, it does not lose any endurance and retains the regenerative capabilities of the reverie form. W h e n djinn "cast off" their astral bodies, to return to their true reverie forms, their bodies liquefy into raw ephemera. Often the ephemera takes o n a new form, such as one or more objects (columns, furniture, statues), creatures (birds, unrecognizable spirits, snakes), or effects (rain, color, sound effects, and so on.) Taking on seelah form costs the djinnee 3 animus, (unless the djinnee is forced into astral form by the destruction of the earthly material in her body.) T h e effects last for as long as one hour, but, for each additional hour, one additional animus must be spent. It costs no animus t o revert to dural (reverie) form. A Presence (IO) draw is required to "gather spirit." T h e wearing of jewelry "ground djinn, making it more difficult t o take astral form, so those wearing a fair amount of jewelry gain a difficulty modifier of + I or

+2.

emselves. See the

and cost t T h e elr ered. Heal

carry over onto the re brief periods of time. Taking on sekaris form ten minutes, but, for every spent. It costs no animus to required. T h e dpnn must get

THEEVERLASTING @ Page 2 I8

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&1iex 4'ha"ntjwxtioRS Some djinn are capable of assuming other forms aside form the ones listed above. Among the more predominant forms are those of animals and abominations. T h e ability to assume such forms are considered special preternaturae that must be studied and practiced. Those djinn who can take on animal forms are descendants of djinn who once roamed the antediluvian Great Continent as animals, either in hopes of learning more about the world or in hopes of finding suitable species to mate with in producing dhabi slaves. T h e most common animal forms include: tigers, lions, cheetahs, cats, wolves, dogs, hyenas, jackals, camels, horses, elephants, monkeys, crocodiles, eagles, falcons, pythons (and other serpents), packs of scorpions, and packs of locust. Most djinn tribes have certain forms which are dominant for their kind. Only a small number of djinn can take on multide animal forms.

Book of the Spirits CB Page 219

~ R RCoNttehaRce An elevenfoot tall black man, physical2y pefect in evey way, with chtsekdjatures like an obsidian Adonis, dressed in an impeccably-tailored three-piece Savrk Row suit, silk tte knotted prectseb, stood just in the hallway . -Harlan Ellison, Dtrnn! No Chaser

11 jinn are primarily 1

l--l

inhabitants of the reverie. Within this

fringe of reality they look like humans for the most part, but most have unusual features that mark them as definitely non-human. Each djinnee is different, and while certain preternatural features ate particularly common among of particular tribes, most djinn are easily identifiable and unique in appearance. Most all djinn take on earthly forms that are Middle Eastern or Mediterranean in appearance, though a small percentage also take on European, African, Asian, or Native American forms. Cool, calm, and cold-hearted djinn are often very pale of skin, vet as their emotions flare, their skin can take on greater shades of dor. Often djinn have a skin tone that is particular to their tribe or personality type; see the Tribes of the Qznn section for more details. Most djinn have skin color ranging the gamut o f human kin tones, but some of them have more unusual skin. Some strange skin colors include: chameleon skin; brightly colored skin, (such as fire red, magenta, bright purple, light blue, gray, jet black, and oddly patterned mixtures of colors); and metallic skin, (with gold and bronze being the most common). Most djinn have silky smooth skin. Many even have pearl-like skin with a soft reflective translucence. Some djinn, however, have skin of unusual textures, such as sandpaper skin, rock skin, hard metal skin, and oil-coated skin. T h e soles of their feet are hard as steel, yet soft. They can walk barefoot across broken glass, nails, hot coals, and burning desert sand for hours without any injury. Their bodies are often hotter or cooler than mortal body temature, though they are warm-blooded creatures. few djinn are covered in body hair, but most djinn have very lithair, with most all of it being o n their heads. Their hair in the reverie and the Astra is almost psychokinetically animated, as if wn by an invisible wind. Their fingernails and toenails either resemble copper, iron, Id, platinum, and other metals, or are o f unusual colors, such as purple, black, and red. Their nails are of odd coloration no matter what realm they are in - Astra, eatth, or the reverie. Their faces can go from anger t o delight instantly, with just a slight alteration, yet they are prone to strong body language that expresses their emotions without leaving any room for doubt. O n earth, their eyes continue to have a somewhat unusual vibrancy combined with something of a glazed look, as if they are on drugs; this is because of their continual perception of the 3 ‘

-

THEEVERLASTING @ Page 220

of human eyes, thus giving them an unusual look. Within the Astra, most djinn look similar to the way they do m their natural forms, but they have certain more exotic and overtly supernatural features. For example, many djinn have flowing eyes, continuously wind-swept hair, booming metallic voices, and luminous skin. Their coloration can be even stranger and brighter in color than in the reverie, becoming bright red, green, purple, and so on. Djinn clothing is very distinctive in style, blending antique human styles with some futuristic elements, as well as an overwhelming use of Arabic patterns. They prefer leather, studded leather, strange forms of silk, and metal. Lunarians, djinn of the lunar side of Irem, wear lots of black, white, and cold, dark colors, along with silver, platinum, and steel metallic. Solarites, djinn of the solar side of hem, wear lots o f bright and warm colors, and gold, copper, and brass metallic. O n earth, the djinn typically dress in stylish clothing that is not too unusual. They often wear long overcoats, heavy leather boots, gold jewels, and expensive silks. Again, most lunarites prefer black, white, gray, and cold colors, while solarites prefer warmer colors. Adventurous djinn own bio-armor suits that allow them to move freely on earth for long periods of time. (See the section called Iremtech for details.) In addition, they cannot see spirits well unless they wear goggles or glasses with rose quartz lenses. O n earth, most djinn carry melee weapons when dealing with supernatural threats, with scimitars, tridents, and long curvedbladed polearms being the most popular. In the reverie, the blades of these weapons often have elemental-like special effects, such as fiery blades or razor-like watery blades. Djinn carry guns when dealing with mortals, since they are often more intimidated by guns than by antique blades. In the reverie, these guns are usually high-tech plasma pistols, but o n earth they look and function like mundane firearms, except that they do not require reloading. They will, however, cease to function if they are not returned t o Irem within a week.

dDjinn senses are better than average, but are not superhuman in most respects. Their greatest sensory powers include the ability to continuously see into the reverie while on earth, and their ability to see all manner of spirits within the reverie, including dead souls and dream spirits. O n earth, the djinn must wear glasses or goggles with expensive, custom designed lenses composed of polished, thin rose quartz. Certainly in their nafP1 (animal) forms, they possess enhanced senses, the nature of which mimic the natural senses of the creatures whose forms they take. In rare cases, some djinn - particularly marids - do develop and retain senses similar to those of their nafel forms while they are in their natural dural (reverie) forms, such as telescopic vision for hawk forms, sonar for dolphin forms, and 360 degree vision for spider forms. (Such senses are considered abnormal powers and must be taken as energumen.

Djinn have a strong appetite for dl forms of carnal pleasure. They are hedonists and gluttons. They regain lost animus through pleasure, including good food, fine drink, sex, drugs, and more unusual sources. Their favorite drink in Irem is called hadeeth; it is a powerful intoxicant that has a similar effect upon them as hard liquor on humans. However, hadeeth is so potent that it would kill a human. In addition to pleasure, sleep also provides djinn with some replenishment of their thal. However, djinn have more trouble entering the Dreamworlds, as it is very unnatural for them while sleeping. Any attempts to enter the Dreamworlds while sleeping is at -1-3 difficulty. Attempts at moving from the Astra into the Dreamworlds through the Chaos Barrier suffer no such penalty. Like all creatures, djinn lose three animus each day. This loss of thal can make them weak and powerless. If they ever go to zero animus, they fall into a coma-like state. They may recover consciousness through the h though such pleasures must comatose djinn. Pkasures. Regain I t o 3 ani and duration of the ple animus point, while an averag points. (Food, drink, sex, and Skep. Regain I animus per fou

Djinn are composed of "subtle matter," like angels, and as such they are extremely hard to kill. While their earthly forms are destructible, destroying their true forms requires extreme measures. Their cells - composed of ephemera and earthly matter - must be destroyed both astrally and earthly, since if either side is not destroyed, then the true form will regenerate. If the earthly material of the dural form is destroyed, the djinnee becomes totally astral in makeup. If the astral material of the dural form is destroyed, the djinnee becomes totally earthly in makeup. If the djinnee is destroyed on one plane, it must be hunted down and killed on the other plane in order t o be truly destroyed. Djinn are subject to damage from intense cold, acid, conventional weapons, energy-based attacks, psychic assaults, and magicka1 attacks. Djinn are immune t o fire, heat, terrestrial diseases, and most earthly toxins. Djinn are also immune t o the adverse effects of rapid pressure changes and can even survive for a couple of

in their earthly forms. In both

T h e substance known as thal, the srnokelessjre (anima), is the lifeforce and energy of the djinn. It i originated from the energies of the Elder Lords (or possibly the Old Ones) and the Void. T h e energy source is undoubtedly alien and ultradimensional in origin. Its existence and use among the djinn is as old as the race, predating the existence of Adam and Eve. Some suspect there is a connection between the djinn and the gargoyles, since it is said that the gargoyles also draw power from the Void of the Astra. Thal looks like black, liquid fire; it can burn things just like normal fire, and it is hot t o the touch. T h e energy pervades the djinn on a cellular level and may be the force that binds earthly matter and astral ephemera together as one. Thal can even be utilized as an independent energy, by bottling it through various magickal methods similar to the ways in which djinn may be bound into lamps and other artifacts. This energy is this used by djinn for powering their Iremtech devices. Thal is said also to be the fiery emotions of the djinn, living radiation, and the forbidden language, called the Ashen Tongue, that is said t o "burn the tongue of the unskilled speaker." T h e use o f thal is called shama, "the burning." Indeed, even the speaking of the forbidden language brings a touch of thal into the throat of the djinn, like some lesser degree of shama.

Guide deems was destroyed first. T h e surviving side killing attack(s). It takes twenty-four hours (minus one hour per point of Spirit) for the djinnee to generate its dural form again, by adding new earthly or astral material. When a djinnee's body dies, nothing special happens unless it is the true death o f the djinnee within both the Astra and on earth. Normally, the death of an earthly form leaves a husk, just like when the earthly form is "cast off" when the djinn returns to dural (reverie) form. However, the body does not become a husk immediately. It takes about two hours of slow decomposition for the body t o become a husk. In the Astra, the body fades away after death, become ethereal-like. If the djinnee is truly destroyed in both realms, then the djinnee's body explodes upon death, (though this deals no damage,) i the form of black smokeless flames, as if dying by spontaneous combustion, leaving the djinn in astral or earthly ashes. All who are present feel the loss o f the djinnee's presence and certain elemental effects may occur due t o the expulsion o f life energy. T h e particular effects should be related to the sekaris (elemental) form of the djinnee. These elemental effects cause no damage, and they last for only a minute or so before they totally subside.

djinn are banished by lighting fires in particular patterns,

Djinn that possess the bodies of earthly beings may be exorcised through strong willpower and magick. A magician makes a person wear a cloak called a ghod, builds a huge fire and threatens

Djinn have an inborn,

i

bound to lamps and such things are often more obsessive about returning home. Djinn suffer n o true adverse effects from their homesickness, but those who d o spend most of their time in Irem are more emotionally balanced, level-headed, and psychologically

them or wrong against them.

with oils extracted from certain rare plants. It is said that the djinn are expelled from the interface between the flesh and the

ments. They love games, gambling, and riddles as well, though losing comes difficult for them. Djinn are natural hedonists; they feel an intense, comfortable

the hyperactivity, the calming effects, and the psychoactive effects of drugs to be very important and valid forms of personal experience. They even equate such experiences as being o f spiritual benefit to them; it is by intense pleasure they can achieve a "transcenreturn my good deed with evrl

"

el great self-gratification from the torture of rs. Both the suffering and the infliction of

ental. They are cruel taskmasters who beat and Their emotions are said to be their greatest virtue humans' emotions. When they are happy, they are three time

obsessed as humans. Their ions can let them overcome all sorts of challenges, but depression, rage, and negative emotions an get them killed by causing them to act irrationally. Pride among them is very great. In fact, they are boastful, stuborn, and belligerent most of the time, and often they get on the nerves of non-djinn. Djinn are known for their Hubrrs, as their power and pride often combine as megalomania and overconfidence. They often view other sentient creatures as lesser beings and treat them accordingly. Many place very little value o n the lives of non-djinn, though some djinn consider angels, dragons, and the eldest of daevas to be creatures of near-equal value to the djinn race. Other races of eldritch are often viewed as being only a little better than mere mortals.

amusement.

destroyed entire harvests, wn t o have captured mor-

have carnal relations with all manner of creatures and other things. Djinn are even known t o breed with animals, spirits, humans, and all sorts of eldritch creatures. T h e offspring of such mating are strange and exotic creatures called dhabr T h e union of certain djinn will produce predetermined sorts of dhabi, but in most cases the offspring are unique. Since the djinn have bred with animals, humans, and others for millennia, they have spawned many entire races of dhabi-creatures that now reproduce independently. Many of these dhabi races are stable, magickal breeds that live in dungeon-like lairs and cities below the earth, created by their own kind or their djinnic ancestors. T h e realm o f these dhabi races is called the Inner Earth. Djinn that encounter attractive (or even repulsive creatures that interest them) will espouse a strong desire to breed with them and will usually do so, even if through force.

Djinn must learn to control their intense emotions by "wrapping their minds in iron cages," according to one djinnee of the marid. Because of the dangers o f intense emotions, some djinn shut off their emotions, becoming cold and rude; these djinn are said to be "living inside their iron cages." For system purposes, a djinnee may turn off all her emotions whenever she is not in a strong emotional state. This requires several minutes of meditation, and the djinnee becomes emotionless and expressionless for one hour per success o n a Spirit (6) draw. T h e djinn can leave her iron cage before the end of this period, but is highly unlikely to d o so. Djinn prefer action over thought when they are not in their iron cages. Their impulsiveness and unpredictability make them dangerous to all others, including their own kind. Whenever a djinnee must make a card draw or dice roll for gaining an emotion, multiply the results by three to get the djinnee's actual score in the emotion. If the score is over 13, round down to 13. When this happens, the djinnee must make a Spirit (9) versus Hubris (7) draw. If Hubris wins, the djinnee gains one point in Hubris. If the djinnee's Spirit draw is a disaster, the djinnee gains two points of Hubris.

Hubris is the torment of the djinn. Djinn are overly emotional creatures whose pride and agendas often develop imo megalomania and obsessions. Djinn often believe that, since they are supernaturally powerful, they also know better than all others what is right and what is wrong. Many djinn begin seeing themselves as gods, believing that whatever they decide t o believe and d o are right, while all others are wrong in their beliefs and actions. T h e djinn call humans the talking monktys, and they are raised in a culture of slavemasters in which they have the power of life and death over others. This megalomania transforms into true hubris as their actions cause problems and suffering for many others.

ere are the nine most wellknown tribes of the djinn Characters may come fion any one of the tribes, or from other tribes that you invent. There are at least thirty other tribes of djinn, though some have only a handfd of , such as the silat, Ten, and tabe'ah T h e tribes are as follows:

Efrit: The most powerful tribe; these djinn are lunarians that control the other tribes of the lunar side of the City.They can transform into ashen tornadoes, black dogs, serpents, and swarms of insects. They are treacherous, regal, and without mercy. Marid:T h e second most powerful tribe; these djinn control the solar side of the City. They can transform into waterspout funnels, dolphins, and hawks. They are prideful, honorable, and hateful o f lunarian demons.

Ajam: T h e third most powerful o f the tribes; these djinn are lunarians. They can transform into clouds of smoke, jackals, and black camels. They are slavers, merchants, and extreme hedonists. Hatif: T h e fourth most powerful tribe; these djinn are solarians. They can transform into pillars of flame and bulls. They are warriors, bodyguards, and professional killers.

Jam:T h e fifth most powerful tribe; these djinn are solarians. They can transform into sand cyclones, balls of black flame, eagles, and white camels. They are the closest to humans in their mentality, and they are conservatives by djinn standards.

Dalhan: T h e sixth most powerful tribe; these djinn are primarily lunarian, though a few are solarian. They can transform into ball lightning, rats, and large worms. They are masters of darkness, friends of ghuls, and assassins. Growing Effects: As their Hubris grows, most djinn change physically, becoming less human-like in their dural (reverie) forms. For every two points djinn get in Hubris over a score o f 3, they gain one easily noticeable, inhuman physical feature, such as flamelike irises, metallic voices, brazen hooves, ebony horns, increased physical size, clawed hands, bizarre skin color, giant ears, and so on. Decreasing Persona Qualities: Generosity, kindness, honesty, love (any non-djinn), fairness, humility, honor, cowardice, or similar persona qualities (These qualities may not have scores any higher than 13 - current Hubris score.) Increasing Persona Qualities: Overconfidence, pride, bravado, stubborn, cruel, power-hungry, greedy, bully, lustful, or aggressive. (For each point in Hubris above three, the djinnee gains three points to divide among human persona qualities.)

Serim: T h e seventh most powerful tribe; over half o f these djinn are solarian. They can transform into vicissitudinous clay, wolves, and warbeasts, which are like bear-gorilla creatures with some cat-like features and saber-length claws. They have no sekarrs (elemental) form. They are breeders of dhabi animals. Nasnas: T h e eighth most powerful tribe; they are divided equal-

ly among the lunar and solar sides o f Irem. They can transform into balls of oil, rats, and spiders. They are the builders, technicians, and scientists of Irem. Sutekh: T h e ninth most powerful tribe; they are divided equally among the lunar and solar sides of Irem. They can transform into ever-changing blood humanoids, swarms of giant leeches, and swarms o f locusts. They are the medical practitioners, druggists, and bio-engineers among the djinn.

Book of c )i

the Spirits Q Page 223

"m

became the most powerful of the tribes after defeating the marid in a series of inter-tribal wars. They are deeply involved in Zuvgoth’s plans for a new Destiny War T h e efrit hate humans and often work with demons, and even, in rare cases, with leviathans and other abominations. Many efrit keep hundreds, even thousands, of earthly, astral, and dhabi snakes of all varieties as pets in their sanctums.

once the most powerfur of the djinn tribes, but they were defeated by the efrit in feuds that showed all the other tribes that the marid were weaker than most had suspected. Still, even though they are seen as outdated royalty, the marid are still very powerful and are more than a match for any two tribes, save for the efrit. T h e marid are solitary creatures who love life on the coast. They were once a very vibrant and happy tribe, but now many marid put their emotions in the iron cage on a regular basis. They are sometimes involved in schemes and outright battles against the Army of Doom, the lunarians, the demons, and the abominations that threaten their interests.

Tribe of the Efiit

:

Status: Most powerful of the djinn tribes Demographics: 100%lunarian Tribal Colors: Black, red, gold Tribal Citadel: Lunar hem, mountaintop fortress called the Dhnr Nekem, the ”Heart of the Night,” ruled by the Old Man in the Mountain Sekaris (elemental) Form: Ashen ornado Nafel (Animal) Forms: Large black dog, giant serpent, and swarm of scorpions Humanoid Features: O n earth, and in both the reverie and the Astra, the djinn have the following features; red, black and bronze hair; swarthy skin; bronze, brass,

Tribe of the Marid Status: Second most powerful of the djinn tribes Demographics: 100% solarian Tribal Colors: Silver, sky blue Tribal Citadel: Solar Irem, sea fortress called Kordrs h e k , the “Emerald Fortress”

Tribe of the Ajam Status: Third most powerful of the djinn tribes cs: 10% solarian, 90%

fiers: Resilience + I ,

Affinity Modifiers: Fire -IO; Majesty -10 Background: T h e efrit are the rulers o f the lunar side of h e m Zhnt al h a d , known to the djinn simply as the City T h e efrit seek a way of bringing the Old Ones to earth. T h e efrit are evil, cruel, cunning, and prideful. They are harsh slave owners and totalitarian rulers over the City. They

deep green, golden, and platinum hair; silver, gold or platinum irises and nails; Caucasian to light tan skin; and about 6% have albino white skin and ice blue irises. Common Persona Qualities: Love of the sea, loner, prideful, regal, honorable, hate shaitan, hate abominations, hate demons, like humankind, courageous Aspect Modifiers: Strength + I , Resilience - I Distinction Modifiers: Psyche -2, Resources +2, Temporal Ties +I Affinity Modifiers: Majesty -IO;

Water -10

THEEVERLASTING @ Page 224

deep purple irises and nails; Caucasian skin

Common Persona Qualities: Deceptive, cunning, treacherous, greedy, power-hungry, hedonistic, dislike marid, manipulative, politically minded Aspect Modifiers: Instincts +I, Strength - I Distinction Modifiers: Biography -2, Resources +I, Temporal Ties +I Affinity Modifiers: Corruptive -IO; Domination -10 Background: Many ajam are professional slavers, sellers of exotic pleasures, and merchants. The rest are all regal hedonists. About ten percent, however, prefer the solar side of Irem and are less corruptive and evil-minded than their lunar kin. Some ajam are known for their skill as information gatherers and poisoners. They are powerful allies of the efrit. About one-third of the lunarian ajam seek to bring- the Old Ones t o earth, while the rest are opposed t o the idea. The ajam are willing to work with the efrit right now, out of fear of what would happen if they opposed the efrit's efforts, but they hope to one day topple them and rule lunar Irem themselves.

Nafel (Animal) Form: Black hull Humanoid Features: On earth, and in both the reverie and the Astra, the djinn have the following features: black, blueblack, gold, and bronze hair; red, gold, bronze, and purple irises and nails; swarthy to black skin Common Persona Qualities: Honorable, prideful, vengeful, love warfare, disllke osirians, spartan, unforgiving, dislike ajam, hate efrit, serious Aspect Modifiers: Resilience I, Inspiration -I Distinction Modifiers: Eldritch Ties -I, Physique +2, Temporal Ties -I

+

Common Persona Qualities: r h l l k e

servative, middleful of

all the djinn. T h e hatif

are also

ing their strength and spirit as a race.

Tribe of the Jann Status: Fifth most powerful o f the djinn tribes Demographics: 75% solarian, 25% lunarian Tribal Colors: White, red

Tribe of the Hatif Status: Fourth most powerful of the djinn tribes Demographics: 90% solarian, 10% lunarian Tribal Colors: Green, gray, and white Tribal Citadel: Solar hem, the Hafalfaqu a1 Lilkudas, or the "Golden Towers of Lilkudas" Sekaris (elemental) Form: Pillar of black flame

-_I

Tribal Citadel: Solar Irem, a citadel called Dharj+n, the "Cyclone's Heart" Sekaris (elemental) Forms: Sand cyclone, ball of black flame Nafel (Animal) Forms: White camel, eagle Humanoid Features: O n earth, and in both the reverie and the Astra, the djinn have the following features: gold, brass, copper, blond, and deep crimson hair; ice blue, golden, brown, brass, and deep red nails and irises; and swarthy to Caucasian skin.

demons is growing. They do not like ghuls due to a bitter blood feud with the iblis that lasted for centurie

Tribe of the Dalhan Status: Sixth most powerful of the djin tribes Demographics: 20% solarian, 80% lunarian Tribal Colors: Black, bronze Tribal Citadel: Lunar Irem, the Necropolis of Dalhatt Sekaris (elemental) Fori

ning Nafel (Animal) Forms: Pack of rats, gigantic worm (25+ feet long)

Book of the Spirits CB Page

esme, and berserker-like in combat, making them feared, even by most hatif. Still, they are very good-natured, and are among the most benign of djinn when it comes to their treatment of non-djinn. While they live on both sides o f Irem, they often move from one side to the other during their travels. They love nature, and spend much of their time wandering the outlands o f their home realm, traveling in nomadic fashion through the wilderness. Many also spend their time traveling the untouched natural places on earth. Serim take almost no interest in the affairs o f the other tribes, so long as they do not threaten them in any way. Humanoid Features: O n earth, and in both the reverie and the Astra, the djinn have the following features: black, dark purple, blood red, bone white, blue metallic, and gray hair; black, blood red, bone white, and metallic blue irises and nails; and chalk white and jet black skin. They are all slender of build. Common Persona Qualities: Like huls, eat human flesh, mysterious, morbid, ve of death and dead things, cunning, vicious, hedonistic Aspect Modifiers: Perception 1,

+

Tribe of the Serim Status: Seventh most powerful of the djinn tribes Demographics: 60% solarian, 40% lunarian Tribal Colors: Dark brown, light brown Tribal Citadel: Solar Irem, the Thar Kerim Dalsnt, the "Mountain City of the Wastes" Sekaris (elemental) Form: None Nafel (Animal) Forms: Wolf, "warbeast" form, (which resembles a cross lion, and a bear, but with between a gortlla, saber-length claws) Humanoid Features: On earth, and in

Necroomantic -IO

Tribe of the Nasnas

solarian dalhan spend a great deal of time n the lunar side, but work for the marid other tribes in performing their dirty k. All the other tribes are uncomfortaround the dalhan, finding their morbid interests too bizarre even by djinn standards. T h e majority of the dalhan dwell below the ground in lairs where they keep their ghulish servants and slaves. It is suspected that the dalhan have their own secret paths below Irem, which link the two sides together without the need for crossing the Darkway Bridge.

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sense of humor, berserker, rustic, love of strong drink, love of nature, like humans, aggressive, protect animals Aspect Modifiers: Instincts +I, Inspiration -I Distinction Modifiers: None Affinity Modifiers: Antmaltstrc -IO;

L$ -IO Background Serim are best known as the breeders of dhabi animals, though they are not breeders of humanoid dhabi. They

Status: Eighth most powerful of the djinn tribes Demographics: 50% solarian, 50% lunarian Tribal Colors: Metallic steel gray, orange-yellow Tribal Citadel: Lunar hem, the Mechanocity Sekaris (elemental) Form: Ball of nonflammable oil that changes shape Nafel (Animal) Forms: Swarm of rats, swarm of spiders Humanoid Features: O n earth, and in both the reverie and the Astra, the djinn have the following features: black, gray, dark gray metallic, steel, and silver hair, nails, and irises; and pale white or bluegray skin. Unlike the other tribes of djinn,

feathers, which provide them with flight.

Ibbs, an ancient race of ghuls whose origin

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ative peace and quiet isolation, away from the dragons and their ”chimpanzee experiment.” T h e djinn enforced this isolation primarily through ive magickal wards and other defenses, but on a few rare occasions they were forced to combat individual dragons and other eldritch that intruded upon their territories. T h e War of the Ruby Sword was the djinn’s first real violent experience with the outside emissaries trekked to the city of Ubar offerleaders of the djinn a sword carved from a

they have worked for all of them. ers. T h e sutekh are they are working, they are always in their iron cages, actmg cold and clinical to all.

Tribe of the Sutekh Status: Ninth most powerful o f the djinn tribes Demographics: 50% solarian, 50% lunarian Tribal Colors: Blood red, white Tribal Citadel: Solar side, jar& Sujah, the city of ”Sapphire Towers” Sekaris (elemental) Form: Blood form that can change forms and solidity Nafel (Animal) Forms: Swarm of giant leeches, swarm of locust Humanoid Features: O n earth, and in both the reverie and the Astra, the djinn

Djinn are well-known in the Middle East as ancient gods, though the flourishing of Islam reduced them to the status of servants of either Allah or the devil, who is often called ”Shaitan.” However, the truth is that the djinn are the Preadamites, the first humanoid race to have a civillzation. Even before the creation o f the Dragon Cities, the djinn had found their way to Earth from some faraway sidereal home within another solar system, possibly even another galaxy or dimension. T h e djinn that came to Earth were either castaways or escaped slaves of the Elder Lords or Old Ones. T h e djinn did not have earthly humanoid forms, but took such forms later on. Many djinn died quickly before adapting to earthly survival. T h e survivors were not great in number, but being lustful, virile creatures, their breeding rapidly increased their population. Their inter-breeding with other races also gave way to countless dhabi races of unusual beings, which the djinn used as slaves.

uneasy truce. During the first of the great wars, the First Destiny War, which shook the entire world through its epic conflict of good versus evil, the majority of the djinn remained neutral. Some djinn, however, particularly those who held grudges from the War of the Ruby Sword, ed the forces of darkness. T h e First Destiny War ended with a hollow victory for the forces of light, as the forces o f darkness were forced into hiding, though they continued to grow in power. In fact, over the decades, the Great Darkness of Sath Stygras spread throughout the known world, and many more djinn continued t o go over t o the side of evil. Eventually the remaining djinn committed their to the forces of light in the Second Desttny War.T h e end o f that epic conflict left the djinn’s city o f Ubar in rums, and the entire Kingdom of Kaf split into two factions. Some short time later, through the use of a device known now only as the Omega WPapon, the city of Ubar was cast into the Astra by the remaining forces of darkness. T h e djinn’s homeland became a far realm within the Astra, as well as a realm accessible through the reverie of Earth.

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of the moon; the two cities were each cast from the mold of Ubar's ains, becoming Irem Zhat al h a d , "Irem of the Pillars." T h e ser-

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nts of light, - under the command of the last great d ~ i n nemperor, Jan bin Jan, got the southern side of the City, while the servants of darkness got the northern side of the City. The two sides became separated by the Oretb Degha!, also called the black razor wall; it is a forcefield like nothingness spanned by the Sirat, the darkway bridgt. Since that time, there have really been two cultures of djinn, the solarians or mahiha, and the lunarians or shaitan. For the most part, the djinn lived in continued isolation and peace for over a millennium. Some of their greatest problems arose From their dealings with King Subman (or King 5olomon.) T h e mortal bound many djinn through Secret Geometry into his service, and used them in the building of his temple. Since that time the secrets of binding djinn have been ed down among a secret cabal of magicians and of certain secretive fraternities. Many d p n were bound into

Arabian Nghts and other oric tales mention these slaves of the lamps and slaves

of Doom, along with the devils and their demons, began rising in power, the shaitan began aiding them. T h e other tribes of djinn have been standing against them by working solely among their own kind when possible, and with other eldritch whenever absolutelv necessary.

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madhufah, where visitors were welcomed. T h e hatawaaty (storyteller) would entertain the audience and visitors with many stories of the djinn, such as Kulaib and Zeer, Abu Zed, Antara, the Arabian Nghts, and so on. Even within each family there was a storyteller who would keen o-f the diinn the- diinn ,... alive . . For .this . .. . reason - . alone. . - r t h e tale5 ---' I

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that they are a slave race of the Elder Lords, though some of the djinn tribes may have served the Old Ones instead. Certainly some of the shaitan seek to release certain Old Ones from their imprisonment within the Kid. They are seeking the I c y 5 of the Kid and work with other servants of the Old Ones. They predate the Great Deluge and are known as the Preadamites. They are said t o have arrived on Earth some 2,000 years before Adam appeared. T h e djinn are said to have begun killing one another as soon as they arrived, possibly the servants o f the Old Ones against the servants of the Elder Lords. T h e angels of heaven supposedly came to Earth and disciplined the djinn, incarcerating __ . many of them o n an island for a very long period of time. Some theologians claim that the djinn are e "neutral angels" mentioned in some obscure folklore. Some believe the jinn can climb to the lower heavens where they can overhear the onversations of angels about future events. According to one legend, the djinn -acting as the neutral angels - were the eldritch responsible for bringing the Holy Grail to Earth. T h e grail knights seem to have absolutely no knowledge of the djinn, nor of their connection to the Grail, meaning this story might be totally false. Some claim the djinn were also e "demons" that gave hazel, the first ghul, the elixir of un-death called Anecro.T h e djinn have long had a relationship with the Iblis, a race of ghulish creatures, nd it may be true that they gained the elixir from thcm in some sort of trade. During the Age of Legends, when the elves, manitou, dwarves, humans, and daevas fought the orcs, demons, wer, vampires, revenants, and the Dark Ones, called Tiamat and Sath Stygras, the djinn served both the forces of darkness and the forces of light. There were no gargoyles, no true ghuls, n o osirians, and no possessed, though the yugtuhul walked unbound upon the earth in their true forms. Angels rarely appeared, and the worldsingers were more active in guarding the earth and its magicks. There were no grail knights, but questers still roamed the earth doing good deeds. The fey folk were earthly creatures back then, though they were still strange, capricious, and extremely dangerous. T h e djinn knew them all and, though they preferred isolation, they learned a great deal about the ancient races - their cultures. histories. wars. and secrets. I

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The djinn still have historical records dating back t o that prehistoric time, since their Kingdom of K.f had been cast into the reverie and Astra before the Great Deluge. Long after the Age of Legends the djinn entered the history of humanity in various ways. King Solomon bound 72 djinn to his will through his special ring. Even in Islam they are acknowledges, but they are said to face salvation or damnation just like humans. Muhammad was said t o have originally feared that his revelation might be the work of djinn. Djinn were thought to have inspired a great many poets and soothsayers.

It takes its powerfrom new readers, new believers. Thati the point, be& When people begin to lose their ability to know the dgerence betweenfantasy and reality, the Old Ones can begin their journq back. The more peopk that believe, thefaster the journq. Sutter Cane, In the Mouth of Madness

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T h e Nerronomicon, or ”Book of Dead Names,” is said to have been written by H.P. Lovecraft, but, according to the material include within the book, the book was actually written by Abdul Alhazred, the ”Mad Arab” in 730 A.D. in Damascus. Alhazred was born is Sanaa in the Yemen. H e was a well-read scholar who lived during the reign of the Ommiade caliphs, dying in the year 738 A.D. H e traveled widely, from Alexandria to the Punjab, and visited the ruins of Babylon. H e supposedly explored the subterranean secrets of Memphis and spent ten years alone in the great southern desert of Arabia, called the Roba al Khalyeh (or the ”Empty Space of the Ancients,” the ”Dalma,” and the ”Crimson Desert” t o the modern Arabs.) Alhazred was said to have known many languages, and to have translated many difficult manuscripts. H e is referred to as the ”Mad Arab” and ”Mad Poet” in the writings, though there is nothing to suggest he was insane. Alhazred is said to have used ritual magick similar to that used by Nostradamus, in scrying. The Mad Arab used incense of olibanu, storax, dictamnus, opium, and hashish. Alhazred claimed he had access to many books and letters now lost which were only hinted at in Genesis and the apocryphal Book of Enoch. Alhazred was living in Damascus when he wrote the Nerronomicon. Alhazred is said to have visited hem, the City of the Pillars, and to have found, beneath the ruins o f some nameless desert village, books and scrolls that revealed the secrets of a race much older than humanity. These annals became the basis for the Necronomicon, which Alhazred had first named the A1 h$since azif was a word used by the Arabs to represent the nocturnal sound made by howling demons. According to Alhazred, the earth is inhabited by many species aside from humanity, and the knowledge of these beings was ed on to humankind from ”beyond the spheres” or from ”other spheres,” suggesting that they came from some sort of extradimensional or psychic source. Alhazred believed that other stars, like the Sun in our solar system, have planets and that some o f those planets are inhabited.

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Alhazred’s death is described by Ebn Khallikan, a 12th century biographer, as being quite unusual. Alhazred was supposedly caught and killed by an invisible monster in broad daylight, and the monster ate Alhazred in front o f a large number of horrified witnesses. In 950 A.D., Theodorus Philetas of Constantinople translated the A1 Az$ into Greek and renamed the book the Necronomicon For the next one hundred years many scholars studied the secrets of th book and met terrible ends as a result. In I228 A.D., Olaus Wormius, an occultist and scholar, translated the Necronomicon from Greek into Latin. This version of the book was printed in the 15th and 17th centuries. In 1232 A.D., Pope Gregory IX banned the Nerronomicon. A later translation into English by Dr. John Dee, magician and servant of Queen Elizabeth, never saw print, but is said to still exist in fragments. It is said that one 15th century edition of the Necronomicon is kept in the British Museum, copies of the 17th century edition are kept in the Bibliotheque-Nationale in Paris, the Widner Library at Harvard, and the University of Buenos Aires. Today copies of the Necronomicon are available in bookstores across the world. However, despite the rumor of Lovecraftian origin and the use o f the book in movies ranging from Evil Dead III. Army of Darkness t o all the Lovecraft-based cheap horror flicks, the dangers within the book could be very real. Some claim that Alhazred was afaitour ghul, and that the ”watchers” referred to in the Necronomicon were actually powerful djinn. Indeed, four of the most powerful djinn in history are known as the Four Posts or Guardians of the Gateways. These djinn are A1 Rifai, AI Dasouqi, A1 Sayyed Ahmad, and AI Sataran. Their names are often invoked byfuqara (Arabian shamans), and they may have been the particular watchers to whom Alhazred was referring.

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Trent stood at the edge of the rip, stared into the illimitablegulf of the unknown, the stygian world yawning blackly b 9 d . fient’s yes r$used to close HEdid not shriek, but the hidems unholy abominations shrieked& him As in the same second he saw them spill and tumble upward out of an enormous carrion black pit, choked with the gkaming white bones of countless unhallowed centuries He began to back awayfrom the rip as the army o f unspeakabkjgures twilit by theglow o f the bottomkss pit cattie pouring at him toward our world Styles, In the Mouth of Madness

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T h e Old Ones have existed since before humankind; they are said to be from the ”dark stars” and t o have come to Earth during some primordial time period. They supposedly remained inactive within the oceans until the land masses formed on the surface of the Earth, at which time the Old Ones and their servitor races came upon the land and ruled for some undetermined period of time.

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posedly they created their own cities near the north pole and outh pole, where they built temples unto themselves. These monstrosities were known to the djinn of Irern, and it is said that the Old Ones left their marks all over the planet. T h e Elder Lords came to earth, possibly bringing the djinn with them, overthrowing the Old Ones, and casting them into the Kid ons, which they marked shut with their sign and eal. It is believed that one or more of the Old Ones were bound within the sea through powerful magicks. Now these cyclopean god-things bide their time, awaiting the time of their return. For it is said that they will return again when the age of humanity is I

According to the djinn, their own race served the Elder Lords in the capturing of the Old Ones, though some of the slave tribes went over to the service of the Old Ones, since they were momised freedom. unmeakable pleasures. and 0 preater power.

he djinn are an is0llat:ionist citrilizati.on. Djinn arce a nolble, re!d, pridef ill I

people. They are stern, cruel andTarsh when necessary, for they ember when they were once worshipped in the Middle East d elsewhere as gods themselves. There is something of an intense rivalry between the shaitan and the other demons, but for the most part they work together in committing evils against humanity and the other eldritch. T h e rnalaika help protect humanity, but even most of them place little value on individual human life. Djinn have a culture based on extreme hedonism, intense emotions, and glory. They are very wealthy, but they value beauty and potential for entertainment and pleasure as their currency, not gold, since they can create and transform metals or take treasure as needed. They spend much of their time basking in the pleasures of the flesh, yet the djinn are smart enough to avoid addictions, and know when to shut down their emotions and pleasure-seeking. T h e djinn have an unbroken history that dates back as far as that of the manitou and the dragons. This can be seen in the djinn's use of calendars, of which they use three - the Islamic calendar, the egorian calendar, and their own djinnic calendar, which is in the 7th century, Because of their long period of development, the n have technology that is far beyond that of humanity. rtainly the growth of technology has greatly impacted their cultural development, just as it has impacted human cultural developt - and not always for the better. Djinn share some of the same cultural roots as the mortals of the Middle East, since they greatly impacted the mortal cultures of the regions and helped them develop. T h e djinn's original tribal structure became the basis for the ancient Arabic tribes of mortals, complete with tribal kings and clans. T h e music, architecture, and artistic styles of the djinn are also very visible among Arabian cul-

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s, but there have even been cases o f marriage between djinn and mortals, which may be why provisions for such marriages actually do exist in Arabic law. Many djinn still prefer life in the Holy Lands and the rest of the Middle East, since their reverie home is most easily reached in this region. Yet, djinn have traveled and lived all over the globe. T h e djinn were known among the Native Americans as the sprrrt tribe and sprnt peopk. They were called demons and bottk rtnps among the people of Estonia, Finland, Philippines, Sweden, and Switzerland. Among many Eastern European countries they were called p k s The name "jinks" has stuck with the djinn, becoming a derogatory name for solarians used by lunarians

The City is what the djinn call it - their home within the reverie, far from the prying eyes of other eldritch and mortals. It is the prehistoric city of Ubav, rebuilt twice, once on each side of a field of black energy. Shaddad, Lord of the Tribe o f Ad, oversaw the building of both sides of Irem. (It is said that the Tribe $ A d was the rough equivalent o f the Hebrew Nephilirn.) Each side of the city is a different reflection of what Ubar must have been like. Few non-djinn have ever seen the city, which is now called Irem Zhat al h a d , or "Irem of the Pillars". Those who have seen it claim it must rival the Elven City of Elanthia and the grandest of the antediluvian Dragon Cities. Irem is home to all the djinn, though in reality it is two cities, not one. T h e solarians live o n the southern side of the city, while the lunarians live on the northern side. Solar Irem, as it is called, is always between dawn and dusk; the dusk is followed by a new dawn without night in-between. Lunar Irem is always between dusk and dawn; the dawn is followed by a new dusk without day inbetween. Some claim the Mohammedan tradition of the Prophet asg the healthy uplands to the good, believing djinn and the fever-haunted lowlands to the evil, disbelieving djinn is based in this division of the city. T h e solar side is also known as Dar elJannah, the "City of Light," while the lunar side is also known as D a r el-Bawar, the "City of Darkness." These two names became synonymous with the Islamic Paradisp and Perdition. Solar Irem has no northern direction beyond the city. At its northernmost point, the city is blocked by the huge field of black energy called the black razor wall, the Oreth Deghal. At the base of the wall is a large pool with many fountains. This wall has but one bridge across it, called the Sirat - the darkway bridge - which is said to be "sharper than the sword." It resembles an emerald-encrusted, hand sculpted, golden suspension bridge. One end starts about 600 feet in the air in a beautiful tower of levitation platforms, while the other end goes right up to the black energy field and seeming into it. Those who cross the field look as if they have walked into a calm, flat surface of oil. T h e journey across the bridge is unpleasant, but no real harm is done. Djinn d o not speak about what happens between the two sides of Irem, but the journey is known t o take them around 30 minutes. Lunar Irem has no southern direction beyond the city, and at its southernmost point is blocked by the wall. Aside from that difference, the lunarite

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bridge is basically the s~inieas the solarite bridgc. Both sides of h e m are just alike in their design. Each side of Irem is actually a collection of many cities, each city controlled by a different tribe, that are all ed together as one, massive metropolis. Surrounding the metropolis is a vast wilderness containing all manner of terrain. T h e serim wander about these outlands, living among the animals, breeding new creatures. Irem is inhabited not only by djinn, but also by ghuls, called gutrubs and iblis. The creatures have their own tunnel complexes below the surface of the city. There are also countless spirits and dhabi creatures that serve the djinn as slave labor, performing menial tasks. Non-djinn typically live on the lower levels of the city, while the djinn and their favored servants live on the upper levels of the city, in palaces and dens near the clouds. There actually are pillars in hem, twelve o n each side of the city. The pillars are actually gateways to other realms, including some agarthic, astral, earthly, and dream realms. The “pillars” are huge technological devices operated by djinn of the nasnas tribe. They are used as basic transportation by most all djinn, though non-djinn are not permitted to use the devices without the permission of their masters. There is no pillar that allows instant travel from one side of Irem to the other. I t has been suggested that the name ”Pillar” is actually a code name for ”elder” and for ”old one,” thus Irem is the ”City o f the Elder [Lords],” and the “City of the Old Ones.” It is said that the wind never stops in Irem. Indeed, the djinn have learned to use levitation platforms, like flying carpets, for travel around the city, and the technology seems t o make use of the never-ending winds. The city has advanced technology, such as voice-controlled lighting, levitating and ”summonable” refrigeration chests, very fast elevator lifts, holographic communication and entertainment systems, holograph-based computer systems, prisoner containment fields, and so on. Despite the futuristic features of the city, it has its own antique style o f architecture and furnishings. Solar Irem has lots of shining metal and bright technology. There are warm, bright colors, along with pearl, alabaster, emerald, marble, ruby, beryl, and jade detailing. The city is decorated by brightly colored, translucent domes and spires, and tall buildings with lots of architectural details in white, yellow, red, gold, green,

most walls, and even do<; the sides of streets, which show colorful scenes of Solar hem’s history. T h e streets themselves are painted in colorful designs and patterns, and lined with curbs of polished marble. Hoover platforms of various stzes, all painted and chromed, glisten as the move about the city’s tall skyline. It is always springtime in Solar Irem, with warm, sunlit lands of beauty. The water o n this side of the city comes in vibrant red, orange, topaz, and green. Ghuls and horrific looking dhabi are not seen very often, though they are there, on the lower levels of the city and underground. Lunar Irem has lots of dark metal and strange technology. Black, white, and cold colors make up the city’s look, along with obsidian, slate, granite, gray marble, jet, basalt, pearl, ivory, and some emerald. There are odd places and devices in Lunar Irem that are not seen on the solar side, such as public torture and execution devices, breeding pits, gladiator arenas, and corpse processing units for the feeding of qutrubs (ghuls) and iblis. There is something wholly alien and frightening in the cut of the stones and the architectural design, as if Shaddad, the chief architect, used secret geometry to build elements of horror and fear into the very city itself. Purple, gray, dark blue, and black trimmed with white spires and reflective dome stretch into the tall city’s moonlit sky. Some mosaics and murals line the black and gray cobblestone streets, but they are of a more sinister nature, revealing images of the elder gods, the bloody massacres of djinn history, and perverse bacchanalias. It is always autumn in Lunar Irem, and always slightly cool. It is also sometimes rainy, with lightning flashing in the sky. T h e water on this side of the city comes in blue, black, deep purple, deep red, and dark green. This unwholesome side of Irem is home not only to ghuls, but also to the most horrific dhabi in existence. Slavery in Lunar Irem is much harsher than in Solar Irem, and it includes executions, maiming, cannibalism, bloodsport, and public torture as entertainment. Modern archeologists claim they have found the ruins of what they believed t o be Irem at Shisha, Oman. They claim this 5,000 year old fortress was not actually of ”pillars,” bur of ”towers,” since

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,ir and tower are the same word in Arabic. Supposedly this ortress served as protection for caravans travelling the Frankincense Route. This fortress disappeared around 300 A.D. according to folklore, which says that it was destroyed as punishment by Allah for the wickedness of its ruler. However, what has actually been found is not Irem, but rather an earthly outost of the original city. Still, some adventurous eldritch have een searching for other earthly outposts of the djinn, hoping to find the vast treasures said to be hidden within them. I t

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against Solomon Consequentb, the prophet sent his minister, Asaf; son o f Barkhya, to seize tire, atid this vizier had me bound and brought me against m y will to stand before the prophet as a suppliant When Solomon saw me, he demanded that I emhrace the truefaith and o b 9 his commands B u t I rdus and hP had in^ rmnrirnnpd in the f a r which wac cealed by lead and stamped his sgnet After Solonion gave orders to a jinnee, I was c the middle of the ocean I lived in the j a r f o r a hundred years, 1 said in ny heart, ’I’ll reward whoever releases me wit century went by, and when no one set mefree, I began th open the hidden treasures of the earthf o r whoever releases mefree, andfour hundred years went by Then I said, 7 oever releases me’Et no one set mefree Thereupon I bec and said, From this time on I promise to slay whoever onb choice I’ll give hini will be the kind o f death he’ll di released me, I11 give you your choice of death ” -Arabian Nghts, The Fisherman and the linnee

ater on, after the World 1Flood, the legend of the

djinn became linked to King Solomon, or Suleyman. Solomon discovered Irem and the djinn. H e gave them many energumen (powers) and studied their ways. In their pride and brashness, they revealed to him their ashen tongue and secretgeomttry, which he mastered within only a short period of time. Solomon worked with the djinn until any of them began killing and raping the mortal king’s people. he king bound those who had committed the crimes against the mortals, forcing them into brass lamps and rings. These objects became prisons for the djmn. Solomon’s victims were the first djinn to suffer the Curse of Servitude, which was simply an unfathomable offense in the eyes of all djtnn. Other djinn confronted him and were also bound. Solomon promised to treat them better than they treated their own slaves, which he did, though he forced them to help build his great temple.

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Solomon chose two grou his rasads, the guardians o f Solomon’s gold and the temple’s inner chamber. It is said that Solomon did not bind the djinn without first warning them against harming his people. Solomon gave the djinn a choice - live together as equals in peace, or suffer the consequences of their arrogance. Those who refused to live in peace were bound. Some 420 djinn were marshaled before King Solomon, and most agreed to his . Solomon also set limits upon the imprisonment of the djinn that refused peace. Djinn may be freed if the masters o f their lamps and rings demand three particular requests. These requests are different for each bound one, but the djinn cannot reveal what those three requests are to anyone, since revealing the information in any way will destroy them totally. Once each one o f the three requests have been made and fulfilled, the djinn are free from the Curse of Servitude. Binding a djinnee requires the binder to know the djinnee’s true name, as well as fluent understanding of the forbidden lanmetry. T h e process is best performed by a talent (Art and Lore of 7 or better.) T h e bound to their imprisoning objects, not the e controller of the object whenever they are nd djinn must perform any requests their masthey are free to do so however they please. t twist their masters’ commands t o allow them r go against their wishes, (like in the movie t away with doing things in their own o t refuse to obey their masters, even if get the djinn killed. When djinn are killed, unless they die the true death, they remain bound t o their prtsons. Once djinn are bound, they will try to regain their freedom by convincing their masters to accept challenges from them. Challenges are usually tasks that their masters might normally accept, such as riddle contests, climbing cliffs without any climbing gear, playing the djinn in a round of poker, or seeing if they can run a mile in under five minutes. T h e masters will feel some compulsion to do so, treat this as a djinn’s Presence (1I ) versus master’s Spirit ( 5 ) draw. If the djinn win the contest, they are freed from their prisons. However, a djinnee can only challenge a master who has no desire of releasing the djinnee, and may only make one challenge every three years, though the challenge may be made at any time within the year. If the master wins, the djinnee usually provides some reward beyond the master’s wildest imagination. Djinn have long memories and never forget any act of kindness or injustice against them. They may reward some benevolent masters, but they are far more likely to get their revenge against former masters who treated them poorly.

T h e djinn have their own ancient language that predates the Deluge; it is called the brazen tongue, and Zhat within its own language. There are two basic dialects of Zhat - solarian and lunarian. There are also particular accents for each tribe of djinn. T h e two dialects have become so different that they are nearly two languages when spoken. However, the written versions of both solarian and lunarian are the same. So, reading a book aloud would sound completely on the lunar side than it would on the solar side. The brazen tongue is actually what the djinn call a "shadow of the Ashen Tongue." It is, in fact, based on the language structure of the Ashen Tongue, but it leaves out the many forbidden letters and pronunciations that are simply not earthly in nature, making the language safe for everyday use and without any supernatural power in, and o t itself: Unlike the Ashen Tongue, Zhat may be understood by dragons and angels, plus even mortals and other eldritch may learn the language, if they find the books by which to study it or convince a djinn to teach them.

The djinn's original language came from another planet, possibly even another dimension, and it was taught to them by the Elder Lords. It is primordial and inscrutable in origin, and it holds great magickal powers that not even the djinn fully comprehend. I t is called theforbidden language, for the djinn d o not teach it to anyone save for the sanest, wisest, and most worthy of their own kind. It is called the ashen tongue, for it is said to burn in the throat when spoken. It is also called the worm2 whispers, for the language is also that of the Old Ones, the evil and insane god-like entities that are now imprisoned within the Kid. It is said that some o f the most insane djinn can hear the Old Ones whispering to them in this language, tempting them into their service. T h e true name of the language cannot be spoken or written here without great risk of danger to the writer and insanity to the reader. One modern, real world anthropologist's insight into language is "the recognition that language is not merely a device for communicating ideas about the world, but rather a tool for bringing the world into existence in the first place. Reality is not simply "experienced or "reflected" in language, but instead is actually produced by language." If the world made up of language, then the rhythm, rhyme, and tone of the forbidden language is one of the purist languages in the universe. There are alien letters, syllables, signs, and sounds within the language which hold tremendous power in shaping reality, and which earthly creatures simply cannot comprehend. In fact, not even angels, demons, and dragons can fully understand the ashen tongue. They can understand pieces of it, but they claim that it touches their minds like some leprous rapist, defiling their ears and brains with urges and subliminal flashes of evil, sickliness, perversity, stark alien nature, and utter horror. Oddly enough, not even the devils like to hear the tongue spoken, and more than one demon prince has had the tongues of all shaitan under their command torn out permanently. Other eldritch and humans that hear the language d o not understand it, and suffer mental confusion and a sickening sense o f psychic defilement that can lead to total insanity through long-term exposure.

with the use of secreigeomet9, which is also metadimensional and occult reality-defining in nature. T h e common application of the ashen tongue within this magickal path is to draw energy and shape it in redefining reality. However, doing so is like creating a raw, ruptured hole in reality that spills alien chaos energy for a short time. T h e energy is then shaped haphazardly with convention magickal tools and with secret geometry. Some eldritch theorize that there is a link between the ashen tongue and the worldsingers, the most magickal of beings. T h e worldsingers are said to be pure magick and to be extraplanetary in nature, which may lend some credence to this theory. It is also believed that the original language of the yugtuhul, the nightmare lords of the Dreamworlds, shares some basic structural similarities to the ashen tongue. This has led some eldritch linguists and magicians t o believe there is a connection between the yugtuhul and either the Elder Lords or the Old Ones.

Now, this dervish, a Moorfrom the interior of Morocco, was a sorcerer whose magic powers were so poweful that he could turn mountains upside down Moreover, he was ahpt in astrology Arabian Ni~his.Aladdin and the Mapic Lamp

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Muqarribun (djinn magicians) use the Rub a1 Khali as a reservoir o magickal power. Like the Sufi mystics, the muqarribun achieves a mental state of "annihilation" calledfana, through which he achieves enlightenment. For more details on djinnic magick, see chapter 11.

Djinn have highly advanced technology called Iremiech However, they wlll nor part with it in any way. They will not sell or trade it to outsiders, and they will not tolerate thievery. They hunt down all stolen Iremtech and recover it, usually killing the thieves upon doing so. Just as djinn commonly use thal, the smokeless fire, as a power source, so do most of their devices. Some djinn suspect the voidkeys themselves are actually technological devices of unknown origin. Djinn protagonists may not start with any Iremtech save for Bio-Armor (see the description below), but they may purchase it or barter for it. It takes an Intellect (14 - Resources) draw with vartous numbers of successes required t o find Iremtech. T h e value of the device desired determines the successes required. Typically, I for a swath of shimmersilk, 3 for a kavahra, and 7 for a ring chamber. Guides should charge experience points and destiny points for devices not listed here, usually about five to eight times as many points as the number of successes required to get the technology. Djinn protagonists should never sell, trade, or lose their Iremtech without suffering backlash and punishment by djinn authorities.

Cost: 30 experience points (May use preternaturae points during creation for this device at no destiny cost.) Description: Also called containment suits and meutsnits These are living suits of armor-like material that allow djinn to remain on earth for long periods of time without having to pay any animus to remain earthly. These suits may not be removed while the djinn are on earth. T h e suits are activated from Irem and cost 2 destiny points and 5 animus to activate. Once activated, the djinn take on keemon form and do not havi to pay any I , , animus to retain earthly form, allowing them to d o so indefinitely. The suits vary in color and design, but all have something of a Gigeresque, organic look to them. T h e solarians’ meatsuits are usually colorful, and may bear the colors of the djinn’s tribes, or their own families’ colors and sigils. The lunarians’ suits are usually blood red, dark blue, gray, or black, with few exceptions. These suits provide + I card and -I difficulty on resistance draws made using Resilience. The suits do not work in COnjUnCtiOn with ramshields. Since the suits are living things, bred by the sutekh, they can be killed and will heal from wounds, though they do not bleed from wounds. If the djinn wearing the suits are brought to IO Life, their suits are killed. Otherwise, assume the suits heal back to normal.

I II

Daygon Streamer Cost: 50 experience points and 3 destiny points Description: A device that makes spirits physically real on earth by gathering flesh for them. T h e effects wear off within half ’an hour or so after use. (Th is device usually has enough thal for three uses for half an hour per use. It may be recharged by a djinn that transfers her own animus points into the device.)

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‘ a*&-

1

Elemental cBlades Cost: 30 experience points and 3 destiny points Description: These are like ordinary weapons, except the blades are made of elemental energ ’ of some kind. There are swords of fire, tridents with watery blades, spears with micro-tornado blades, daggers with lava-like blades, and so on. These weapons are considered normal when it comes to making attacks, but they inflict debilitating damage and do an additional +I damage beyond normal. It costs I animus to produce the elemental portion of the weapon, and the effects last for the remainder o f the combat. These weapons can only be ised in Irem, the Astra, the Dreamworlds, and the deep reverie. O n earth, they take mundane r m and function Glittering Rainshield Cost: 40 experience points and 3 destiny points Description: A wrist band device that sends rain-shaped crystals swirling around the body of the djinnee controlling it. These crystals act as reflective armor. (Treat as chainmail or platemail, depending upon the quality of the device, but it costs the one animus point to activate.)

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3

Icebelter Cost: 35 experience points and 3 destiny points Description: A gun-like device that is capable of turning dust and moisture into ice. It can be set for ice darts and ice chains, but it is most commonly used to freeze food and other things that might spoil. (As a weapon, the icebelter has an accuracy draw of Dexterity (IO - Firearms), and does (attack successes) f 4 in damage, or immobilization with a Strength score equal to how much damage it would have done. Icebelters typically have enough thal for six shots before needing to be recharged with thal at a rate of one animus per shot recharged.) Kavahra (Com-Orb) Cost: I 5 experience points and I destiny point Description: Also called a [om-orb. A hand-held obsidian orblike device that serves as an answering machine and phone, except that messages are real t o all five senses. T h e person transmitting the message simply holds the device in hand, concentrates on the message, and the message is then transferred to the orb of the person receiving the message. T h e message may be received at the receiver’s convenience. For two (or more)-way communication, the parties must hold their activated orbs. They will see one another within their orbs and may communicate as if by vid-phone. (It costs the one animus per message sent or to communicate actively, but no animus t o receive messages.) Plasma Pistol Cost: 30 experience points and 3 destiny Cost (per additional clip): 5 experience points and I destiny point Description: A gun with a blunderbuss-like barrel. It fires super-charged balls of thal plasma. T h e gun functions like a heavy revolver, but the ”bullets” of plasma number 30 shots per clip. Plasma guns come with 3 clips, though additional clips are available. Recharging a clip costs 3 animus. It costs no animus to use the weapon. The gun looks like a normal handgun on earth. In addition, the weapon causes debilitating damage to djinn, Ring Chamber Cost: 65 experience points and 7 destiny points Description: A teleportation device that features a platform surrounded by brass coils, glowing machinery, computers, and a spinning, clockwork type engine-navigation system that is visible beneath the platform. (The person setting the controls for the device must make an Intellect ( I 2 - Orienteer) draw to set the correct coordinates. This device takes a while to recharge and may teleport four people twice, or one person four times, over the course of a story. It does not provide for the return trip, unless the ring chamber is set t o a particular coordinate and a particular time. It will transfer any djinn or other living things back into the chamber that are in the right place at the right time; the time window is one minute. T h e return trip counts as a separate use.)

Shimmersilk Cost: 15 experience points and I destiny point Description: A material used in djinn clothing that is very silky to the touch. It is commonly voice-controlled or cyberneticallylinked to the owner, and it can shift forms, fit, patterns,. and colors through the owner’s commands. T h e energy for the transfer comes from the owner’s thal. (The owner must make an Intellect (7) draw to reshape the clothing appropriately, and it costs one animus point.) Voidcannon Cost: 250 experience points and 25 destiny points Description: An artillery-type o f device tied to a large battery of thal. It is capable of disrupting the spirit and flesh within djinn, killing them permanently. Only the richest tribes control these weapons, and even they d o not have many of them. (The gun has a Speed of 8, targets for 7 ( 5 diff.), and does (attack successes x2) +IO in debilitating damage. It permanently kills any djinnee it reduces to a negative number equal to her life score.) Windcarpets Cost: 15 experience points and 2 destiny points Description: A thin platform that can be folded or rolled up, yet becomes rigid and capable of ing lots of weight when turned on. These platforms are capable of levitation and use the winds of Irem for travel throughout the Kingdom Kaf: Some are voice-activated, some are cybernetically-linked to their owners, and others are controlled by hand-held remote control. (Most windcarpets have their own thal batteries that contain 5 to IO animus points. For use beyond the windcarpet’s own animus battery, it costs the djinnee one animus point of personal thal transferred into the device t o activate it. The windcarpet will fly at speeds up to 75 mph and for as long as half an hour per animus point spent. For each additional enger, the animus cost goes up by one point. Windcarpets regenerate their own thal between stories.)

of

Zygon Emitter Cost: 50 experience points and 3 destiny points Description: A device that transforms earthly objects and living creatures into astral spirits by transmuting their bodies, thus gathering spirit for them. T h e effects wear off within half an hour or so. (This device usually has enough thal for three uses for half an hour per use. It may be recharged by a djinn that transfers her own animus points into the device.)

Aladdink lamp. Well, perhaps not that particular person’s lamp, but one of the ancient, viksmelling oil burning jobs: long thin spout, round-bottom body, wide,flaring handk. It was algae-green with tarnish, brown with rust, and compktely covered by soot and debris o f the centuries. There was no contesting its antiquity; nothing so time-corrupted couldfail to be authentic. Harlan Ellison, Diinn. No Chaser

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T h e legends of the Aladdin’s lamp and Solomon’s ring contain some truth within them. Indeed, there are several dozen artifacts on Earth that contain djinn bound within them as prisoners, and not all of them are lamps and rings. Imprisoned through secret geometry and theforbidden language, they are the slaves of the lamps and the shves of the rinp. They are bound by the ancient laws ed

my lady, the Rukh is a gigantic bird, " the sorcerer replied "It is so powe@tl that it can carry off camels and elephants in its claws I t isfound main1, on Mount Kdf; and the architect who built this pavilion is capable of bringing y o u one of its eggs '' Arabian Nghts. Aladdin and the Mapic Lamv

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been 'rs When Ubar on earth,

ZlWiays

.

the djinn had at least 450,000 slaves in their service, possibly more during the time of the building of the city. They bred with adapans, animals, and spirits of all sorts. Slaves provided entertainment, hard labor, household service, protection, food, education, and more. Some suspect there was even a limited amount of breeding with dragons and merodachs. T h e djinn invented the idea of harems, and were also the first to create eunuchs for use as harem guards, though humans soon adopted the practice as well. According to ancient Babylonian myth, Melili, and her husband god, Benani, produced the Babylonian "Monsters of the Night." Melili was queen and mother to them. H e r offspring were olled by Tiamat in her fight against Marduk, a powerful merodach leader. T h e offspring of Melili had various forms; some were bird-like humanoids, others were less describable. These monsters numbered 6,000, they had six kings, and they fought among many different legions in their service to Tiamat. In is now known that Melili was a djinnee, and her offspring were dhabi warrior-monSome time after the Deluge, the djinn released thousands of their dhabis from their service, granting them rule over what they called the Inner Earth (The dhabi recount this event differently, claiming they won their freedom in a slave rebellion.) These many dhabi races and individuals built a vast network of cities and tunnel complexes all throughout the Earth's crust. Today the dhabi's

with whomever they choose. They also often kill the weak or handicapped, culling the herd as necessary. They selectively breed their dhabi in order to better fit them to their purposes, be they meat, butlers, warriors, housekeepers, trackers, secretaries, gladiators, pleasure-providers, messengers, personal champions, mechanics, cooks, librarians, guards, and so on. Slaves are bought and sold on slave blocks on both sides of Irem, though the solarians are a little more discrete and polite in their handling of the terrible flesh trade. One example of a dhabi creature is the rukh. T h e rukhs are giant birds used as pets and steeds by the djinn. They were bred for the djinn's skycalvary long before the Destiny Wars. Few of these giant birds still exist. These creatures have been known by many names, which may or may not refer to different breeds o f them. Their names include: roc, akra, srnurqk, samru, nganti-vatu, pova-kat, zu,

one. They can smooth the 'nherited much of

in Irem. T h e dhabi ers are humanoids.

care of, educated creatures that are given allowances by their masters. Both the serim and sutekh force their breeding stock to mate

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them are not exactly slaves. Instead, they are employees and allies. They are given the chance to live freely in Irem, eating the dhabi provided for them. They are not feared nor shunned, but serve as valued of Irem society. About 70% are lunarians, but a

good 30% are solarians that simply live underground most of the time. Some claim they have tunnels that run between Solar Irem and Lunar Irem. T h e ghuls are called the qutmb. In addition, many iblis also call Irem their home. T h e iblis are a ghullike race far older than the ghuls. They are primarily traders who buy and sell goods in the markets o n both sides of the City. There are tunnels within Irem that lead down into the earth and directly to the Labyrinth of Iblis. O n earth, the djinn use earthly dhabi and humans. The djinn call fantasts the kahana, and consider these rare humans to be even more valuable than most eldritch. Many djinn still use kahana for handling all their earthly tasks and reward them as their most favorite of slaves. It is said that the kahana from particular family lines actually have some djinn blood within them, though they are not technically dhabi creatures. Some of the humans, kahana and otherwise, worship the Elder Lords or Old Ones, either in cults or as solitary practitioners o f magick. Some lunarians who know the secrets of the Old Ones can summon abominations for use as servants, though this can be a dangerous and deadly practice. Use of abominations is kept very quiet on the solar side, since the lords over Solar Irem have outlawed the use o f these monsters. T h e practice is much more socially acceptable and commonplace in Lunar hem, but it is still just as dangerous. It is suggested that certain powerful lunarians have allies among the yugtuhul and possibly even among the kiathans.

Djinn prefer to avoid with all the other eldritch, but, with the growing efforts of the demons, things are changing. Here are their common opinions o f other eldritch. Abominations: ”Some make useful servants, but I prefer our own dhabi over these despicable monsters.” Angels: ”They are like us in more ways that they wish to believe - with one notable exception - we are no longer slaves.” Daevas: ”They are pompous and prideful, but they lack true power nowadays. Their time has come and gone; all that are left are but relics. They were once our enemies, but now they may be safely ignored.” Dead Souls: ”They are of no value and are of no importance to us.” Demons: ”Even our shaitan recognize that the other demons are more deranged, evil, and pleasure-addicted than our kind could possibly ever become. Their love of pain, corruption, and death, combined with their inability for loyalty and truth make them true enemies.” Dragons: ”The few that remain of those damnable lizards are children compared to their ancestors. So long as they leave us out of the messes they create, we see no reason for destroying them all.” Dwarves: ”There are left over Neanderthals hiding below the earth. Let those monkeys stay there, we have no more use for the

Elves: ”They are gorgeous creatures skilled in the arts of pleasure. We enjoy their company whenever possible.” Faerie: ”They are creatures o f imagination; we are creatures of emotion. They love revelry and fun as much as we do. But beyond those similarities, we share nothing in common.” Gargoyles: ”They are interesting creatures of spirit. Their compulsion for en~oyingthe darkest of pleasures leaves them no room for complaining about our ways. They are truly revolting hypocrites.” Ghuls: ”The qutrub are our allies, business partners, and employees. They are welcome among us, so long as they know their place. T h e rest o f them can go t o rot.” Manitou: ”They are dangerous beasts that are best avoided, for they will slay you in one realm, and chase you down in the other, should you defile the earth. T h e serim among us seem to have some limited with them.“ T h e Possessed: ”The rabisu are useful earthly allies at times, but we have only limited with them, since they spend much of their time in the lands of dream.” Orcs: ”Feh. They are pathetic creatures of even less use than our dhabi.” Osirians: ”The mages that will not stay dead are a danger to our kind. Many o f them know our secret geometry and even snippets of our ashen tongue somehow. Avoid them and they will hopefully avoid you.” Questers: ”They are more often our enemies than our allies. Their spiritual devotion and piety is humorous, and their quests are often ridiculous.” Revenants: ”They can steal our years, just as they can steal those of mortals, but often the pleasure of their dark kisses is very tempting. Try to resist, and avoid them altogether whenever possible.” Vampires: ”Our blood seems to make them giddy and drunk. Share it with them, the experience is delightful and many are willing to pay anything for the privilege of a draught.” Wer: “They are mongrel dogs, but fun in the more sensual ways. Their animal nature is very . . . entertaining, as well as dangerous. Fortunately, we are immune t o their disease.”

P j i l t l t ?ratagoltists For those interested in assuming the roles of djinn within Odysseys, here are some general guidelines and advice.

P j i l t R Character b e a t i s l t T h e creation process for djinn protagonists is basically the same as it is for all protagonists. See chapter two for basic protagonist creation and include the following additional details.

Book of the Spirits fBPage 237

The djinn tribes include the grit, marid, alam, hat$ j a m , dalhan, serim, nasnas, and sutekh Characters may come from any one of these tribes, or from other tribes that you invent, since there are at least thirty tribes

of Sustenance

f

I

T h e following forms of sustenance can be used to replenish a djinnee's animus spent using magick and energumen, as well as the three animus points normally lost each day. Pleasures Regain 1 to 3 animus, depending upon the intensity and duration of the pleasure. A good meal might be worth one animus point, while an average meal would be worth.zero animus points. (Food, drink, sex, and drugs are some sources of pleasure.) Sleep Regain I animus per four hours of slec P

D inn Tormen.t - Hubris

I{

Hubris is the torment of the djinn. Many djinn begin seeing themselves as gods, elieving that whatever they decide t o elieve and do are right, while all others are wrong in their beliefs and actions. This megalomania transforms into true hubris as their actions cause problems and suffering

Djinn gain backlash points by a losing Iremtech, by being humiliated before other djinn, and by taking other eldritch to Irem.

Djinn Injury and Death Suter debditatrng woundsfrom - All attacks hat specifically state that they cause debilitating damage and attacks by empowered weapons: plus cold-wrought iron. Solarians e debilitating damage from silver, while arians take debilitating damage from Brought to true death by - While any attack suffered to twice the

other weapons using thal as raw energy to inflict damage can outright kill djinn.

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the objects pcrmanent; (around 2 destiny points per success is usually reasonable.) Heightened Aspects: Strength + I , Presence +I, Spirit +I Djinn protagonists begin with the folLevitation (I): This energumos allows lowing energumen, which are supernatural the djinnee t o rise into the air and float powers common among most all djinn: about, as if she is weightless. A Spirit (7) draw is required .to levitate. T h e use of this Conjuration (2): T h e djinnee has the energumos costs I animus and levitation power t o create things from nothingness. may be used for the remainder of the scene For protagonist djinn, the creation of at no additional animus cost. wealth, weapons, and other objects for use Regeneration (I): (Note: Only funcby themselves o r other protagonists may tions within Deep Reverie, Astra, and have some ramifications, such as costing Dreamworlds.) The djinnee has the power destiny points and/or experience points, or t o regenerate lost body parts and heal at a increasing backlash points. rate vastly superior t o normal humans. T h e (Level one) T h e djinnee has the power to djinnee can recover from normal damage at immediately bring into being various simple a rate of one Life point per combat cycle, objects. T h e amount can be as much as one per wound, and from debilitating damage at square foot or 15 pounds per success. a rate o f one Life point per 3 minutes, per Simple objects include both human-made constructions and natural substances in very wound. Healing occurs during the tenth turn of the combat cycle, whether the prosimple and crude forms such as bars of tagonist acts during that turn or not. It gold, lead pipes, plain-looking knives, wooden clubs, or red rubber balls. It cannot costs the djinnee one animus per five Life points regained and a minimum of one anibe used to conjure energy. It costs the djinmus. Regeneration is automatic and is not nee one animus per success in the conjuraturned on and off like other powers. tion of simple objects. Conjuration of simSixth Sense: (Spirit Sight) T h e djinnee ple objects requires an Inspiration (9) diffican easily spot any spirits (astral, dream, culty, possibly modified by as much as -3 dead soul, etc.) that are nearby within the difficulty by abilities related to the objects reverie, and can communicate with them being conjured. freely. No card draw is required and it costs (Level two) T h e djinnee has the power to n o animus. However, this energumos funcimmediately bring into being more complex tions o n earth only when the djinnee is objects up to one square foot or 15 pounds wearing rose quartz goggles or glasses. per success. Complex objects can include Special Communication: (Spirit Speech) such things as television sets, revolvers comT h e djinnee can communicate with all plete with bullets, clocks, keys, books, astral spirits. She knows the basic language binoculars, and so on. It cannot be used t o of the spirits. It costs no animus and no summon unique things, such as serial numbered currency that is not counterfeit or the draw is required to use this energumos. Special Resistance (3): (Immunity to Tajmahal. It also cannot be used t o conjure. Fire) T h e djinnee has an especially strong energy. It costs the djinnee three animus per resistance to damage caused by fire and any success in the conjuration o f complex preternaturae (powers) directly related t o objects. Conjuration of complex objects fire. T h e djinnee automatically resists all requires an Inspiration (IO) difficulty, posdamage and effects from fire attacks, sibly modified by as much as -3 difficulty by abilities related to the objects being con- including insidious fire and heat attacks. jured. (Nasnas only): Conjured objects fade away after one Wings: T h e djinnee has feathered wings scene, unless I animus is paid for each and can fly a t speeds up to 60 miles per additional scene they are to remain. It costs hour. It costs 2 animus to use the wings for I animus per success when using this enerup to the remainder of the scene, plus two gumos. Destiny points (the number deteranimus per additional scene of flying. mined by the Guide) may be spent to make

T h e weapon\ rcinain until the end o

Thereupon the jinnee struck the earth with onefoot and the ground parted and swallowed him up. -Arabian Nights, The Fisherman and the h e Alhazred's Curse

Total Cost: 45 Effects: This energumos allows the djinnee t o cause a subject to suffer terrible luck. A Presence (9) draw is required. For each success, the subject cannot use her destiny points for one day, and the subject also suffers minor bad luck over that entire time, or suffers one major stroke of rotten luck, (How this luck happens and what form the luck takes is up to the Guide.) It costs 5 animus to use this energumos. By spending 3 destiny points and gaining 3 backlash points, the curse may be lengthened to one month. By spending 7 destiny points and gaining 7 backlash points, the curse can be lengthened to three months. By spending 13 destiny points and gaining I 3 backlash points, the curse can be lengthened to six months. Arsenal of Thal Total Cost: 40 Effect: The djinnee has the power to expel and control some of her own black super-charged thal energy in the form of blood. T h e djinn can create weapons from the blood-thal, transforming it into solid black energy weapons. T h e djinnee can create whips, axes, swords, clubs, and other non-projectile weapons. The body weapons are used in the same manner as normal weapons, so any appropriate Melee skill may be used. Any bloodcrafted weapons do the same amount o f damage as a normal weapon o f its type would do, but the damage from a body weapon is debilitating. A Perception (9) draw is required to make a weapon. It costs 4 animus to generate a large weapon (like a two-handed sword or a battleaxe), 3 animus for a medium weapon (like a one-handed sword, staff, club, or small axe), and 2 animus for a small weapon (like a knife.)

combat, unless the djinnee is killed or knocked unconscious. T h e weapons cannot be used by non-djinn, as it will cause them burn damage from being in with the weapons.

Cost: 15 (may be taken more th; once) Effects: This energumos grants the djinnee 5 additional points of animus.

Beast Mastery Total Cost: 35 Effects: This energumos causes all animals near the djinnee t o look to her with respect and servitude. T h e djinnee can compel animals to behave however she wishes them to, even issuing them commands they can telepathically understand. Animals loyal to humans or supernatural forces may resist the djinnee's commands. All animals receive a Spirit (10 - Loyalty or other significant quality) draw versus the djinnee's Presence (8) draw. It costs the djinnee 2 animus to initiate this personal effect, but it lasts for the remainder of the scene affecting any animals the djinnee wishes t o affect.

Total Cost: IO (double the cost for each

Iron-Laced Flesh

Forms of the N e f d Total Cost 30 for one animal (+25 for a 2nd animal, +IO for a 3rd) Effects: This energumos allows the djinnee to transform herself into one of the animals linked to her tribe. For example, an efrit may take one of the following: large black dog, giant serpent, or swarm o f scorpions. T h e type of animal must be chosen when purchasing this energumos. A Resilience ( I 0 - Focus) draw is required t o make the transformation. It takes the djinnee four actions to transform into the animal, minus one action per success over the first. T h e djinnee has the same statistics as a normal animal of the same type, but if the djinnee takes as much damage as would kill the animal, the djinnee is forced to transform back into her normal human-like form instantly. T h e damage suffered in animal form remains even afIer the djinnee has transformed back, though the djinnee may heal normally. In animal form, the djinnee retains her normal mind and soul aspects, and all mental abilities. T h e djinnee can speak in animal form, but may not use any energumen. T h e djinnee retains her djinnic healing abilities and heightened senses while in animal form.

additional level) Effects: T h e djinnee's Strength score increases by one point for each level taken in this energumos. This energumos may raise the Strength score beyond 6, the normal starting limit for the djinnee. T h e djinnee's superhuman strength comes from metals lacing her muscles and bones, which belie her appearance. T h e djinnee's maximum Strength score remains 12. T h e Lurking Wind

Total Cost: 50 Effect: T h e djinnee can turn invisible. When the djinnee moves about, others might notice how the space she occupies slightly ripples out of shape, due to the way she refracts the light rays. Direct observers may make a Perception (15 - Alertness) draw vs. the djinnl's Instints ( I O - Stealth) to spot the djinnee. If the djinnee becomes until she stops moving and may attack the djinnee normally until that time. T h e djinnee is invisible to thermal and ultraviolet vision, but any sound she makes will still be heard. T h e djinnee also continues to leave footprints, and others with the appropriate preternaturae can still sense her through her presence, aura, and thoughts. A spirit (6) draw is required to become invisible. It costs three animus to activate this energumos. Mirror Mastery

Total Cost: 45

to at least crawl through) anywhere in the vicinity (or any mirror owned by the djinnee within Irem, even if not close by.) This energumos, if used solely between earthly mirrors, has a range of 30 yards per success. An Inspiration (7) draw is required to use this energumos. Once a djinnee has entered or reached through a mirror, all the

Book of the Spirits Q Page Z

s

available mirrors for exit will be visiblc, showing what is reflected in them. The djinnee will be visible within the mirror while in front of it. It costs the djinnee 2 animus points t o use this energumos, plus 2 additional animus if ,any real length of time is spent within the place behind mirrors. The place behind mirrors is a black place with a black floor and seemingly no walls or ceiling, yet it has enough ambient back lighting to see. Regal Eminence

Total Cost: IO (double the cost for each additional level) Effects: T h e djinnee’s Presence score increases by one point for each level taken in this energumos. This energumos may raise the Presence score beyond 6, the normal starting limit for the djinnee. This energumos causes the djinnee to seem more powerful and confident. The djinnee’s maximum Presence score remains 12. Shadow o f the Flesh

Total Cost: 60 Effects: This eriergumos allows the djinnee to take on a non-corporeal, shadowy form composed of diffused earthly matter and ephemera. The djinnee can through solid physical objects and cannot be harmed by kinetic attacks or fire, though other energy attacks affect her normally. If she goes unconscious, she reverts back into her solid physical form. T h e djinnee cannot interact physically with the world, but may use any non-kinetic energumen. It costs 3 animus each time the djinnee becomes noncorporeal, and the effects may last up to the remainder of the scene. The djinnee cannot go from desolidified t o solid within another creature’s body. A Spirit (IO - Focus) draw is required for the djinnee to become noncorporeal, but no draw is required to change back. Shrunken Form Total Cost: 55 Effects: T h e djinnee has the power to decrease her size. It takes a Presence (I I Focus) draw is required to activate this energumos. One success = half size; two successes = half or quarter size; three or more successes = half, quarter or eighth size.

Hay Size: (costs 2 animus.) When decreased to half her normal size, her movement rate, (except for flying,) and weight decrease by half, and her physical aspects decrease by two points each, (down t o a minimum of one point.) Damage for shrunken weapons is reduced by one to two points from their usually scores, (Guide’s decision.) Opponent’s attack difficulties receive a penalty of +2 difficulty. Quurter Size: (Costs 4 animus.) When decreased down to one-fourth her normal size, (roughly I feet tall), the djinnee’s movement rate and weight decrease to oneforth. H e r physical aspects are divided by two, rounded down, (down to a minimum of one point.) Damage for shrunken weapons is reduced to half their usually scores, (round down.) Opponent’s attack difficulties receive a penalty of +4 difficulty. Eighth Size: (Costs 6 animus.) When decreased down to one-eighth her normal size, (roughly eight inches tall), the djinnee’s movement rate and weight decrease to oneeighth. Her physical aspects are divided by four, rounded down, (down to a minimum of one point.) Damage for shrunken weapons is reduced to one-forth their usual scores (round down.) Opponent’s attack difficulties receive a penalty of +6 difficulty. Sunder the Self Total Cost: 45 Effects: T h e djinnee has the power t o split her body into two halves, right down the middle of her body. However, in actuality, both halves become copies o f the djinnee, with only half being visible. The missing half is actually replaced by invisible ephemera. This allows the djinn to move about freely, (walking running, and flying) and to lift objects using both the visible arm and invisible arm. Each half suffers a decrease in weight by half. Each side’s aspects (mind, body, and soul) are decreased from the djinnee’s normal score by two points each, (down to a minimum of one point.) Opponent’s attack difficulties receive a penalty of +2. Each half of the djinnee has half the djinnee’s remaining animus points and life points. (If it is an odd number, one half gets the extra point.)

sides are telepathically linked to one another, so they can always find one another. It takes a Resilience (I I - Focus) draw and costs 3 animus to activate this energumos. The effects can last up to the remainder of the scene.

Titan’s Glory Total Cost: 55 Effects: The djinnee can gather even more flesh than normal, becoming giant size. It takes a Presence (I I - Focus) draw is required to activate this energumos. One success = double size; two successes = double or triple size; three or more successes = double, triple, or quadruple size. Double Size: (Costs 2 animus.) When the djinnee becomes twice her normal size, she gains an additional +I Strength, +2 Life, and her weight doubles. Her movement rate (except for flying) also doubles. Base damage (not including successes) for double size weapons is increased by one or two points from their usually scores, (Guide’s decision.) Opponent’s attack difficulties receive a bonus of -I. Tripk Size: (Costs 4 animus.) When the djinnee becomes three times her normal size, she gains an additional +2 Strength, + I Resilience, +3 Life, and her weight becomes four times normal. Base damage for triple size weapons is increased by three or four

points from their usuall~\cores, (Guide decision.). Opponent’s attack difficulties .. receive a bonus of -2. Quadruple Size: (Costs 6 animus.) When the djinnee becomes four times her normal size, she gains an additional +3 Strength, +2 Resilience, +5 Life, and her weight becomes eight times normal. Base damage for quadruple size weapons is increased by five or six points from their usually scores, (Guide’s decision.) Opponent’s attack difficulties receive a bonus of -4.

or hands; (choose one when taking this power.) A Dexterity (9 - Accuracy) draw is required to hit the target. T h e damage caused is 6 points, plus one point per success on the attack. It costs 2 animus to use this energumos.

Walk Between Worlds Total Cost: 60

Urgis Malfbrmation

Total Cost: 40 Effects: T h e djinnee can take on the form of some strange, - alien horror. Activating this energumos temporarily turns the djinnee’s body into an entirely different, monstrous shape, increasing her size by about 50% and her mass by as much as 100%.This form grants the djinnee Strength +2, Resilience + I , Life +3, and Intimidate +3.The djinnee gains . . - some form o f body weaponry, such as fangs, claws, tusks, hooks, etc. These weapons cause (Strength divided by 2) damage, plus attack successes. A Presence (6) draw is made when this form is taken. All humans and eldritch that see this form suffer + I point of Fear per . success the djinnee achieved on the draw when taking the form. I t costs 5 animus and one action to take the form, but it may be retained until the end of the scene.

Effects: T h e djinnee has the power to move instantly from one location to another location. T h e djinnee can carry up to what her Strength score will allow her. T h e djinnee’s teleportation range is one mile. T h e djinnee must have at least a general idea of where she is going, but she need not have seen the place before. If the place the djinnee has selected is located within a solid object, she will automatically be displaced to someplace around that object. Use of this energumos requires an Instincts (7) draw and costs 2 animus.

(This section is usabk o n b with the Codex of Lmrnortali~book. Disregard 4 you are not using the genenc preternaturae guidelinesJ T h e affinity costs for a category are added to the base cost for any preternatura chosen through that category, giving the preternatura special affects common for that category.

Dream Earth Electrical Extradimensional Extrasensory Fate Fire Ice Illusory

-~ ~

~~

~

~

35 20 30 __20 20 25 I5 40 25

~

Psychokinetic Spatial Spiritual Technological Telepathic Temporal vocal Water

~

~-

25 30 IO 20 35 40 20 25

~

-

Do you believe in supernatural creatures? Could there be things living out in the world that we can never hope to sit down and talk to, or even confront in the daylight? Could there be shadowy, half-existing things that defy our concrete reality? Could spirits be real? If so, what are they? Do ghosts and other spirits - like demons, angels, and totems - occupy any solid level of reality? Indeed, ghost stories speak of physically real beings, not ephemeral shadows and floating bedsheets. Maybe we are ghostly apparitions within their world. Regardless, if these spirits can exist, then why couldn't the ancient gods once worshipped by pagan cultures?Why can't vampires, werewolves, elves, and fairies be real too? Certainly there was enough belief in them; if belief has any power, then these beings were (and may still be) very real. For too many people, science has become something like a religion; belief in science shuts out belief in non-scientific things, such as God, an Afterlife, and ghosts. True scientifically-minded people are agnostic. Still, most of us intuitively cling to at least basic spiritual beliefs, for faith may be stronger in some of us than any man-made science. The point being - we should not be so quick to judge what we do not understand. Maybe unsubstantiated belief is as ignorant as unsubstantiated disbelief. : science does exist to debunk those things that defy scientific testing under our current knowledge and technology. Science exists as a tool for reaching likely conclusions through disproving the unlikely. That is the nature of Occam's Razor - but the most likely answer or solution is not always the right one, especially when it comes to things beyond the scope of current scientific study. We cannot simply believe anything we choose and expect those things to be true. However, we should be able to look at the shared non-scientific beliefs of entire cultures to see if there is any truth to them. So far, scientists have treated the supernatural as non-sense, and they have done so without adequate scientific testing. Just look at the lack of true scientific study within the UFO phenomenon. With a degree of healthy skepticism, an open mind, and true research, we may find that our world is filled with previously unknown forms of energy, unknown dimensions, and unknown sentient forces or beings. Then again, these things may ever elude our grasp. Maybe science is not the key; maybe the only way to ever attain any true belief in the supernatural is through direct experience. You must be open to the possibility of something beyond the natural, though you need not be a believer. Going to church, ing in religious ceremonies, going on ghost hunts, playing with a ouija board, staring into a dark mirror, praying, performing a sCance, or even practicing lucid dreaming can all awake within you a sense that maybe the supernatural is real. But that you are playing with fire. If the supernatural becomes real to you . watch out. N o t everything outside the range of modern science is happy and safe. There are a lot of strange, magical, and dangerous creatures out there that might know you believe in them, creatures that might take advantage of your fears and beliefs.

1

I

I THE

ENPRESS.1:

He lives not long who battles with the immortals, nor do his children prattle about his knees when he has come back from battle and the dread fray. - Homer, The Iliad

..

Do you believe in supernatural creatures?

Book of

the Spirits &, Paee 2,

iiliu WuiiuLuu3

i'1 -'

'-

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creatures inhabiting the Secret World. Most never know of one another, remaining isolated within the subcultures of their own supernatural races. So, while questers share the world with ghuls, the two races seldom

-

I

1

1

Among the everlasting there are thirteen distinct gentes, including. the gargoyles, manitou and uossessed feature.d in chapters 4 I through 6. T h e other gentes include: angels, daevas, dragons, elves, faerie, ghuls, osirians, questers, revenants, and vampires. These races will be featured in great detail within the other foundation books. Dead souls, djinn, reanimates, leviathans, azhi dehaka, hobbles, dwarves, abominations, and other eldrrtch - - -- __ r- __ v e-s- will also appear in other foundation books aiid sumlements. I I

Lhristian, Muslim, or Hindu than are the . . y, trees, or animals. I here are actually nine angelic orders that serve the Divine. They are the Seraphim,

The following information may be used to flesh out angelic characters.

Cherubim, Merkabah, Kyriotetes, Dynameis, Exusiai, Archai, Archangels, and Aeons These beings possess great powers and live mostly within a beyond living human higher understanding. T h e angels exist without form, space, and dimension on one level, being simply the t k'Oughts and words Of God* very human In form when forms manifest Yonthe earth. Their

by most all

throughout. They also have celestial forms they take in their Seven Heavens. In tare instances, angels manifest their angelic forms on earth.

Flght -The angel can fly at speeds up to three hundred miles per hour by producing do not actually wings of light. =he function like wings, but act as an energy release. T h e angel can also levitate in one spot or float about slowly by producing only a slight glow around her rather than wings o f light. Heghtened Aspects -Resilience +I, Strength +I, Presence +I Heghtened Grace (2) -The angel can move with a superhuman fluidity and grace that can force mortals to pay attention to her. T h e angel retains perfect balance even on tightropes, though a Dexterity (8) draw is required. Regeneration ( I ) - T h e angel has the power to regenerate lost body parts and to heal at a rate vastly superior to normal humans. The angel can recover from normal damage at a rate of one Life point per five minutes and from debilitating damage at a rate of one Life point per hour. It costs the angel one animus per two Life points regained. Sixth Sense - The Siknt Kice This gift allows the angel to request instant knowledge concerning something. T h e information comes from the Creator through the Cherubim in

. . .

Benevolent Entities from a

Within a higher realm there exist races of beings that were created before time to serve as divine agents in maintaining Creation They

Angels know in some unknown internal play In the unlike humans, yet, like humans, they pasand are "led with their Own

way the

ain

1 ~ wdLc 5

Angels and

ucvIIJ

wclc

Once One

of

ulleughout history and

u~llcl

desires and which conflict with their heavenly orders. This internal conflict has lead to the fall of a few angels since the Battk in Heaven Above all else, angels are individuals with their own

1

. .

little or no with . ('ne another. StllL the angels are r-+ l.I u L *.A L l c u uliectly to any one religion as a whole, for, like all things in Nature, they exist beyond the boundaries of

HE

EVERLASTINGPage 244

toward " g o o d qualities. With the release of the demons In recent history' Some have kept very busy working against them' trying to Save humanity.

Divine Gifts (Preternaturae) possessed

five EnhancedSenses (2) -The are superior to human senses. The senses are double in sensitivity in of spectrum width and range. The angel can see clearlyin near darkness, hear a drop at feet, and smell a person's scent. T h e angel is at -2 o n all her difficulties for card draws involvmg that particular sense. Normal Perception

the seven H

~

I ~ ~ ( 8~) draw ~ ~ ~

required to gather one piece of simple information. T h e greater the obscurity, amount of

the

or degreeof detail

It

one

mus to use Special Communication - Speech of Angels The angel can communicate from earth with other angels who happen to be ,-lose by within the Seven Heavens. T h e angel can also hear the speech of other angels in this

language from earth or the Seven Heavens if

~

T

the speaker IS within a mile or two. T h e angel sing in an angelic, unearthly voice in order to communicate in this gift. It costs one animus to communicate in the language, but none to listen. Forms of Sustenance T h e following forms of sustenance can use to replenish an angel’s animus spent using magick and divine gifts, as well as the three animus points normally lost each day: They are: Time in Seven Heavens: For each hour an angel spends in the Seven Heavens, her roleplayer makes an Inspiration (12 Intuition) draw. Each success yields one point of animus. Service to Province: Angels may also regain animus by accomplishing angelic tasks. Each angel has three Provinces (areas of angelic service): one Primary, one secondary, and one tertiary. An angel may gain up to three points of animus per day by doing things in service t o her primary Province, two points of animus per day from her secondary Province, and one point of animus per day from her tertiary Province. Angelic Torment - Impefection While not even the angels are perfect, they are far closer than mere mortals are. Yet on earth they are subject to temptations of the flesh. Sin, doubt, corruption, and situations where right and wrong are hard to define all present problems for them constantly. In many ways, angels suffer the same problems in judgement and face the same challenges against desire that humans suffer in an imperfect world. T h e angels who become worldly eventually become unable to re-enter the Seven Heavens until they can restore their purity. In extreme cases, those who act against the Divine are cast down as demons or are imprisoned on the earth.

Bro& to true death 1;) - LVhilc any a that brings the damage suffered to twice the angel’s life score kills the angel’s corpus, the osirian can create a new corpus, thus it is impossible to bring about their true deaths.

Heroic Ex-mortals Linked to Time and Bound by Fate Daevas are humans transformed into mythic gods, with vast precognitive powers, yet bound by time and fate. They are often referred t o by other immortals as the godlings. Once they were the most of the everlasting, but about half disappeared recently. Many daevas claim they are the descendants of the Golden Age and

L-.

that emotion. T h e score cess, so if she achieves

theorized that daeva

influential subcu

guard their various dominions from outsi threats and train new daevas who live wi in their dominions. Most daevas possess mental and physical capabilities near the pinnacle of human perfection. All daevas possess the power o f prescience, allowing them to peer into the Web of Destiny, viewing future occurrences. Many daevas also possess psychic powers and preternaturae, called Apothei Bound by fate, it is their self-proclaimed destiny t o fight the Final Battk, ushering in a new age of myth . . and many believe they have already lost. Still, the battle is not lost, and these epic heroes of humankind do not give up easily. Some say the Final Battle has yet to be fought, which would explain why more daevas are being created in modern times than at any other time in history.

.

Angelic Backlash Angels gain backlash points by acting against their Provinces or against the orders of the Divine. Angelic Injury and Death SuJer debilitating woundsfrom - All supernatural attacks that specifically state that they cause debilitating damage and attacks by empowered weapons. Plus, fire and intense cold.

Aura of Emotion (I) -The daeva has the power to generate an aura of emotion around herself that causes others in her presence t o experience the same emotion she is feeling herself. It can be any emotion - lust, love, happiness, tranquility, calmness, rage, greed, jealousy, inferiority, and so on. T h e daeva cannot use this aura to evoke other emotions than her own and cannot evoke emotions of a higher score than what she is feeling. The aura extends t o all those within the character’s sight range that she wishes to affect. A Presence

Daevan Vital Statistics T h e following information may be used to flesh out daevan characters.

Heghtened Rrpects - Resilience +I, Strength +I, Presence + I Prescience (3) - T h e daeva has the power to glimpse the future, consciously peering into particular times and examining possible events in the future. She can even see connections between various people’s actions and the future based on those actions. T h e future can change, however, since the future is based off many actions that occur at random and some decisions are made blindly or without forethought. Often the daeva sees two or three versions of the future, possibly even more, but she will automatically know which future is the most likely t o occur. Sometimes, however, images still appear to the daeva without her desire to see them. Most often these images involve the daeva personally.

For each success the daeva achieves, she

into , so this form of prediction is quired to consciously activate this power. costs three animus for intentional use,

Forms of Sustenance The following forms o f sustenance can use to replenish a daeva's animus spent using magick and preternaturae, as well as the three animus points normally lost each

Daevan Injury and Death

daeva has her own personal vulnerabilities. (See the Book of the Light for more details.) Brought to true death b~ - Only they persona1 vulnerabilities (See the Book of the Light for more details.) Theoretically, all daevas may be destroyed by intense fire, a nuclear blast, or by being eaten (such as by a dragon), but the horrendous truth remains a mystery.

Most Ancient and S2eep: Regain I animus per four hours of Prescient meditation: Regain I animus for each success o n an Inspiration (I2 IntUltlon) roll, make One roll Per hour Of meditation. Witness precognitive visions while in this state. Daevan Torment - Doom

this fate, so far, nothing they have done has changed their united vision of Doomsday. This black future has almost become as concrete for them as the present. T h e doom leaves them listless, and their ennui is such that they fear taking any action, believing it will bring them one step closer to their dark fate. Many tie themselves to the ritualistic habits they have kept for centuries, oping nothing will change, others are fran-

Daevan Backlash Daevas gain backlash points through Kismet, which is the act of directly altering fate, through the unfair use of their precog-

E

EVERLASTING @ Page 246

Race of Progenitors D~~~~~ruled the and many other worldslong before the R~~~ M ~~h~~ ~ . were the lords of all the beasts and masters ~f

of an antediluvian civilization much like Some Sort of fantasy world. . . that the merodachs overthrew o f these ancient

There are SIX known stirpes (subraces) of dragons. Each stirpes is deeply tied to one of the following elements - earth, fire, water, air, light, or darkness. (There are rumored t o be dragons tied to other elements and forces besides these.) Dragons gain their powers, called Inheritances, from this elemental connection and use their native elements t o replenish their personal energies. Dragons find transforming into their druconrs (dragon) forms extremely taxing, and most live among mortals in adapan (human) forms. Dragons are almost completely invulnerable, they have extremely powerful senses, and they possess great strength and other preternaturae. Dragons do not hate all other immortals, or even all humans. They do, however, hate all Azhi Dehaka - those eldritch that

kded dragons and

their

gaining

great power. Dragons always attempt to kill Azhi Dehaka without mercy and on sight. T h e few dragons that remain on Earth have

The following information may be used to flesh out dragon characters. Inheritances (Preternaturae) possessed by

climate that cannot normally human life, including such things as a lava pit or the void of space. T h e dragon’s breathing is adapted to suit both the normal human environment and that of her particular climate, but she need not breathe for long penods of time, (thus making the dragon immune to all gas attacks.) T h e dragon’s

Fantastical. dragon form, can swallow a human-sized being whole and digest the person while he

an especially strong resistance to damage from these things and automatically resists

at +3 difficulty o n all attacks in his attempts to escape. T h e dragon’s Resilience is half

at night as during the day, provided even the smallest amount of ultraviolet light is pro-

e) draw is

may be made out. Telescopic sight allows the dragon to see at 20 feet what most people see at I00 feet. It costs one animus to use vision powers, but the effects may last for the remainder o f the scene.

dragon has +3 Resilience at all times aga 1

environment. Ancestral Memory - Dragons can recall t memories of their ancestors. T h e further

within the Book of the Fantastical. Body Armor (2) - T h e dragon suffers two less points of damage from all physical attacks, except Insidious Attacks, after the normal Resistance draw is made for each attack. composed of an acidic venom that causes damage to those who in with it, though other dragons are immune. Whenever the dragon’s blood spurts out, it stands a chance of hitting someone - most likely the person who inflicted the damage upon the dragon. T h e closest person suffers two points of debilitating damage that may be resisted normally. Until the blood is stanched, t t can continue causing damage to those close by. to damage

rt

as an attack a second time though, unless there is a second wound that draws blood, or unless someone is foolish enough t o grab the wounded dragon, thus coming in with the damaging blood. Dracomorphics - Dragons can shapeshift into partial and full dragon form. The

T h e following forms o f sustenance can e to replenish a dragon’s animus spent

1

sens-

to track by it. The dragon is at -4on all her difficulties for card draws involving her sens-

Heghtened Aspects - Perception +3,

Food and Water Regain 1 animus per day (regardless of the number of meals) Skep Regain I animus per four hours of sleep (The dragon feels the urge to sleep whenever her animus drops to half its nor-

(See the Book of the Fantastical for details.) For each success o n a Spirit (5 t o I I difficulty) draw, the dragon may consume up to one Horde point.

+I Rapid Healing - T h e dragon heals at twice the normal healing rate against all forms of damage, including insidious and debilitating damage. T h e dragon cannot, however, regencrate

lost body parts+

Special Communication - T h e Eldest Tongue: Dragons can comprehend all languages, save for the manitou’s symbol language and the ghul’s gibberish language. In addition, all mortals and eldritch can comprehend the dragon language, when spoken to in it by a dragon. No card drdw is required and it costs no

Dragon Torment: Furur Dragons were once the rulers of the earth, but they were overthrown, chased a and slaughtered by the power-mad eldritc called the Azhl Dehaka and the merodachs. T h e dragons that remained on earth have watched for centuries as their world has been defiled and slowly destroyed by human mortals and immortals. Many dragons are filled with hatred for humankind, which sometimes causes them to betray their noble nature by committing atrocities against humani ty.

Book of the Spirits CB Pag

realize their furor only gives life to their own demons and to the evil within themselves. This is why they fight their own rage in hope of once again restoring peace and regaining their rightful rule. Some dragons have become isolationists, since being around humans only further enrages them; others are facing their furor and are learning to control it by living among mortals in human guise.

Dragons gain backlash points whenever they intentionally harm Nature. However, using the Zha (their breath weapon) and accidentally burning down a few trees in the process of destroying minions of a leviathan would not cause backlash, since the price would be worth it.

nations on earth today. They are the Aedrith, Dru'Galeeth, Durnasta, Karges, Lethquesti, Klmori, and Xtyori. Other nations may still have at least a few currently active in the world outside their strongholds, but they remain a mystery. T h e elven nations are actually extended clans, each of which consists of elves of a shared heritage and lineage for the most part.

Elven Vital Statistics

8

T h e following information may be used to flesh out elven characters.

Dragon Injury and Death h j e r debilitating woundsfram: All attacks that specifically state that they cause debilitating damage; Attacks by empowered Brought to true death by: Any attack that brings the damage suffered to three times the dragon's life score kills the dragon.

€1 A Legendary Race both Ancient and Fair Long before there were H o m o Sapiens there was a race of magickal beings given birth by the crossbreeding of adapans (a pre-human race) and the faerie. These beings became known as the Fair Ones, though their true name in the adapan lanuage has been lost even to the dragons. day most people know them as Elves, ough they call themselves the Avlart. T h e ating o f humans and various sorts of rie folk over the millennia produced many varieties of elves who, in turn, produced among themselves. This led t o the creation of the Elven Nations Elves exist not only on earth, but also upon countless other worlds. In many cases their origins differ and, for the most part, the elves of different realms have n o with one another. There are seven elven

THEEVERLASTING @ Page 248

an

whose stories have been told in fantasy fiction and through the elves' own songs and epics. Elves are also breeders and protectors of many legendary creatures, such as cockatrices, basilisks, and hippogriffs. Most elves have little with their distant relatives - the faerie. They consider the fey too alien even for them t o deal with on a regular basis. Some faerie view elves as lesser beings, which only furthers the gap in their relations. Despite this, all the elven nations control territory within Faeryland. Some elves favor the replenishment o f the disintegrating faerie realm, while others would prefer to let it disappear.

Elves are strange, beautiful, fierce, and magickal. The elves maintain an unbroken civilization dating back long before the Great Deluge. T h e elves have perhaps the most advanced culture in o f language, philosophy, art, music, literature, and their understanding of the universe. Elves possess awe-inspiring elegance and intriguing wisdom. They are equally at home within the untamed wilds as they are within human cities. Elves are a sturdy race, belying their slender and graceful forms. They are among the greatest magicians and warriors in history, producing many heroes

*-

*mi

_ _ _ I

_-

Preternaturae possessed by most all elves: All elves possess these powers, so they are not considered y r d s (elven preternaturae.) Instead, they are merely racial advantages. Enhanced Memory (I) - T h e elf has an incredible memory that is even more detailed and accurate than an eidetic memory. H e r memory allows her to instantly recall all major events in her life with perfect clarity; looking through her mind's eye she can perceive the events as if she were there. T h e elf can see, hear, smell, and feel every little detail and everyone's exact words, actions, and appearances. Her memories may still be altered somewhat by her subconscious mind to suit her personal idea of what happened, but less so than the subconscious mind affects human memories. Enhanced Senses (2) - T h e elf's senses of sight, hearing, smell, and taste are superior to human senses. Through this preternatura hearing doubles in sensitivity, in of spectrum width and range. The elf is at -2 on all her difficulties for card draws involving sight, sound, smell or taste. Hezghtened Aspects - Dexterity +I, Intellect +I, Inspiration +I Heghtened Grace (I) - T h e elf moves with a superhuman fluidity and grace that forces mortals to pay attention t o her. T h e elf retains perfect balance even on tightropes, though a Dexterity (IO) draw is required.

1

.

Raptd Healing (I) - The elf heals at twice the normal healing rate against all forms of damage, including insidious and debilitating damage. Ksion Powers (I) . , - T h e elf has ultravision. Ultravision allows the elf to see as well at night as during the day, provided even the smallest amount of ultraviolet light is provided; even a single star's light on a dark, clouded night will provide enough UV light. It costs one animus to use this power and it can last up to the remainder of the scene.

Elven Injury and Death 5ujer debilitating woundsfrom: All attacks that specifically state that they cause debilitating damage; Attacks by empowered weapons. Plus, fire and intense cold. Brought to true death by: Any attack that brings the damage suffered to twice the elf's life score kills the elf.

Forms of Sustenance T h e following forms of sustenance can replenish an elf's animus spent using magick and preternaturae, as well as the three animus points normally lost each day: Food and water: Regain I animus per meal (up to 3 meals per day) GL$asil: A hibernation state of slowed body functions and deep relaxation. Elves relive memories from their lives while in this state. Elves regain one point o f animus for every three hours spent in this hibernation state and up to three animus each day. Elven Torment: The Earning Longevity requires fortitude and even the strongest willpower fades over the centuries until life becomes a wearisome task. For the elves, this weariness is expressed as the Yearning. This yearning is for a release

behind in favor

Elven Backlash

gains backlash by acting against her own nation unless she is an outcast.

A Strange and Alien Civilization of Spirits and Fleshly Creatures Faerie are not the delightful little gossamer-winged people found in Victorian fairytales. They seldom sit around in forests on toadstools or take children off to happy fantasy worlds. Faerie are also not like the elves, dwarves, halflings and gnomes found in modern fantasy novels either. They are inscrutable alien entities from a mysterious and magickal world. They are very deadly and bear strong ties to the mysteries of Nature. They are like aliens, spirits, and ancient gods all rolled into one. They are physically diverse, with over two dozen identifiable races and many subraces that are much more difficult to define and recognize. Races include sprites, knockers, spriggans, and kobolds, among others. Many faerie are not even humanoid in form or size.

frightening Unknown Faerie are creatures of paradoxical extremes. They are chaotic in many ways, yet bind themselves to quixotic strictures through their ownf9 etiquette. Faerie share deep ties t o nature and are even considered nature spirits by some people, yet into strange and fanciful states. They are beings with extreme imaginations, yet they maintain certain consistent and nonsensical faerie customs and social practices out of tradition. Faerie are completely alien compared to earthly humans, yet some of them were once humans themselves. Faerie are not flesh and blood in the sense that humans are physical creatures. Faerie are creatures that exist beyond the physical form; their bodies are manifestations of spirit and energy intertwined with living matter. They are difficult to kill except through special methods, and even if they are killed some of them are simply reborn as new faerie. They do not age in Faeryland, yet the faerie are mortal creatures. They do age on earth and can die of old age, just as earthly mortals die. Still, many find themselves drawn to Earth and live many lifetimes growing old only to be reborn again and again as new faerie. T h e exception to this is the deep Reverie of Earth; faerie do not age while they lurk about unseen in the deepest reaches of the Reverie. Faerie live in a realm somewhere Inbetween, as they call it, existing between all other levels and spheres o f reality, yet touching all. T h e faerie's fantastical realm is known to most people simply as Faeryland, though in truth it has no name and at the same time a hundred names, none o f which are said to define the whole o f the realm. T h e faerie and their realm are among the great mysteries of the Secret World.

I

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aerie Vital Statistics

I r l

The following information may be used t o flesh out faerie characters.

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Glamoury (Preternaturae) possessed by most all faerie: Enhanced Senses ( 2 ) - The faery’s senses of sight, sound, smell and taste are superior to human senses. Through this preternatura hearing doubles in sensitivity, in o f spectrum width and range. T h e faery is at 2 on all her difficulties for card draws involving sight, sound, smell or taste. Heghtened Aspetis - T h e faery gets +3 points t o divide among any Aspects as appropriate for her race, (but no more than 2 points in any one quality), plus Inspiration +I. Personal Alteration (I) - T h e faery has the power to alter her own voice and appearance through illusion. T h e change can be used to make both subtle and drastic changes. T h e faery can become extremely attractive or horribly monstrous. She also has the power to ”transform” her flesh through illusion into new shapes, textures, colors, and so on. She can change her hair color and length and her eye color as well. T h e degree of success the faery has in transforming is based upon the number of successes she achieves. Should the faery get a Disaster, she disfigures herself, though this can be fixed through the continued use of this power. A Perception (9) draw is required to make a transformation. It costs 2 animus t o create an illusory mask. Three destiny points may be spent to make any effects perpetual; otherwise the faery may revert back at will or retain the changes until the end of the scene. Regeneration ( I ) - T h e faerie has the power to regenerate lost body parts and heal at a rate vastly superior to normal humans. T h e faerie can recover from normal damage a t a rate of one Life point per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 3 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the faerie acts during that turn or not. It costs the faerie one animus per five Life

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points regained and a minimum of one animus. Regeneration is automatic and is not turned o n and off like other powers. Sixth Sense - Fpy Perception: T h e faery can recognize patterns within chaos and randomness. T h e faery also has an intuitive understanding of the behavior of other faerie, no matter how bizarre and quirky. No card draw is required and it costs n o animus. Special Resistance: ( 3 ) - Diseases: T h e faery has an especially strong immunity to diseases caused by preternaturae and natural effects. T h e faery automatically resists all damage and effects from attacks that involve disease, including insidious attacks. Forms of Sustenance T h e following form of sustenance can use to replenish a faery’s animus spent using magick and preternaturae, as well as the three animus points normally lost each day: h y s o n : Faerie replenish themselves with foyson, which is the name they give to some energy or force that represents the “goodness’’ in everything. Faerie typically replenish their lost animus through their own learigs (lands they control.) T h e faerie usually disappear, transforming themselves into the very spirits of the land itself: While they are one with their own lands, (being the spirit inhabiting the trees, rocks, earth, plants, etc.), they regain their lost animus at a rate of one point per learig per four hours o f communion. (So, three learigs would replenish a total of three animus points in four hours.) Faerie can also drain foyson from certain types of earthly things, including manmade devices, buildings, plants, earth, stone, water, food, good smells, artwork, stories, and music. They regain animus by taking away the good taste from food, by spoiling milk, by causing crops to wither, by causing a television to permanently lose its vertical hold, by causing a car to rust terribly, by causing a wall t o crack, and so on. Faerie can even steal the foyson out of art, stories, and music, but most hate doing so. See the Book of the Fantastical for details.

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Faerie Torment: Fayerie Fayerie represents a faery’s connection to the Great Bpyond. Fayerie grows stronger as a faery’s fey wisdom and understanding of limitless imagination increases. As a faery’s score in Fayerie increases, she becomes less human, more chaotic, and closer to the true source of all possibility. T h e gradual increase in Fayerie is called the metamorphosis, because it involves actual physical and psychological transformations. Thus the Changeling process never stops, and all faerie ever become more and more fq,until they into the Great Bpyond, leaving three-dimensional reality behind. Faerie characters have a score in a persona quality called Lucidity. Lucidity is equal to (I3 - Fayerie score.) Lucidity represents how comprehensible a faery’s behavior and communications are to humans, and vice versa. T h e greater the Lucidity score, the more human-like the faery. Lucidity score represents the maximum scores for the faery’s abilities involving humanity - Humanities, Influence (except when dealing with non-humans), Modern Life, Science, and all their related skills, Faerie Backlash Faerie gain backlash whenever they selfishly destroy Nature and beautiful things just t o suit their own interests. They can usually draw foyson when necessary for survival without suffering any backlash, but must pick their sources carefully. Faerie Injury and Death Su@r debilitating woundsfrom: All attacks that specifically state that they cause debilitating damage; Attacks by empowered weapons; Attacks or actions involving Faerie Wlnerabilities (see the Book of the Fantastical); Fire and intense cold. Brought to true death by: Any attack that brings the damage suffered to twice the faerie’s life score kills the faerie, (though the faerie may be able to return as a new faerie); Attacks or actions involving Fuerie Vulnerabilities (see The Book of the Fantastical)

see spirits as well as m a t cicIritcn, an

The Corpse-Eaters of the Catacombs Ghuls are people so enticed by the prospect of immortality that they give up their humanity to achieve it. By imbibing a magickal potion, called Anecro and the Elixir of Undeath, the drinker’s body transforms and dies, yet lives on in some Un-dead state. Ghuls are necrophagic; they must consume raw, dead flesh t o maintain their damned conditions. Unless they continually consume carrion, their bodies rot away, their skin peels and they mutate into twisted, stinking, degenerate creatures. Most lose their intellect and memories, becoming total monsters no smarter than the average dog. Fear o f this dreadful degeneration drives most ghuls to the incredible levels of depravity needed to sustain them. They are creatures of the dark, living in labyrinthine tunnel systems created over the course of centuries (possibly millennia) by their kind. Ghuls spend part of their time scavenging for fresh corpses, even going so far as raiding morgues and causing fatal accidents among the living. They spend the rest of their time involved in scholarly pursuits, studying the Secret Arts, a hodge-podge collection of Western alchemical formulas, hermetic ritualism, early scientific theories, Gnostic esoterica, prehistoric lore, and uniquely ghulish eccentricity. Ghuls are cut off completely from spirituality by their very nature. While they can

into the Underworld (which no other eldritch are capable of as a race) their magickal secrets are limited to the physical and most lack any sort o f belief in a higher power. They are focused totally upon the charnel, as illustrated by their flesh-hunger. Unlike vampires and revenants, which feed upon life, ghuls feed upon death. Most all eldritch, including vampires and revenants, find ghuls extremely repulsive. Ghuls communicate with one another through a series of guttural grunts, clacking sounds, and gestures, which they call Gtbbertsh. Those who retain their intellect are still capable of talking in human languages as well. In addition, most ghuls somehow learn to speak with rats through squeaking nolses, most likely through the magick of their Secret Arts. Ghuls are deeply aware of life and death; some are fixated on the spectacle of death itself and deeply enjoy watching things die. Most ghuls believe that touching living

Ghulish Vital Statistics T h e following information may be used to flesh out ghul characters.

Nekrosia (Preternaturae) possessed by most all ghuls: Direction Sense ( 3 ) - T h e ghul has the power to orient herself t o the directions within any realm quickly. She can always retrace her steps, even blindfolded or without using any o f her other senses, she just always knows. T h e ghul cannot really get

le to cover it. Once she has studied it, ’ she can easily find her way back out. T h e ghul also intuitively knows how to get to a place she has never been to, provided the place is important to her in some way. This functions even in realms where there are no defined directions or predetermined physical distance. An Instincts (6) draw is required for finding one’s way. Enhanced Senses ( 2 ) - T h e ghul’s five senses are superior to human senses. Through this preternatura hearing doubles in sensitivity, in of spectrum width and range. T h e ghul is at -2 o n all her difficulties for card draws involving sight, sound, smell or taste. Laping (I) - The ghul can leap three times the distance and height her Strength normally allows. Simply determine the results of the character’s leap normally and multiply the results by three. A Spirit (8 Focus) draw is required to leap, and a Dexterity (9 - Acrobatics) draw is required for aerial maneuvers. Rgeneration (2) - T h e ghul has the power t o regenerate lost body parts and heal at a rate vastly superior t o normal humans. The ghul can recover from normal damage at a rate o f two Life points per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 2 minutes, per wound. Healing occurs during the tenth turn o the combat cycle, whether the ghul acts during that turn or not. It costs the ghul one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned on and off like other powers. Sperial Communication (I) - Ghuls can speak with rats in the rats own magickal, squeaking language. Ghuls also have their own written and spoken language called gibberish, which only ghuls can understand. No card draw is required and it costs no animus to use either of these languages. Hsion Powers (I) - The ghul has thermal vision. Thermal vision allows the ghul to detect the heat patterns of creatures, even in pitch darkness. A subject‘s heat pattern glows against the cooler background and her shape may be made out. It costs one animus to use this power and it can last up to the remainder of the scene.

Book of the Spirits @ Page

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pon the amount of flesh consumed (hand

= 3, chest or back = 5 , thigh = 6, head =

through a ritual called the Dawning. T h e

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mythology, and purpose for existence. Osirians divide themselves into various

most all osirians: A u r a Sensorium - This siddhi allows the osirian to see, taste, smell, and hear the

lars of the temple and the spine of the The dIeds Serve Particgod ular functions the Cosmos

recording

Ghulish Torment: Degeneration Ghuls are creatures who have given up their humanity for immortality, becoming monsters. Some ghuls were duped into their horrid condition, but most gave up their mortal lives willingly. T h e price they pay is the eventual loss of their mortal appearance and human thoughts. Their bodies degenerate into inhuman forms, with peeling skin, twisted faces, monstrous muscles, and malformed features. Their minds become equally foul, finally degenerattng to animal-like levels.

that

spires and exists. The osirians are ruled by the Ennead, the nine demigod-sorcerers who were the first osirians.

Ghulish Backlash Ghuls gain one point of backlash when-

hulish Injury and Death Sujer debihtatlng woundsjrom: All supernata1 attacks which specifically state that ey cause debilitating damage; Attacks by mpowered weapons; Plus fire. Brought to true death by: Fire, decapitation, emoval of heart, getting eaten alive

bound to the ife, Death and Rebirth

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Osirians are transmigrating human souls who live, die, and are then reborn again into new lives. They spend the first part of their mortal lives as Tu&u - not knowing their true osirian nature. Usually around erty, they are taken in by other osirians

Each new incarnation brings new exper'ences, new hopes, new loved one, new missions, and new problems for osirians. While they are immortal spirits with the memories of countless lives, they always place the greatest importance upon their current incarnation. They are among the most and loving Of mortals' because have lived among cultures throughout history. They have held many different religious, political and Social views throughout their various lifetimes, each bringing them closer to central truths, just as each incarnation brings them

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to their Of

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rebirth*

Osirians have a few preternatural powers, called Sld'% but they are Prim'r"Y 'Orcerers. have their Own Of magureret*from which many Of the

verse. T h e variety and clarity of &e osirian's maglckal perceptions are vastly improved over the senses of other eldritch. Even on the plane, OSlrlanS use aura to detect maglckaltalismans and barriers, recognize the gentes of other eldritch, experience the personalities of those they d o business with, and hear the Music of the Spheres. T h e aura sensorium is one way by which osirians recognize one another. This extra-sensory ability may also be used for more mundane purposes, such as detecting radiation beyond the normal range or sensing the emotions of people. An Inspiration (I I - Illumination) draw is required. For each success, the osirian may become aware of any one particular facet of the world around her that she would not otherwise be aware of. (The Guide may set the limitations and detail of what can be perceived in any manner desired.) It costs 2 animus to use this siddhi. Enhanced Senses (I) - The osirian's five senses are superior to normal human senses. The OSlrlan at -1 on all her dlfficulties for card draws involving sight, sound, smellor taste. Helghtened Aspects - Intellect +I,

Inspiration +I

Ruprd Healing (I) - T h e osirian heals at two times the normal healing rate against all forms of damage, including insidious

and debilitating damage.

Magick Paths - The osirian gets 7 points

ureret

divided among the art and lore of (the oslrian maglck path.) See the informaMagicimys compmion for tion on Ureret.

wnt upon thc' grt-at quest of miring n peace. T h e Grail Knights were also charged with the duty of protecting the world from supernatural threats. Since the fall of Camelot, many new Grail Knights have ed the quest, making it the greatest of all quests. While questers are bound t o their quests and cannot die until they have fulfilled their destiny, their age varies in direct relation t o the strength of their faith in the quest. Questers can fall into Slumber, a state in which they become elderly and forgetful of their lives as questers. Their benisons are deeply tied to the strength of their faith; when their faith is strong, they can work great miracles. Their bodies, when their devotion t o their quest is strong, are at the peak of human condition.

Forms of Sustenance T h e following forms of sustenance can replenish an osirian's animus spent using magick and preternaturae, as well as the three animus points normally lost each day: Food and water: Regain I animus per meal (up to 3 meals per day) Skepr Regain I animus per four hours of sleep Astral meditation: Regain I animus for each success on an Inspiration (12 - Astral) draw, make one draw per hour of meditation. The osirian relaxes in her inner sanctum within the Astra.

Osirian Torment: Ennui Over the span of their many lives, the osirians have seen and done many things. Their existence is a very cyclical one, due to the very nature of their reincarnation. Since they go through the many stages o f life, over and over, again and again, and since they record the many cycles of the cosmos, they find nothing new under the sun and begin suffering ennui. They begin believing nothing ever really changes. So why should they make any effort to accomplish anything? Defeating enemies always gives rise to new threats. Any great work they accomplish will eventually be destroyed. Thus, many have become lax in their duties and simply wish to escape the great Cosmic Cyck. Osirian Backlash Osirians have the special ability t o overspend destiny points. They may spend destiny points they do not have, gaining 2 backlash points for each destiny point overspent. Since osirians are magicians supreme, they are often subject to backlash due t o inappropriate magick use. Osirian Injury and Death Su@r debilitating woundsfrom: All attacks that specifically state that they cause debilitating damage; Attacks by empowered weapons. Plus, fire and intense cold. Brought to true death by: While any attack that brings the damage suffered to twice the osirian's life score kills the osirian, the osirian will still reincarnate into another life, thus it is virtually impossible to bring them true death.

Humans Sustained through

Quester Vital Statistics

Devotion to a Higher Purpose

T h e following information may be used to flesh out quester characters.

There are certain mortals who become so devoted to a particular purpose that they cannot rest until they have accomplished it, gaining a semblance of immortality somehow along the way, through mystical union with the Divine. True quests are higher purposes which take on a mythic features, as the questers dedicated to the quest must overcome all sorts of personal demons and great trials, bringing them closer to the culmination of all for which they exist. the most part, quests serve a greater ,,-l . A that will benerit ail or numanity. uver cne r . course of the quest, themselves from the tr

Benisons (Preternaturae) possessed by most all questers: BodyArmor (I) -The quester takes one

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They are sustained by divine power that grants them many powers, called Benisons, which they need in order to complete their quests. Most questers are loners who spend all their time focuon their quests' They have little time for family, friends or outside interests. There are certain quests, however, which have attracted a great number of questers, the most notable of which is the Grail Quest the During the time Of King Chalicewas recovered+ A drink from It grant immortaliq, but in actuality, the Grail was merely the harbinger of a far greater quest. Those who drank from the Grail were revived, even the dead, and they

less point of damage from all physical attacks, except Insidious Attacks, after the normal Resistance draw is made for each attack. This does not add to the Body rmor vs. Demonic Attacks listed below. Body Armor - ( 3 ) Demonic Attacks. The uester suffers three less points of damwe 'b sical ai:tacks, except Insidious r a Resistance draw is made. his body armor only functions against cambions, leviathans, rnents (hellbound umans, and so on.) It grants no protection om attacks by any other eldritch or morHeightened Aspect - Resilience + I , Strengt I, Inspiration +I, Spirit +2. Invoke Miracks -Whenever the quester i she cannot get he disastrous self out of, the Guide may allow a Spirit (9) versus her Doubt (6) draw. If the quester's Spirit gets the most successes, the Guide may allow a miracle to occur. T h e Guide decides the nature and scope of the See Book of the Light for more details concerning miracles. It Costs no animus to use this benison, but it may cost destiny points. in a

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ri

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against all forms of damage, including insidious and debilitating.

Brought to true death by - Any attack which brings the damage suffered t o twice the quester's life score kills the quester . . . unless a miracle occurs, saving the quester's life.

Forms of Sustenance T h e following forms of sustenance can ternaturae, as well as

Food and water: Regain I animus per meal (up to 3 meals per day) Skep Regain I animus per four hours of Spiritual devotion: Regain I animus for each success on an Inspiration (12 - Illumination) draw, make one roll per hour of ecstatic meditation. Achieves some soit of divine mystical union and replenishes faith in the quest Quester Torment - Doubt Questers often fall victim t o a very subtle monster - doubt. They become weary after centuries of striving, seemingly in vain, to reach some mystical, yet almost

eir doubt finally gives way to the Slumbers that cause them to lose all sense of self. They wander listlessly for years, possibly even centuries, aging into elderly humans who simply cannot die. They are trapped in this weakened condition for all eternity unless something is done to either kill them or awake them bers. Unfortunately, it akes a powerful force t o reawake questers and set them on their true paths again.

acklash whenever they sins against the Divine, aths and bindings they k upon themselves in accepting their

%eve"kaRts The Dead Who Have Returned from the Grave When some mortals die, they are condemned to existence within the Underworld. There are some

existing in thdshadows of the night within the Secret World. Among the revenants there are three types social divisions: the Abaddon, hunters of all other revenants and servants of Death; the Renunciates, revenants who prefer independence and freedom over status; and the Salariati revenants (collectively called the Sahriat) who form the basis of revenant society. There are several ways for dead souls t o find their way into the Living Lands. Some manage to re with their old corpses, reanimating them. Others take over the corpses of other people, particularly fresh corpses. A fair amount also manage to acquire living bodies by bartering for them from ghul traders, called the Ghaddars, who bring living souls to the Underworld, where they abandon them, taking out dead souls in their place. Revenants with reanimated corpses are called the Sarkornenos, or cold-bloods, while those with living bodies are called the Ekimmus, or warm-bloods. Revenants know many secrets of the Underworld, but seldom share their knowledge, even with their closest living companions, fearing the psychological damage they could do to their loved ones. Revenants retain a wide variety of supernatural powers, called Nekrosia, commonly associated with ghostly entities. They also possess

ant Vital Statistics

the earth once more, bu Revenants. dead souls Revenants are often pires, as they d o resem save for the revenants' 1 Revenants are in many themselves in that the living in order t o sustai

..

llowing information may be used ut revenant characters.

urate than an eidetic memcreatures, particularly ajor events in her life with per;looking through her mind's eye

e can perceive the events as if she were Quester Injury and Death SuJer debrlrtatrng woundsfrom - All supernatural attacks which specifically state that they cause debilitating damage; Attacks by

THEEVERLASTING Page 254

strong light offensive*

Prefer

clothing and dress in modern styles so

they can command more and move among the ones who revel in the nightlife.

and feel every little detail and everyone's exact words, actions, and appearances. H e r memories may still be altered somewhat by her subconscious mind to suit her personal idea of what happened, but less so than the subconscious mind affects human memories.

1

Enhanced Senses ( 2 ) senses are superior to h senses are double in ser spectrum width and rai can see clearly in near c drop at 50 feet, and SIT T h e revenant is at -2 o for card draws involvin sense. Normal Percept1 required. Heightened Aspects - 1 Strength +I Heightened Grace (2) moves with a superhurr grace that can force mc tion to her. T h e revena balance even o n tightrc Dexterity (8) draw is ri Regeneration (2j - Th power to regenerate 10s heal at a rate vastly SUP humans. T h e revenant can recover from normal damage at a rate of two Life points per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 2 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the revenant acts during that turn or not. It costs the revenant one animus per five Life points regained and a minimum of one animus. Regeneration is automatic and is not turned o n and off like other powers. Sixth Sense - Revenants call it their Second Sight. Revenants can easily spot any dead souls nearby within the Reverie and can communicate with them freely. No card draw is required and it costs no animus. Reaper's Form - (Possessed only by the Abaddon.) T h e abaddon can transform in the blink of an eye into the form o f the grim reaper. Grim reapers are animated skeletons, dressed in tattered black robes and armed with scythes. Forms of Sustenance T h e following form of sustenance can replenish a revenant's animus points spent using magick and preternaturae, as well as the three animus points normally lost each day: Ljjeforce: For every 3 animus drawn from a mortal victim into a revenant (usually through a kiss,) the mortal victim ages one year. Soulstealing, as it is called, used on children does nor age them, but will just shorten their lifespan. One year of aging

they kill someone during or after feeding upon her. Revenant Injury and Death Suffer debilitating woundsfrom: All supernatural attacks which specifically state that they cause debilitating damage; Attacks by empowered weapons; Plus fire and silver. Brought to true death by: Fire, decapitation, silver, getting eaten alive (Ekimmu are also subject to death by any type of damage equal t o twice the normal Life score, but become Sarkomenos rather than die the second death) ing.

Those Who Have Damned Themselves with Dark

and often they were once extremely pious mortals. Almost all are very old and powerful. They consume the lifeforce of mortals to sustain themselves, by drinking it through the blood of their victims. Some who were pious in life are susceptible to holy symbols Iand sunlight, but most are not affect by such things. Scions are mortals transformed into a state of un-death by another vampire. though they are usually weaker. They have the same powers and weaknesses as the vampires who created them, and they are susceptible t o enthrallment by their masters. Dhampir are living humans who have ingested large amounts of vampire blood, making them long-lived and bloodthirsty. Some vampires can even move about

Immortality

dt

'g There are three varieties of Vampires Founders (greater vampires), Scion (lesser vampires), and Dhampir (living vampires.) Founders, also called the "self-cursed," are Iiving beings who have cursed themselves for some wrongdoing so great that they can never make amends, turning themselves into Un-dead. They have given their souls over to darkness and embraced the evil within.

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Id resist biillet

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heal at a rate vast11 superior to normal humans. T h e vampire can recover from normal damage at a rate o f two Life points per combat cycle, per wound, and from debilitating damage at a rate of one Life point per 2 minutes, per wound. Healing occurs during the tenth turn of the combat cycle, whether the vampire acts during that turn or not. I t costs the vampire one animus per five Life points regained and a minimum of one animus. Regeneration IS automatic and is not turned on and off like other powers. Forms of Sustenance The following form of sustenance can use to replenish the vampire animus spent using magick and preternaturae, as well as the three animus points normally lost each day. Living blood: For each I animus worth of blood drawn from a mortal victim into a vampire, the victim suffers the I point of insidious damage and loses I animus as if it had been spent. Victims drained of half their animus or more, but left alive, become drones. (See the Book of the Unliving for more details.) Torment of the Vampire: Damnation Vampires embraced the evil forces within themselves and it gave them the darkest

aware of their darker side; they have to feed it to sustain their existence, but they are its victims nearly as much as the mortals upon which they prey. T h e darkness is strong and it cries out for blood, cruelty and evil, so much evil, damning them only further. Only the strongest of the vampires can constantly fend off their own inner demons. Those who do, however, seem all the more human for it. They gain a sense of nobility and tragic heroism that few others can even comprehend. Backlash for Vampire Vampires gain one backlash point whenever they kill someone during or after feeding upon her. Vampire Injury and Death Suffer debilitating wounds from: All supernatural attacks which specifically state that they cause debilitating damage; Attacks by empowered weapons; Plus fire and sunlight. Brought to true death by: Fire, decapitation, sunlight, getting eaten alive (Dhampir are also subject to death by any type of damage equal to twice the normal Life score, but those with a Spirit score of 5 or higher become scion rather than die the true death)

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of spiritual creatures walk the earth unseen, both when we wake and when we sleep - John Milton, Paradise Lost

Have you learned the secrets of the eldritch races? Do you hear the music of the spheres? Do you wish to travel the inner worlds? Do you now see the spirits that are all around you perhaps out of the corbut there is always more t o learn, ner of your eye?You have learned much about the Secret World, yes always new roads t o travel; the realms are as illimitable as your imagination. Read onward if you wish t o learn more details on exploring the mysteries of The Everlasting, such as character qualities, roleplaying, storytelling, story creation, Odysseys, personal mythology, and legendmaking Harness your dreams and nightmares. While none of this material is required reading, it can add greatly t o the legendmaking experience.

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Do you believe in Out-$-Body Experiences? OBE (out-of body experience) is a phenomenon in which a person feels separated from the earthly form. T h e spirit travels to other earthly and non-earthly locations. OBE dates back to antiquity, and exists among most every culture. Yet there is no conclusive, scientific evidence, prompting skeptics to hypothesize that OBE is an altered state of consciousness and not actual spirit travel. The ancient Egyptians described a ka, a vehicle of the mind and soul (ba). The mysteries of Isis and Osiris required OBEs as part of their initiation rites, as did the Mithraic mysteries. Among the Greeks, Plato, Socrates, Pliny, and Plotinus all described their own experiences with OBE. Plotinus wrote of being "lifted out of the body into myself." Plutarch also wrote about an OBE that occurred to Aridanaeus in A.D. 79. The Tibetan Book of the Dead describes a "Bardo-body" - an ethereal duplicate of the self. Mahayanan Buddhism also acknowledges the apparition form of the self. The ancient Chinese believed in OBE, and yoga includes OBE as well. Some individuals believe that OBEs occur to everyone during sleep, but OBEs do not match up to the biorhythms and signs of REM sleep. In modern history, OBEs have been the subject of a great amount of scientific and non-scientific study. Yram, born Marcel Louis Forhan (I884-1917), a French writer told of his many OBE adventures and of the many astral realms he visited in his book entitled Practical Astral Travel. Sylvan Muldoon, an American researcher, began having OBEs at age 12, and all during his sickly childhood. As his health improved, his OBEs became less frequent. He wrote of his research in The Projection of the Astral Body (1929). Oliver Fox, an Englishman, also experimented with OBEs and found that he could induce them with lucid dreaming. His research was published in I 9 2 0 in English Occult Review, and later in his book, Astral Projertion. J.H.M. Whiteman, another Englishman, documented more than 2,000 of his own OBEs between 1931 and 1953, and wrote about it in The Mystical L$e (1961). A I 9 5 4 survey of I55 Duke University sociology students provided that 27.1% of those surveyed claimed they had had OBEs. Two surveys of undergraduates at British universities in I 9 6 7 showed that out of I I5 persons in one survey, 1 9 % claimed OBEs, out of 380 persons in the other survey, 34% claimed OBEs. In 1971, C h a r l e s I T a r t reported that 4 4 % of I50 marijuana s claimed to have had OBEs. In 1975, a random survey of 1,000 residents and students in Charlottesville,Virginia, drew a response of 25% from students and 14% of residents. Could OBE actually be a form of non-physical travel? Could what we see as an altered state actually include some form of consciousness transfer that science cannot understand?

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here is more to reality than what we see.

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Haunted houses, bumps in the night, shadows racing through the woods, strange lights, peculiar feelings, and glimpses of figures out of the corners of your eyes. Psychologists call the belief in these things magical thinking and fantasy proneness. But so what if these things do exist only in our imagmation? What is our imagination?What if imagination is simply another sense of perception? And what are the voices that schizophrenics hear? Could they be spirits? This chapter wdl explore the Secret World of The Everlasting. a world we can access through the Dower our 0 0 imagination.

Are things we just take for granted as being ”real” actually part of everyone’s reality, or are they real only within our own individual minds? Think of how no two people perceive or recall things the exact same way; reality is colored by personal perception. Hallucinations, delusions, insanity, and imaginings may all be altered senses, but they are just as real to the person experiencing them as anything you have ever experienced. We cannot define a sense out of context, so there can be other senses - or perception ranges - beyond our own. T h e Reverie is the easiest extension of human senses into what lies Beyond T h e supernatural is all around us; we simply do not see it. Science, education, work, and dreary mundane life have dulled our senses of magick, and put blinders o n us that allow us to see reality as a set of parameters, not as limitless possibilities. With mundane pressures and our lack of using our own imagination by simply accepting what comes on television, the innate magicka1 sense within us atrophies. Yet magick lies before us; there are things science cannot explain - wondrous, magickal, mysterious, and exciting things. True magick exists within us in the form of imagination. T h e eldritch protagonists are aware of magick because it courses through them in very blatant ways, forcing them to view reality outside the mortal scope of things. They can and must accept other possibilities, thus they can see into the Reverie. We as participants must view the world through their eyes; we must awaken to the maeick of the world we live in.

Two worlds exist where we believe there to be but one. We experience the Real World, but what if all throughout the Real World, just beyond what we see each day, there is a Secret World, an enigmatic realm of magick and wonder.

THEEVERLASTING 9,Page 260

T h e Real World is what we experience around us each day. Reality is based upon an epistemology that requires hard, physical proof. It ignores the spiritual and magickal, since such things are beyond the scope of science’s empirical requirements. We rely upon what can be proven with our science and disdain all the mysteries that have been ignored or condemned as rubbish by scientists and political leaders. Thus the Real World is a reality based upon our limited and mundane concept of it, enforced by other people like ourselves who are equally afraid of what we might discover. T h e exact nature o f what constitutes the Real World has never been agreed upon, though science has gone a long way towards defining reality within certain parameters constructed by mortals who do not believe in magick. Still, each person brings a spark of individuality to her perception of the Real World, making the Real World slightly different for each individual. What a person believes and places emphasis upon in her life shapes her world view. Just as some people have odd personality quirks, so might some people have odd reality quirks. One person may believe in ghosts, so ghosts are real to her, though faerie are not. One person may believe that faith can heal sickness and for her it is true.

As a rule, indeed, grown-up people arefuirb correct on matters offact; it is in the higher& of imagination that thy are so sadly to seek. -Kenneth Grahame, The Golden Ape. The Findinp of the Princess

here are magickal events happening all the time. We cannot see most of them, and, the ones we can see, we off as coincidence, tricks of the mind, or some other phenomena that science can supposedly explain. We often rationalize things by twisting what we experience so that it confirms our mundane view of reality. We imagine there was a gun in the hand of that man (not monster) which just fired a bullet (not a lightning bolt) at a car (not a spectre riding a ghostly steed.) We alter the experience enough that we can survive it with our sanity intact. Rationalization is a survival instinct, but one we hone through everyday use over the course of our lives. We do this to prevent ontological shock, which is realizing that reality is not what we have always thought it to be. There is a rare group of mortals, however, who have active imaginations, open minds, and powerful wills; these people are the Fantasts. Some people also refer to them as the Sensitive. Fantasts are mortals who have ignored rationalization and retained their magick sense. T h e degree of sensitivity varies among them, and some seem more sensitive to particular types of magick o t eldritch than others do. Fantasts can see into the Reverie, identify the use of magick, recognize the eldritch, and

sense the use o f supernatural powers anywhere near them. Fantasts are highly likely to develop psychic powers, study magick, and involve themselves in the activities of the eldritch. Some of the original creators of fantasy roleplaying games, along with many garners, are also secretly fantasts. In fact, there is a real guild of them, and guild gather together as “dungeon parties” and go o n actual adventures. There are creatures in other dimensions all around us, just a sidestep away from where we are now. Sometimes these things can see and hear us . sometimes we can see and hear them. T h e barrier is always there, but fantasts can sometimes open ageways between the Real World and Secret World . . for good or ill. Many fantasts who explore the Reverie do not survive the experience.

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T h e eldritrh are the various supernatural races, unique beings, and mysterious forces which inhabit the Secret World o n the fringes of our own. There are many different kinds of eldritch, many of which are described in this foundation book. T h e eldritch are the werewolves, faerie, sorcerers, vampires, ghosts, dragons, and unicorns of legend. They are creatures of our imagination, non-existent within our Real World, but extremely real within the Secret World. So real that they can intrude upon our Real World when we look for them and they please t o show themselves. While the eldritch can see into the Secret World and are closely tied to it, they too still exist primarily within the Real World. Most of them walk, talk, eat, breath, work, play, and live among us mere mortals. Only the fantasts can sense them for what they truly are, and most fantasts are wise enough to avoid them. These sensitive mortals fear saying anything to other people, since most people would not believe them anyway and might even try t o get them locked up as insane. T h e eldritch are everywhere, though their number compared to the mortal population is small. Most eldritch live what seem to be normal human lives, since most of their supernatural activities occur out of mortal sight. They avoid bringing attention to themselves, but still manage to fight and befriend other eldritch, prey upon mortals, travel to distant worlds, and use their preternaturae. T h e Real World is as real for the eldritch as it is for mortals. Though most perceive the Reverie continuously, they also experience the Real World simultaneously and must interact with it. Most eldritch spend a vast majority of their time dealing primarily with the Real World. With notable exceptions, they drive cars, hold jobs, pay b d s , watch television, study in mortal schools, watch and play mortal sports, eat human cuisine, and have relationships with mortals. Many eldritch downplay their supernature so much that they exist almost totally within the Real World. Still, they cannot escape the Secret Worlds, nor its many wonders and dangers.

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dimensional everyday world, but we just never notice it. T h e Reverie is accessible to funtusts and supernatural beings. T h e Reverie varies with an individual's disposition, nature, imagination, and sensitivity. It is not an unchanging, definable thing. A fantast disposed toward seeing the world in a gloomy way will see signs of doom, death, and decay in the Reverie, and will be more apt t o notice a ghost than a manticore. O n the other hand, a fantast disposed toward seeing the world in a bright, romantic way might focus on seeing benevolent faerie, brighter colors, and beauty. Both fantasts mentioned above may see the same things, but each one focuses more on certain features of fringe-reality than o n other features. It is like having specialties in viewing reality, as it is possible a fantast to sense the things t o which she is magickally (or imaginatively) inclined, while missing those things which are of no interest to her. In many ways, the Reverie might be thought of as extra details laid over mundane reality, at least at its most shallow points. The deeper one goes into the Reverie, the more unusual the world becomes objects, walls, colors, and even beings begin appearing

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Real World, the harder it is for her to perceive the Reverie. Children may see real monsters in their closets and under their beds, but with a little convincing by parents that the monsters are not real, the monsters eventually d o disappear. In fact, skeptics can make it more difficult for fantasts to perceive the Reverie by convincing fantasts that their perceptions are merely mental aberrations. Children find it the easiest t o peer into the Reverie, but not all children can do so, as they lose their magick sense extremely quickly. Like Alice in Wonderland, some children actually do visit faraway magickal kingdoms, but most soon forget the Secret World even exists since their parents and teachers constrict their thought processes and define the parameters of the Real World. Hallucinogens can also break down the walls o f reality. However, they d o so with a skdgehammer and most who take these drugs are not prepared for what they experience. Worse yet, these self-victims are trapped within the Secret World until the drugs run their course. Some people under the influence enter and remain in the Reverie, but others on into the Astra. Use of hallucinogens is extremely dangerous and there are many malevolent entities that prey on those who foolishly trap themselves in the Secret World. Insanity is another means of piercing the shadowy wall that separates the two worlds. Delusions are often features of the Reverie that a person considers part of the Real World. Many fantasts begin to suffer what psychologists believe are delusions, when in fact they actually lose the ability t o distinguish between what is real to everyone and what is real only to those who can sense the Reverie. Some poor fantasts become so lost in the Secret World that they can no longer function in the world everyone else lives in. Most are forced into therapy and some are even sent away to mental hospitals for treatment. Such are the costs of dealing with what is beyond the realm of human comprehension.

Within the last twenty or so years, strange things have been occurring to the barriers between the realms within the Secret World. For some unknown reason, temporary vortices form, allowing individuals t o wander from one realm into another. These rifts in time and space have allowed many strange things from other worlds to find their way onto Earth. These vortices open and close in various places without any pattern or warning. Sometimes they are accompanied by actual spatial or temporal distortions, but they usually occur without notice. Only after an individual wanders from one world into the next do they notice it. A victim might be walking down a city street in modern day only to turn the corner and find herself in Camelot over I,400 years ago. Often people and objects that are transported through vortices find their way back to their original places and times. A few victims, however, d o not survive to return, but those who do come back usually return as fantasts. Still, a few try to rationalize their

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odd experiences as dreams, hallucinations, nervous breakdowns, or even episodes of total insanity, while others simply repress them as forgotten memories. There are some eldritch who hunt these vortices for a variety of reasons: to explore new worlds, to find their way back to their home realms, or even to destroy them, thus preventing things which pose threats from accidentally wandering through the vortices.

The trees that grew there aftr the burning were black and grim, and their roots were tangled, groping in the dark like claws; and those who strayed among them became lost and blind, and were strangled or pursued to madness by phantoms of terror.

-JR.R. Tolkien, The Silmarillion In the northern reaches of the earth there lies a lost land. It is a place that the eldritch wish would have stayed unfound and uned, but with it has been growing evermore greatly in just the last few years. This mysterious region is called the Doomlands, the limbardor For, Urgul, and the Z$s Niru by the ancient races of elves, orcs, and dwarves. T h e area is roughly the size of Canada, but it occupies only Reverie-space, meaning it takes up no room on mundane earthly maps. This ominous land is dark, desolate, marked with craters, jagged black mountains, and gray earth. Yet parts of it seem t o have been altered into the opposite of such lifeless extreme, such as jungle regions, a thick and overgrown forest, and rolling plains of dark green grass. In addition, frightening cities and villages filled with orcs and nightmare creatures dot the territory. The Doomlands have also become home to some dragons that have returned from other worlds. T h e Emperor Doom, called Zurgoth, and simply the Dark Lord by his followers rules this land. This evil being is an eldritch of unknown race and origin. Some suspect he is a worldsinger, others think he may be a demon, yet others believe he was a mortal man who long ago learned the ways of dark magick, uncovered the secrets of immortality, and mastered the darkest forces within all the realms. A council of doomlords primarily serves this dark lord. Among the doomlords are three yugtuhul and one turncoat benedera. These dreamlords utilize their power to maintain the Doomlands themselves, drawing down a reflection of the darkside of the moon as the very land itself and filling it with nightmare legions they assemble through the Ziggurat of Nod. T h e heart of the Doomlands is a basalt citadel called IthuG Galhaz ugal Zurgoth, or Zurgothi Fortress of Great Sorrows. Within its vast, monolithic walls lies a city of great beauty and horror where the Army of Doom assembles. The city includes the palace of Zurgoth, the ”night palaces” of the doomlords, the encampments of hundreds of thousands of orcs, and the homes of thousands of other nightmare creatures that now walk the earth freely. T h e legions of the doomlords are relatively small, compared to how large they intend for them to be before they make their move.

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T h e Doomlands will no doubt grow in size and population, and the cities will increase in size and number throughout the dark land. A bottomless chasm spanning the length of the Doomlands, and ranging anywhere from five feet to seventy-five feet across, depending upon the location, separate the Doomlands from mundane reality. Eldritch that perceive the Reverie can find places to enter the Doomlands, but only when entering on foot. A large chain o f mountains blocks the way, save for a few es. Automobiles, airplanes, helicopters, and other forms of mechanical transport cannot be used t o spot the Doomlands due to the dream-reality nature of the region. Flight across the Doomlands through supernatural power is also dangerous because of odd wind currents and thermal patterns that can guide unwary fliers right into mountainsides or tall trees, or even send them crashing into the ground. The air 15 like an invisible maze of strong wind patterns and the air is unusually thin at great heights as well. This is a magickal effect maintained for keeping out flying eldritch, particularly elves on flying steeds. However, the doomlords’ own flying forces seem t o either know the pattern of wind currents well enough to fly freely or are immune t o them somehow. It has also been suggested that perhaps the doomlords simply turn off the odd wind currents when their troops are flying through a region. Since around I985 the Doomlands have emerged as a potential threat for all the eldritch, but the elves and dwarves have been the races most involved in watching over this region. According to the ancient prophesies of the elves and dwarves, a new land of nightmares would emerge in the north and it is said to lead to the next Destiny War. Even now, countless nightmare creatures from the Dreamworlds are finding their way to the south, entering the earthly realm known t o the other eldritch.

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It's so scary that it's almost beaut$ul. - Mer& Lackgi and Ellen Guon, Knipht of Ghosts and Shadows Little is truly known about the Underworld or Purgatory (as the angels and demons call it), the home realms of dead souls condemned by Death to remain tied t o a shadow of the mortal world. T h e Underworld is said by some eldritch metaphysicians to be an Astra of the Conscious Dead. Most believe the realm is merely a spiritual waystation through which souls on their way from life into the After&, and that those who inhabit the realm remain behind for reasons often unknown even to Only a very small percentage o f the world's human population wind up in the Underworld as long-term residents. They are bound t o the realm just as the living are bound to Earth; it is their home realm. Some learn talents similar to astral projection, which allow them to into other realms such as the Astra and the Dreamworlds. These bound spirits of the dead are called dead souls and the Condemned. T h e condemned even have something of a corrupt social structure all their own. As the living die, their astral selves die as well, ing into the Underworld. Rotting corpses of astral bodies can be found everywhere in the Underworld, especially in Ethereus. There are mass graves everywhere and many dead souls work at cleaning up the rotting bodies. T h e corpses vary in their states of decay, but they never hlly turn to ashes, meaning the real is filled with multiple corpses of every person that has ever lived. Many of the condemned never fully get over the continual stench of death that

Underworld. T h e Dreadlands are roughly the size of the Earth and there are at least thirteen massive and powerful city-states in the realm; they are known as the Empires of the Dead The regions surrounding the imperial territories are sparsely populated and extremely dangerous. T h e Forbidden Lands are portions o f the Underworld that have been overrun by an invasion force o f malevolent spirit beings known as the Rakasha. These invaders, under the command of one whose name is not spoken, have begun warping these captured lands and their denizens to suit their needs. T h e Chasm of Lost Souls is a gaping pit o f seemingly bottomless blackness that supposedly leads to a more horrific realm below, called Tartarus Virtually nothing is known about Tartarus even by the wisest dead souls. T h e chasm is located within a huge desert of human ashes constantly swept by winds that sound like moaning human voices. Some who are sentenced as criminals in the Underworld are thrown into the chasm in order for the ankou (grim reapers) t o permanently get rid of them. T h e Circles of Atrocrty form a pit o f their own composed of circular rings around the sides that look like circular steps around the hole in the ground. T h e circles are similar the Infernoi circles described by Dante, though there are many differences. T h e pit is located in the Dreadlands, far away from the Empires of the Dead Paradtsio is a heavenly realm within the Underworld from which angels look down on the realm, making sure the Divine Plan takes its course. No one but the angels are allowed into the realm, though it IS not a true heaven.

of several strange realms ive reality that the dead cannot escape. T h e realms are composed of nekrum, (a substance very much like the ephemera of the Astra and the morpheum of the Dreamworlds.) Nekrum may be altered through sheer force of will. T h e Underworld includes Ethereus, countless Shadoworlds, the Dreadlands, the Forbidden Lands, and several faraway realms, such as Tartarus, of which very little is known. Ethereus, the Corpse of the Earth, is also known as the I/ak of Death It is a gloomy and frightening reflection of the living lands. It exists JUSt on the other side of the Reverie. Dead souls in this realm can peer into the Reverie to look upon and even interact with the livShadoworlds are personal haunted realms created and controlled by powerful ghosts called Phantoms. These realms are like Inner Sanctums of the Astra, except sometimes Underworld denizens (and occasionally living mortals) can wind up in these shadoworlds, either intentionally or by accident. Shadoworlds exist as pockets-dimensions of altered real1ty throughout the Underworld. The shadoworlds even move around as the phantoms who control them move around from one city or town to another.

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EVERLASTING @ Page 264

side fiom the inner realms to which eldritch and many mortals have access, 1

there are other physically real worlds called the Agarthic Spheres. These planes of existence are collectively referred to as the Agartha. T h e realms may be entered physically by those who know where or how to d o so. While the Underworld may be entered physically by ghuls and their living traveling companions, the realm is not considered one of the agarthic spheres. T h e Astra and Dreamworlds can also be entered physically in rare instance, but these too are not considered part of the Agartha, save for the Mythic Homelands, which some do consider agarthic spheres. Faeryland is also considered an agarthic sphere by many. Finding an entrance into a particular agarthic sphere is nearly impossible, even for the most "illuminated eldritch. N o t all agarthic spheres have entrances on Earth, and those that do usually have only one or two. T h e entrances are difficult to find since most all are located solely within the Reverie. Some entrances

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utable. Distance is seemingly real, but more often than not, it is measured solely by one’s perception of it. It is possible t o transport instantly from one place in the Astra to another, but it does require concentration and understanding of the true lack of dimension in the Astra. (The base difficulty on transporting should be between I2 to 17, depending upon the location.) T h e Astra is home to many different types of beings. Most living humans, animals, and plants exist in the Astra, though they are not necessarily conscious of their own astral existence. Entities native to the Astra do not, however, exist on the physical plane. Some of

require keys, magick words, or specific actions performed in a particular order for the gateways to work. Some gateways function only at particular times of the day or during certain days or periods of the year. A few function only at one particular moment every decade or century. Certain gateways are controlled by particular groups, such as cults, magicians, conspiratorial enclaves, and government black projects. Faeryland is the best known of the agarthic spheres. It is a realm composed of fantastical kingdoms ruled, and populated by, strange, alien creatures that are somewhat human in form; few know how t o enter this realm. Shardolm, or Shadowearth as most magicians call it, is another important agarthic sphere. Shardolm is a planet that is the same size as the earth. It is accessible through various magidcal means, such as walking through mirrors and permanent invisible gateways. Shadowearth is ruled by three alliances of magicians. There is something of a cold war between two of the factions - the Magistocracy and the Consortium alliances. T h e third alliance, the Custodians, try to stay out of their conflicts. T h e magicians are numerous and powerful, and most lead double lives on both earth and Shadowearth. T h e Fir Bolg among the. daevas have a great deal of with Shardolm.

these astral entities may, however, freely travel the Dreamworlds, (which some believe to be a mirror dimension of the Astra.) Most astral entities were given life by human, animal, plant, or dragon thoughts. Among the aethyrs within the Astra are the Inner Sanctums, the Colkctive, the Menagerie, Erdantia, the Netherworlds, the Kid, the Mythic Homelands, and Primordium Humans each have their own personal realms in the Astra, which consist of their own psyches. These realms are called the Inner Sanctums Every human and e l d r i t h o f human origin has her own personal realm. Inner Sanctums are virtually inaccessible and invisible in Astral space to all except the individual to whom a specific realm belongs. Only telepathic powers or similar abilities can locate specific Inner Sanctums. A character will typically appear within her own Inner Sanctum upon entering the Astra through OOBE. Leaving this personal realm is not usually difficult and it takes only a little time t o reach the Collective. (The base difficulty for transporting into someone else’s Inner Sanctum is 17. However, anyone can be led into an Inner Sanctum by the sanctum’s owner with no card draw required.) T h e Colkctive, also known as Mnemosia, is a vast realm controlled by the collective unconscious of humanity. It is a place where potent, unseen forces are at work. It is less mutable than a person’s own Inner Sanctum, but it is also a place where different humans on the physical plane can together consciously in order to explore the Astra. A character can appear directly in a specific location of the Collective, such as a fellowship meeting place, instead of within her own Inner Sanctum. (The base difficulty for OOBE in this case is 12 instead of a IO.) T h e Menagerie, also called the Wildlands, is the collective unconscious of animals. It does not include humans, as humans have separated themselves from the rest o f the animal kingdom. I t is a place where humans are no longer welcome and where all manner of animals play and prowl. T h e governing totem spirits of all animals inhabit this realm. (The base difficulty o n transporting to Verdanti is 9 for manitou, and I O for dragons, angels, and daevas with animal-related auspices. T h e base difficulty is 17 for demons, leviathans, and abominations. T h e base difficulty is 13 for all other eldritch.) T h e Krdant Lands, also called Krdantia, represent the collective unconscious of plants. It is a vast realm into which other spirits are welcomed, so long as they d o not harm the plant spirits. T h e L$ Tree, often called Ygpdrad, stands in the center of the realm and casts its branches into the highest heavens and invisibly into countless other worlds. (The base difficulty o n transporting to Verdantia is I I for manitou, dragons, angels, and daevas with plant-related auspices.

It’s dflcult to chart with three-dimensional maps realms that, by definition, exist outside of space and time. These realms transcend the limits of our minds. When we attempt to talk about them, wefind ourselves trapped in paradoxical languagegames. Only direct experience - like the shaman’s - keeps usfrom co+tsing the map with the territory. - Doctor Ananda, Animal Man #82. Weekend Safari There is a myriad of worlds composed of thought and accessible only through our own minds. They are called the astral aethyrs, or more commonly the Astra. However, the manitou and many other eldritch also refer to the Astra as the spirit worlds. T h e Astra, as a whole, is all the realms linked together by astral space and composed of the substance known as ephemera. T h e Astra is not normally accessible physically; entrance occurs through meditation and trances. T h e conscious mind leaves the body through astral projection as an OOBE (Out Of Body Experience.) You may treat this as a Spirit (IO - Astral) draw, with higher base difficulties for appearing in specific locations of the Astra rather than in some random location. Once in the Astra, the consciousness takes on a physical, corporeal, dreamself. Everything in the Astra, the mindscape (buildings, plants, rocks, air, water, et al.) and the denizens (people, animals, monsters, and so on) are all composed of ephemera. Ephemera are thoughts given form. It mirrors the actual earthly substances it takes the form of, but it is mutable by sheer force of will. Thus, anyone can shape and mold reality to suit their own needs, if their will is strong enough. Even preternaturae usually work more freely and are less costly to use within the Astra. (A Guide might lower difficulty and animus cost by one or two points each.)

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c base difficulty is 17 for demons, iathans, and abominations. T h e babe difculty is I3 for all other eldritch.) The Netherworlds are the prisons and places of power for the demons. These realms were once shut away from the Astra by great bronze seals, but the seals have been broken on many of these hellish realms and the demons now run amok. ’ There are even Netherworlds that are 9 homes t o the Leviathans, the dragons’ own demons. (Only the Netherworlds that have been opened to the Astra may be entered. T h e base difficulty on transporting t o these Netherworlds is 15 for non-demons and I1 for demons.) T h e iXid is a nothingness place from which explorers have never returned. Some claim the Underworld lies on the other side of the Void, others claim it is a gateway to another Astra, and still others claim it is a place of certain doom. (The base difficulty on transporting t o the edge of the Void is 15.) T h e Mythic Homelands are the realms of the old gods. T h e Olympians, Ennead, Aesir, Vanir, and countless other pantheons formed their own worlds within the Astra. ‘These gods are not the same as the daevas; they are spirit entities created by the beliefs of human worshippers. (The base difficulty for transporting to any mythic homeland is 10 for spirit-gods, I5 for daevas, and I7 for other eldritch.) Primordium, also called Dragonhome, is an unspoiled land that is said to be the collective unconscious o f dragonkind. It is hard to find and virtually impossible t o enter. Even the earthly ~-dragons will not speak of it to ”monkeys” and ”eldritch monkeys.” (The base difficulty for entering

cally through morpheum (dream-substance), which takes a form similar to water, though it is dry. age is normally possible only from the Astra into the Dreamworlds, but it may be possible to from the Dreamworlds into the Astra this way. Using the barrier as a age is difficult, and only certain Astral-Dream entities can do so with ease. Within the barrier it is possible to become lost or trapped forever. T h e conscious astral form was not meant to venture into the dreaming, nor is the dreams$ meant to visit the Astra. T h e journey can leave the traveler with her consciousness shattered and her body in a permanent catatonic state. Surviving the age from the Astra into the Dreamworlds allows the person t o retain complete conscious control over her dreams. Her subconscious mind is powerless to oppose her actions while in this state. T h e Dreamworlds may be left as usual by waking up, as the body simply fell asleep during the crossover. Finding the chaos barriers requires an Inspiration (I 6 - Astral) draw. At least 30 successes must be made on a series o f Inspiration [ 13 - Dream) draw in order t o cross the barriers into the Dreamworlds. One draw may be attempted for every five minutes of trying t o cross the barriers by swimming through them. If a disaster occurs o n any draw, the astral traveler may go into a temporary catatonic state.

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9reawwsrI& Dreams surely are dfiult, cotfusing, and not everything in them is brought to fw mankind For rl I , .jieeting areams have two gates: one tspsbionea of horn and one of ivory. Those which through the one of sawn ivow are decestive. brinpinp tidings which come to naught, but those which issuefrom the one of polished ’ horn b ring true results when a mortal sees them - Homer, The Odvsspi

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ho e Dreamworlds arc a collection of realms which are normally accessible only through dreaming. T h e Somnoriums, Phantasia, and Nightmare Lands are the most prominent realms. T h e realms are linked by dreamspace and composed of morpheum, a substance much like the ephemera of the Astra. During dreams, the subconscious mind of the dreamer controls the dreams, while the conscious mind has little or no power. Some people, however, learn to control their own dreams. They enter the Dreamworlds consciously, but must still contend with the unbridled forces of their own subconscious minds, which struggle to control their actions and the dreams themselves. T h e Somnonums are in many ways similar t o the Inner Sanctums of the Astra. They are personal realms within the psyches o f individual dreamers. Most all dreamers use these realms for their own personal dreams. Dreams are usually controlled by the subconscious mind. Often dreams are filled with symbolism which provides enigmatic wisdom t o the conscious self, should the dream be ed, and interpreted. Very few dreamers manage to beyond their own Somnoriums into Phantasia or other Dreamworlds. Phantasia is a vast realm of empires fashioned and governed by dreamlords The dreamlords are people who have given up their waking lives t o rule in the Dreamworlds They supposedly ed their already potent Somnoriums together, creating one massive world they call Phantasia T h e world lacks most technological improvements which have occurred within the last three hundred or so years. To the north of Phantasia, across barren lands lies a massive stone wall. O n the other side of the wall lie the Nightmare Lands, a world created and ruled by dream entities, called the Yugtuhul, who consume fear, evil, and corruption as if they are food. T h e realm is similar to Phantasia, but, in addition to its human-like inhabitants, there are many foul races of creatures which feed on negative emotions, these creatures are called shadows

Somnoriums for brief periods o f time. Often done to replay as flashbacks or to explore some imaginative possibilities. Sometimes powerful dreamers, especially those with mental instability, extreme stress, or strong wills can actually bring things from within their dreams into the waking world. In most cases, only the dreamer can see these dream objects and images in the waking world, but sometimes others can glimpse these dream creations.

The journey I but most often \ trol over it. The control, fashions the doorway intc dreams are then almost entirely b A dreamer can, however, spend destiny points to take conscious actions. Entering the Somnorium consciously requires a contested card draw of the conscious mind versus the subconscious mind. T h e card draw is Spirit (IO - Dream) versus Spirit (8), which is the conscious mind versus the subconscious mind. If the conscious mind gets more successes, then the dream can be consciously controlled, otherwise the subconscious retains control. Even if the conscious mind is in control, the subconscious mind can challenge the conscious mind at rare times, so long as it still has strength to fight and did not draw a disaster. If the conscious mind fails the initial attempt to gain control, the dreamer has the option o f spending a destiny point to make another card draw to gain conscious control. T h e conscious mind’s Spirit is reduced by one card on the card draw for each previous draw attempted. The conscious mind can exit the Somnorium simply by walking out of it and into some other world. Most often the

inside Phantasia, the subconscious is less likely to fight the conscious mind‘s actions.

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@reamwadas Waking up takes a dreamer out o f the Dreamworlds completely. If a dreamself was outside the person’s Somnorium when she awoke, her dreamself will remain wherever it was and will look as though it were asleep. It is as vulnerable as any sleeper at this time. When the dreamer re-enters the Dreamworlds, she will awake wherever she

except the osirians, manitou, and the possessed. For the most part, the dreamself looks like the Real World form, but it may be fatter, thinner, taller, shorter, older, younger, scarier, more or less attractive, more or less muscular, clothed differently, etc. Altering the form permanently requires a Spirit (12) draw and costs a destiny point and 3 animus points. T h e character will take whatever her altered dreamself whenever she is in the Dreamworlds, but she may permanently revert back to her true form at no cost. T h e Guide may also spend backlash points to alter a protagonist’s dreamself in negative

ways.

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Spending a stiny point can make an object permant; afterwards, it can be summoned into

can d o so by blatantly warping the reality, teleporting themselves away. They can also d o it more subtlety and far more T h e physical aspects of the dreamself easlly by finding entrances t o their are based upon mental and spiritual aspects: Somnoriums. T h e entrance can be any Dexterity = Instincts, Resilience = places the dreamers can find which puts Presence, Strength = Spirit them out of sight of everyone (e.g. under a table, on the other side of a door, under a bed, inside a closet, etc.) Anyone who sees the dreamers’ temporary exits into their somnoriums can follow them back into the T h e personal Dreamworlds of individual Somnoriums if they pursue quickly. ~ M o w 5 dreamers are called the Somnoriums T h e often follow dreamers into their Somnoriums are vast realms unto themSomnoriums this way. Either method selves, usually shaped and controlled by the requires a Spirit (7 - Dream) draw to suesubconscious minds of dreamers. cessfully leave. T h e dreamscape, the setting for the dream, is much like the mindscape of the astral Znner Sanctum. It is easily mutable and one place imagined can easily flow into another place, either through conscious or subconT h e dreamself is often like the dreamer’s scious maniPulation Of the moTheuml the form in the waking world, though consubstance of dream. Dream beings are crescious effort can alter this form as easily as ated and controlled in the Somnorium by the astral form can be altered. With concenthe subconscious mind almost exactly the ’ tration, everything about the form way they are in the Inner Sanctum.

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There is a massive world called Phantasia somewhere in dreamspace near all Somnoriums. I t is almost the size of the Earth according to Phantasian cartographers. It is a world filled with magick, fantastical creatures, and adventure. Phantasia's lands do not match up to earthly regions, but various earthly locations seem to correspond to phantasian locations. Dreamers who enter Phantasia will emerge at a place which corresponds to where their earthly bodies are sleeping. Some sites on Earth have near-duplicates in Phantasia, while other earthly sites correspond with completely different types of phantasian sites. Typically, the "feel' of a place is the same in both worlds - a spooky place in one world is spooky in the next, while a bright and beautiful place in one world is bright and beautiful in the next. In addition, larger regions also correspond to one another. North America corresponds to two phantasian kingdoms, divided somewhere roughly across the middle of the United States. T h e two kingdoms are Gilgahd to the south and Ethaldos to the north. There are fourteen known kingdoms on Phantasia. Each is ruled by an independent sovereign called a Dreamlord by eldritch, but simply king or emperor by the Phantasians. T h e dreamlords are among the most powerful dreamers to have ever lived and, while they are now dreambound, they once lived o n Earth. T h e dreamlords are feared, despised, adored, and romanticized according to their individual reputations and method of rule. Below the dreamlords are powerful dreamers who serve them; they control baronies, duchies, and other fiefs. Phantasia is a wondrous place similar t o the Earth in some of its flora, fauna, and geological features, but it has many such features unique unto itself. Technology is limited to what the dreamlords know of and allow, as they d o not wish for an insurrection among the phantasian denizens. Many advanced technologies simply will not work in Phantasia. Weapons are very limited and simple muskets are as high tech as they get. T h e native inhabitants are just like mortals, though some have unique features

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exist only in Phantasia and for them it is as real as the Earth is to mortals in the Real World. T h e Phantasians have many interesting cultures and social structures, varying from region to region, and kingdom t o kingdom. They have their own legal systems, religion, and languages. Dreamers from the waking world who come to Phantasia find they can become heroes of legend. Some see them as dangerous and fear them, but most simply see them as powerful. Dreamers are considered sorcerers in Phantasia, since they can reshape reality to their personal needs. Since there are few dreamers who make it onto Phantasia, the dreamlords try to recruit as many as they can into their service. T h e dreamlords offer the dreamers noble titles, land, and knowledge of the Dreamworlds in exchange for loyalty.

Squatting on old bones and excrement and rusty iron, in a white blaze of heat, a panorama o f naked idiots stretches to the horizon. Complete siknce - their speech centers are destroyed - exceptfor the crackk o f sparks and the popping of singedflesh as they apply ekctrodes up ad down the spine. White smoke of burningfksh hangs in the motionless ail: A g r o u p of children have tied a n idiot to a post with barbed wire and built afire between his kgs and stand watching with bestial curiosity as theflames lick his thighs. H i s fkshjerks in thefire with insect agony. - W l l i a m S. Burroughs, Naked Lunch

Beyond Phantasia, far to the north, past the Barren Lands there lies a great wall of basalt which stands 500 feet high and one hundred feet thick. T h e wall is patrolled by strange beings who destroy tresers they catch crossing to either side. There is but one gate which may be used by any who answer the guards' riddles. On the other side lies the realm known as the Nightmare Lands. Nightmare is a realm similar to Phantasia, except far more twisted and evil is design. Few dreamers enter Nightmare of their own freewill. T h e native inhabitants are similar to the people of Phantasia, but many of them are pale and malformed. They are ruled by the Yugtuhul,

also called the Elder Nightmares, who are assisted by countless lesser nightmarish creatures, called shadows. There are many Nightmare kingdoms ruled by the yugtuhul, the exact names and number are unknown, as only a few phantasian spies have lived t o tell what they learned there. Nightmare culture centers around pleasing the Elder Nightmares and on creating fear and pain among- dreamers. T h e inhabitants practice foul religions which involve the sacrifice of the native human-like inhabitants and outsiders the shadows capture. T h e technology of Nightmare is just as primitive as it is in Phantasia, if not moreso. Phantasian savants claim that beyond Nightmare lies a desert of ash and bones, under a perpetually pale, star-filled, yet moonless, sky. They call this r Desert of Shadows. Supposedly, on side of the Desert of Shadows 1

(tower, cliff, fortress wall) and try to fly. An Inspiration (12 - Dream) draw is required. If any successes are gained, the dreamer soars off into the dream ether of interstellar space. They will find their way to wherever they are going, so long as they d o know where they want to go. T h e ochelum hold great power over the moon o f the Dreamworlds. T h e light side is under the authority of various benederan lords, who maintain fortresses, cities, and personal palaces. They keep their lunar territories filled with dream beings of a more benevolent and benign sort, and they use somnomancers as their leaders and generals.

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There is said t o be a reflection of the enagerie somewhere among the eamworlds, where animals dream of nd playing. This dream realm is mpossible for humans to find, survive within. T h e manitou go there when they dream. T h e an also find and enter this realm ger. T h e wer almost never ente

Underworld.

T h e moon is represe night. It is also a magic be traversed within the fact, all the planets and Earth's solar system may from by any dreamers wit quate protection, and the but some of the many dr Within the Dreamworl ly a breathable ether and subjective matter of percept to get t o a particular place. Th someone wants to get t o a wor closer they believe they are to it, then th less time it takes t o get - there. All dreamers may "fly" within the interstellar dream ether simply by "riding the star winds and clouds of stardust," but, for the most part, travelers prefer to use vessels. Interstellar dream vessels range from winged horses, to odder sorts of creatures, to ships, to fbturistic spaceships. (The exact appearance and nature of the interstellar dream vessel is left u p to the creative participants.) Dreamers who wish to fly on their own accord can simply leap off any tall natural or artificial structure

as the Astra and Dreamworlds. T h e native inhabitants of these realms somehow intuitively know many paths to various places. Strangers in the realms can generally get to where they are going, usually by focusing on wanting to get there, but they do not usually know how they are going to get there nor what areas and dangers will 1 between them and their destinations. Finding an Airt, a dream pathway, requires a Perception (I I - Orienteering) draw. Asking a spirit to point out an Airt requires a Presence (I I - Question) draw.

s of the Astra suppos-

rworlds into the Dreamworlds remain and guarded by shadows who fear ns' entrance into their territory. always been rogue demons in orlds, but most ally themselves

Void, also said to exist at the edges

though no one has ever traveled that rout

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Somewhere deep in dreamspace is Emanitus, the home realm of the Benedera, the Dream Guardians. T h e realm is accessible by portals m Phantasia, but few ever make the journey, as the Benedera are isolationists who dislike intrusion. Little is known of their realm, except that it is said

that have no fixed geographical locations,

Book of the Spirits @ Page 26

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Do you believe in astrology T h e origins of astrology date back to

50,000 years ago, with the

Cro-Magnon. T h e first developed system of astrology appeared among the Chaldeans around 3,000 B.C. Astrology was a tool by which the seers could look to the stars

and planets for predictingthe

weather, natural disasters, and the best time t o act in matters of state and war. T h e Babylonians are credited with developing the Zodiac signs and around

500 B.C. natal astrology appeared. T h e oldest sur-

viving horoscope dates back to 410 B.C. and was found among the Babylonians. The second oldest known horoscope was found among the Chaldeans and dates back t o 263 B.C. T h e Greeks were the first to develop it, and the word "horoscope" comes from Greek, meaning

"I look at the hour." T h e Chinese, Indians, Mayans, Egyptians, and the Tibetans used astrology. Around 600 B.C. the Greeks made astrology available to the masses. Plato, Aristotle, and Pythagoras

gy played some part

all believed that astrolo-

in influencing human behavior and the outcome

of things. T h e Romans learned astrology from their Greek slaves and gave astrology the names of the planets that are still used today. In A.D. 333, Emperor Constantine, a Christian convert, banned astrology as the work of the Devil, as did later Church fathers. Astrology fell into obscurity in the West, but continued to see use among the Chinese

and Arabs. By A.D. 1100, the Spanish Kabbalists

were re-introducing astrology to the West and it became practiced once more. Again in the West, the

17th century, with the advent of

science, astrology was cast down as superstitious non-sense. Much later on, Carl Tung would use horoscopes in the treatment of patients, believing that astrology could give him some insights into the patients' inner potentials and latent problems.

In 1949, French psychologist Michael Gauquelin began tests in an effort to completely disprove astrology as false. While he did disprove some aspects of astrology, he also achieved some surprising results. In tests involving 576 doctors, Gauquelin discovered that more were born within two hours o f the rise and culmination o f Mars, Jupiter, and Saturn than should occur

by chance. H e also

found that sports champions tended to be born after the rise and culmination of Mars. Gauquelin's findings became known as "the Mars Effect." Later tests by different researchers, in attempts to dis-

L have set my lfe upon a cast, And I will stand the hazard of the die. - William Shakespeare, Richard ILI

prove Gauquelin's findings ended with similar results as Gauquelin. According t o Gauquelin, astrology may note some "cosmic biology at work that may affect humans on some genetic level. H e discovered that children are usually born with the same sun, moon, or rising sign as a parent, and that this astrological effect is twice as likely if both parents share the same astrological signs. Could the stars and planets have some real effect upon us? Are there some underlying patterns within nature that we cannot fully understand?

Do you believe in astrology?

Book of the Spirits @ Page ?7T

Acrobatics - This is the skill used in performing flips, aerial maneuvers, leaps, swings, and gymnastics. Falling damage may be reduced by one point for each success on a Dexterity (IO Acrobatics) draw before making a normal Resistance draw for damage. Primary Aspect Dexterity Climb - This is the skill used in climbing trees, walls, rocks and other vertical objects. A character skilled in climbing is familiar with rappelling, spike setting, and free climbing. Primary Aspect Dexterity Dance -This is the skill used in performing all forms of dance. A character should take one specialty, such as ballet, ballroom, folk, etc. The character may also use the skill to perform many forms of dance or just to dance socially. Primary Aspect Dexterity Focus - This skill is used in channeling internal energies for extreme feats involving the body. It is also the ability to control many of the body’s autonomic functions, such as breathing, heart rate, bleeding, and resistance to pain. It is used to perform Yogic feats and increase the power of punches, kicks, and throws (in rare instances.) The energy focused is referred to in most martial arts as the chi and ki The unliving and the possessed can use this skill for making themselves seem more like normal living humans temporarily. Primary Aspect. spirit Run - This is the skill used in running at high speed and for long distance. Run speed is determined by a character‘s Speed and Run skill. Primary Aspects. Dexterity and Resilience Swim - This is the skill used in swimming at high speed and over long distances. Primary Aspects Dexterity and Resilience Criminal This aptitude defines a character’s overall familiarity with the darker side of human existence, particularly predation upon one’s own kind. Anyone can have this aptitude, since it does not necessarily mean the character is a criminal or has ever been a criminal. In fact, most law enforcement personnel will have this aptitude as well. Criminal includes the following seven skills: Espionage - This skill represents a character’s ability to forge documents, disguise her appearance, create new identities, stalk other people, and hide out from the authorities or anyone else. Note that the actual act of infiltration and exfiltration are linked more to Influence skills, while gathering information is linked to the Research skill. Primary Aspect Intellect Firearms - This is the skill used in identifying, firing, loading, and cleaning modern firearms. Primary Aspect Dexterity Legerdemain - This skill is used for sleight-of-hand, concealing items, picking pockets, shop lifting, cheating at cards, and performing confidence games. For some individuals, this skill mostly represents prestidigitation, particularly magic tricks involving swift and graceful hand movements. Prtmay Aspect. Intellect Murder - This skill is used for planning and executing the despicable act of murder by most any fashion. It included knowledge of how to get away with murder without getting caught, knowledge of poisons, familiarity with corpse disposal methods, the basics of forensics, and the best ways of cleaning up the crime scene to cover up or remove any possible evidence. This skill is also used by law enforcement in investigating homicides. Primary Aspect Intellect

Security - This is the skill that provides knowledge of surveillance devices, security systems, criminal strategies, lock picking, and burglary methods. Primary Aspect: Intellect Stealth - This skill is used in moving about quietly and unseen, as well as hiding one's self or other things. It can also include the use of camouflage. Primary Aspect: Instincts Streetwise - This skill includes knowing other criminals and how criminals operate. It also represents a character's ability to find, purchase and sale illegal goods. The character can recognize when someone is on drugs, can identify drugs, and knows the price and effects of drugs. The character is familiar with robbery, burglary, illegal gambling, bookmaking, street slang, prostitution, drug dealing, fencing stolen goods, and other criminal activities. The skill also doubles as a survival skill for life on the mean streets of the city. Primary Aspect: Zntelbct Humanities This aptitude defines a character's overall familiarity with the classical arts. Humanities includes the following seven skills: Antiquities - This is the skill that provides knowledge of prerecorded history. It includes historical and scientific knowledge of ancient civilizations such as religion, culture, geographic location, architecture, economy, politics, and engineering. It also includes knowledge of carbon dating, relic reconstruction, and anthropology. Antiquities is useful in detecting fake artifacts, identifying real artifacts by their function, era and culture of origin, as well as in identifying potential sites for ruins, relics, and artifacts. Primary Aspect: Intellect Artistry -This is the skill used in creating art of some sort. The character can work in similar mediums with a slight penalty of -I to -3, such as using watercolors instead of oils, or sculpting in stone instead of wood. Primary Aspect: Inspiration History - This is the skill that provides knowledge of past events and social development. It includes social, intellectual, political, religious, scientific, economic, and cultural history, along with some knowledge of prehistory. Primary Aspect: Intellect Language - This is the skill used in communicating in a language other than one's native tongue, since all characters are automatically fluent in their native language. The character is fluent in one additional language for each point in Languages. This skill covers all language, including sign languages and dead languages. No card draw is needed for communicating in a language with which the character is familiar, though a card draw can be made for comprehending very similar languages or dialects (with various penalties.) Primary Aspect: Intelkct Music - This skill is used in playing a musical instrument of a particular type. The character can also play similar instruments with a slight penalty of -I to -3, such as playing a bass guitar with a skill in guitar. Primary Aspect: Inspiration Religion - This skill provides knowledge of spiritual beliefs. It may focus on one particular belief system, but it also provides overall knowledge of many different religions. Primary Aspect: Intellect Research -This is the skill used in gathering information of all sorts. It includes knowing how to collect data and examine it for relevant facts. Primary Aspect: Intelkct

Influence This aptitude defines a character's overall familiarity with human communication. It may be used in any form of communication, especially verbal and written. It reflects the character's ability to evoke and interpret emotional responses. Influence includes the following seven skills: Deception - This is the skill used in lying and detecting when someone lies. It is also useful in manipulating people without them knowing it and in concealing motives. It is also useful in identifying the manipulations and motivations of others. Primary Aspect. Intellect Eloquence - This is the skill used in communicating in beautiful, flowing, elegant language and the ability to look past eloquence for hard facts. Eloquence allows the character to express her thoughts and emotions in an understandable and meaningful way. Primary Aspects Presence and Intellect Empathy - This is the skill used in determining the current emotional state of a person based upon their body language, tone of voice, and other distinguishing features. It is also used in determining the most likely response a person would have to a specific statement or event. It is also the ability to conceal your own emotions. Primary Aspect Perception Intimidate - This is the skill used in causing fear in other people. It is knowledge of what people fear and how to evoke uncomfortable feelings of insecurity and inferiority in others. The character can command respect and dominance by a variety of means, choosing the most appropriate for the situation. Primary Aspect Presence Persuasion - This is the skill used in convincing people of a particular viewpoint or conclusion. It is also the ability to resist the persuasiveness of others either by digging for flaws in their arguments or by looking past all their fast talk. Primary Aspect Presence and Intellect Question - This is the skill used in gaining information from people in any way necessary.This can range from torture to shrewd questions that simply catch people off guard. It also represents the ability to resist being tricked into revealing information the character does not wish to let slip. Primary Aspect. Instincts Romance -This is the skill used in making the character desirable romantically to another person. It includes flirting, seduction, charm, romantic wit, and knowing the right things to say and do at the right times. Primary Aspect Presence Martial Arts This aptitude defines a character's overall proficiency in unarmed combat. It does not necessarily reflect any particular style of combat, unless the participant wishes it to do so. A particular style of martial arts can be chosen, if desired, though it has no effect upon skills. (Note: Bite and Claw are two optional skills for this aptitude.) Martial Arts includes the following seven skills: Blind Fighting - This skill is used whenever a character is fighting without the use of vision and must rely on her other senses. It could be due to blindness or simply darkness. For each point in Blind Fighting, the situational modifier in hand-to-hand combat for not seeing an opponent (night, blindness, invisible opponent) is reduced by one point. This skill cannot reduce a modifier to the point of becoming a bonus instead.

Book of the Spirits @ Page 273

ver, the skill applies to defensive maneuvers as well as offen-

actions without the use of sight. Prrmary Aspect No draw required, see Block - This skill is used in countering the blows of opponents who are attempting to strike the character. It is usually only used in unarmed combat. Primary Aspect Dexterity Evasion - This skill is used in dodging attacks and running evasion patterns. Primary Aspect Dexterity Grapple - This skill encomes all forms of grabbing, holding, choking, strangling, and pinning opponents. It also includes headbutting, (treat as kick damage to opponent and half damage to self.) Primary Aspect Dexterity Kick -This skill encomes all forms of kicking attacks, ranging from knee smashes to spinning back kicks to punting. Primary Aspect Dexterity Punch -This skill encomes all forms of hand attacks, ranging from karate chops to left hooks. Primary Aspect Dexterity Takedown - This skill encomes all maneuvers used to take an opponent to the ground, ranging from tackles, to leg sweeps, to body slams. Primary Aspect Dexterity

This aptitude defines the Character’s familiarity with all manner of martial weaponry. Melee includes the following seven skills: Axes - This skill encomes the use of all forms of axes and axe-like weapons, ranging from woodsman’s to double-headed battle-axes. Primnry Aspect Dexterity Clubs - This skill encomes the use of all forms of clubs, ranging from baseball bats to maces. Primary Aspect Dexterity Knives - This skill encomes the use of all forms of knives and knife-like weapons, ranging from dirks to straight razors. Primary Flails - This skill encomes the use of all forms of flails and flail-like weapons, ranging from war flails to nunchukas. Primary Polearms - This skill encomes the use of all forms of polearms, ranging from simple spears to fauchard-forks. Primary Staves - This skill encomes the use of all forms of staves, ranging from J O staves to quarterstaves. Primary Aspect Dexterity Swords - This skill encomes the use of all forms of ores. Primary Aspect Dexterity

Area Knowledge - Thi

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‘1

character’\ knowledge of

knowledge for the area. This skill may be taken more than once, taking it once for each particular area with which the character is familiar. Most eldritch have this skill for the area around their dominions. A ghul might have this skill for the tunnels underneath the city, while a revenant might have this skill for a particular region of the Underworld. A manitou might have this skill for one of the sacred lands (an aethyr of the Astra.) A cab driver might have it for an entire city. This skill represents knowledge of businesses, residents, and other features within the area. Primary Aspect Intellect Computers - This is the skill used in programming computers and retrieving information. No card draw ts necessary for simply using common, -friendly software the character uses dl the time. Primary Aspect Intellect Driving - This skill is used in operating a motor vehicle. It does not include riding a motorcycle, as this abllity is considered a separate skill. No card draw is necessary for driving except in dangerous or extremely stressful situations. Primary Aspect Dexterrty Management - This skill is used in operating a business. It also represents the ability to pull off white-collar crime and (for the everlasting) to shift fortunes from one identity to the next. Primary Aspect Intellect Profession - This skill is used in any form of craftsmanship or skilled labor. This skill must be taken once for each profession, though a character may be albwed to use a s k d with a Penalty of -1 to -3 for activities related to similar professions. Primary Aspect kinable, usually Intellect Social Awareness - This is the skill that reflects a character’s knowledge of current events, pop culture, subcultures, fashion, music, entertainment, social trends, and slang. Primary Aspert Intellert Naturalism This aptitude defines a character’s overall expertise in staying alive in the wikIernesS and her capacity for providing for her own basic survival needs. Survival includes the following seven skills: Animals - This skill is used in identifying animals by their footprints, sounds, habits, diet, and appearance. This also represents the character’s animal empathy and ability to train animals. Primary Aspects Perception and Instincts Equestrian - This is the skill used in riding a horse. No card draw is necessary except when some daring or dangerous action ing the enemy, racing, or getting a horse to leap over an obstacle. Prtmary Aspects Dexterity and Instincts Herbalism - This skill is used in finding, identifying, mixing and preparing herbs. Herbs may be used as medicines, poisons,

the basic things required for getting by on one’s own. ods.) Modern Life in present day includes the following Seven skills: Alertness - This skill is used in determining a character’s observation ability and watchfulness. It is included within Modern Life since ancient eldritch who are like walking anachronisms typical-

skills of Firearms, Stealth, Track, Orienteer, Survival, and Alertness can all come into play. For simplicity, Hunting represents all these but only within the Of the hunt Itself. The Hunt other dudes even reflects the character’s skillwith a Bow. Hunt

Orienteer - This skill is used in determining direction and distance, and in plotting courses from place to place. Primary Aspect: Intelkct Survival - This skill is used in providing food, water and shelter to assure survival. It covers killing animals for food either through snares or by actually hunting and killing the prey. It also includes finding edible plants, insects and other sources of food, finding fresh water, building fires, and surviving against the elements and other threats. Primary Aspects: Intelkct (humans), Instincts (animals) Track - This skill is used in tracking down people and animals. It includes identifying tracks and determining certain bits of information from tracks, such as how long it has been since the tracks were made, speed they were traveling, number in group, weight of the person or animal making the tracks, and the type of animal that made the tracks. Primary Aspect: Perception Sciences This aptitude defines a character's overall knowledge of the sciences. Sciences includes the following seven skills: Engineering -This skill represents knowledge of basic engineering and draftsmanship. You have to choose one particular field of engineering for the character, but may use her Engineering skill in related fields at a minor penalty of -I to -3, depending upon the similarity. Some fields of engineering: airplanes, architecture, automobiles, electronic, firearms, mechanical devices, and robotics. Primary Aspect: Intelkct Life Sciences - This skill represents knowledge of the life sciences such as biology, botany, eugenics, entomology, ornithology, and zoology. A character has to choose one particular field, or "general life science," though life science may be taken more than one time in order to take other fields. A character may use her knowledge in related fields at a minor penalty of -I to -3 depending upon the similarity. Some life sciences include: bacteriology, biochemistry, biology, biophysics, botany, cryogenics, ecology, entomology, ethnology, eugenics, genetics, marine biology, microbiology, molecular biology, neurology, organic chemistry, ornithology, paleobotany, paleontology, pathology, physiology, and zoology. Primary Aspect: Intelkct Mathematics - This skill represents knowledge of both simple and complex mathematics. Primary Aspect; Inntelkct Medicine - This skill represents knowledge of the healing arts. A character can diagnose and treat various human injuries and illnesses. A character must have a score of four in this skill and must have all the required education and experience credentials in order to be a practicing physician of any sort. Primary Aspect: Intelkct Physical Science - This skill represents knowledge of the physical sciences such as astronomy, chemistry, geology, and physics. You must choose one particular field for the character, even if it is only "general physical science" that would include basic knowledge of all the various physical sciences. Physical science may be taken more than one time if you would like the character to have knowledge of more than one particular field. The character may use her knowledge in related fields at a minor penalty of -I to -3, depending upon the similarity. Some physical sciences: aerodynamics, astronomy, astrophysics, biochemistry, biophysics, chemistry, cybernetics, geology, hydrology, inorganic chemistry, magnetics, metallurgy, meteorology, nuclear physics, oceanography, pharmacology, physics, radiology, robotics, and subatomic physics. Primnry Aspect: Intellect

analyze and provide therapy to patients. A character must have a score of four in this skill and must have all the reauired educatlon and experience credentials in order to be a practicing psychiatrist of any sort. Primary Aspect Intellect Rationalize - This skill represents the ability of an individual to convince herself and others that the supernatural does not exist and that supernatural events they may have witnessed did not occur by coming up with logical scientific explanations. Primary Aspect Intelkct Supernatural This aptitude defines how in tune the character is with the supernatural and her overall knowledge concerning it. Supernatural includes the following seven skills: Arcana - This skill represents knowledge of occult lore such as Kabbalah, Hermetic lore, Gnosticism, numerology, alchemy, and astrology. Primary Aspect, Intellect Astral -This skill is used in attempting astral projection and in traveling from place to place within the Astra. Primary Aspect Inspiration Dream - This skill is used in choosing one's own dreams and in traversing the Dreamworlds. Primary Aspect Inspiration Eldritch - This skill is used for recognizing eldritch by race on sight. It also includes general knowledge concerning the various supernatural races. Primary Aspect Intelkct Empower - This skill is only available to supernatural beings and powerful human mages, meaning even fantasts who have a score in Supernatural do not have an Empower score. Empower is used for instilling supernatural power into mundane things ranging from swords to mortal minions. When the character empowers something, she attunes it to herself, and transfers a small amount of her own supernatural power into the item or person. Primary Aspect Spirit Illumination - This skill is used for perceiving the reverie, and for sensing nearby supernatural beings and events. Primary Aspect Inspiration Intuition - This is less of a skill and more of a natural talent that few people develop. Intuition provides strong feelings, hunches, and an uncanny guessing ability that is often correct. Primary Aspect. Instincts

Book of the Spirits @ Page iiY

1

e&+-

P

m

(Optional)

If Herruks and Lichas play at dice Which is the better man, thegreater throw May turn byfortunefrom the weaker hand. - Wlliam Shakespeare, The Merchant of Pinice T h e following details concerning combat are optional. They exist merely to provide the possibility of greater diversity and detail. Feel free t o use them or ignore them as you see fit, since added "detail" does not always imply added "realism."

Lots of times protagonists are attacked by large numbers of relatively weak and unimportant mortal opponents. Combat could get bogged down quickly if the protagonists are not allowed to take down these opponents in a fast way. Therefore, a Guide might allow all unimportant goons and fodder to fall more easily before protagonists' attacks, allowing only the important fight scene: to be drawn out. T h e guidelines are as follows: Any protagonist's attack upon an unnamed opponent that causes five or more damage while unarmed, or four or more damage with a lethal weapon, before the opponent's Resistance draw is attempted, automatically knocks the unnamed opponent into Trauma and unconscious. A Guide may modify this if the goons are wearing armor or are extremely tough. If the protagonist delivers seven or more damage while unarmed or five or more damage with a lethal weapon, before the opponent's Resistance draw is attempted, the participant may choose for her protagonist to either kill the opponent or just wound the opponent terribly. Another means of handling the fighting is simply as freeform. Each protagonist might be allowed to take down a number of minions each turn based on the following: (Dexterity score Combat skill) score divided ly 5 (rounded up) = number of minions that can be taken down each turn of combat. For each less minion taken down than the character's maximum, the character may take out one minion in an exceptionally heroic or flashy manner. In situations where there are not enough minions for every protagonist to get their maximum, all should get their fair share.

+

The following information might also prove useful to those interested in detailed combat. Concealed Weapons Characters can often carry several handguns and melee weapons without being noticed, except by those looking to see if the character is packing heat. Heavy clothing can allow for a greater number of weapons, and even larger ones. When someone actively looks the character over, a Guide can make a Perception (base dtjficultyfrom 6 to 12 depending upon the amount of clothing, minus 1 to 3 per weapon carried, depending upon the weaponi size) draw to see if the onlooker notices any concealed weapons - spotting one weapon per success. If frisked, all weapons will be found unless they are hidden in very uncomfortable places. Characters can always carry weapons in violin cases, brief cases, grocery sacks, and other coverings, allowing them to pack heavy-duty arsenals. Note that carrying concealed weapons without a license is against the law, and will most likely lead to arrest if caught. Hair-Trigger Reactions For suspense, when a character is expecting attack and something jumps out a t her, makes a frightening sound, or otherwise sets off her instincts, an Instincts (7) draw is made. If successful, the character can react by firing, and will at least "draw down" on whatever caused her to jump even if she does not fire at it. O n a disaster, the character drops her weapon or it jams, provided there is real danger. If there is no real danger and a disaster is drawn, the character fires anyway, even if it was a friend who caused her to jump. Pistol Whipping This is the act of using a pistol in hand-to-hand combat to add force to blows with the fist. Treat pistol-whipping as normal punches, except that the character does an extra + I damage if the punch hits the opponent. Silencers Silencers are illegal to purchase, but do-it-yourself kits are legal to buy. They can be especially useful when the character does not wish to attract attention. Silencers range in shape and size from one-shot disposable varieties to custom-made professional models that are designed to last up to a hundred shots. Most are around ten-inches long, tubular, and cannot be holstered. They are usually attached right before use. All silencers become worthless after a certain amount of usage based on their quality. This is because the baffles within the silencers, which reduce the sound and speed o f the shot, weaken and the gun gradually becomes louder. Large caliber weapons, such as assault rifles, cannot handle silencers, nor can shotguns. In addition, most handguns must have modifications for silencer use. Some submachine guns are manufactured in silent versions for use in cover operations, often utilizing specially-designed low-noise ammunition. Silencers reduce the damage by one point and the range by one-half.

Unjamming Automatics Whenever a character draws a Disaster while using a pistol, submachine gun, or other automatic weapon, the weapon jams. T h e firearm must be unjammed in order for it to fire again. A character can use an action to make a Dexterity (9 - Firearms) draw t o clear the chamber of the weapon. It takes a total of 2 to 5 cumulative successes to clear the weapon, (depending upon how bad the Disaster is), so it may take more than one action t o unjam the gu If a disaster occurs with the gun twice, o n the second disaster the gun becomes damaged and may not be fired again.

T i ~ e a r - t q"fczlixixs ,~ t?p

&t-tqc?Splpre If you are not careful, you can easily ruin the supernatural feel of T h e Everlasting by turning it into nothing but a series of gunfights. Protagonists with miraculous supernatural powers, who simply run about blowing away bad guys and their unwitting minions with submachine guns will no doubt live only short lives despite their supposedly immortal status. There are several ways t o quietly reduce the effectiveness of guns within stories. While some of these methods may seem a bit absurd, if you use them carefully and in a serious manner, you can get away with maintaining the supernatural atmosphere without seeming too heavy-handed. Award backlash points to any elhitch who run about blowing away peop withpns Generally, one BP for each person wounded and two BPs for each person killed will reduce protagonist dependence upon firearms. Stress that the gun is a great equalizer Since guns can only fire a certain number of shots within a combat cycle, it does not matter what a protagonist's Speed score is when it comes to using firearms. Because of this, mortals and immortals have equal offensive capabilities when using guns. Since the everlasting have greaterthan-normal speed, they could better utilize their great speed in conjunction with melee weapons or martial arts, thus getting more attacks within the combat cycle than humans who use melee weapons or martial arts. Simply have antagonists and minions seldom use guns. Many antagonists realize the limited effectiveness of guns and would rely on melee weapons that can cut off heads and severe arms since bullet wounds can simply be regenerated. When the bad guys do carry guns, they seldom use them, drop them, or have them knocked away easily. Make it harder to hit an opponent T h e first shot never hits the target (even antagonist targets) and fully automatic fire simply hits the ground in a pattern near the one being fired on. T h e whole purpose is t o let the opponent know they are being fired upon and that it is dangerous. Once in a while someone can actually get shot, but before long the protagonists will learn the value of facing their opponents at close range in melee and martial arts combat.

Book of the Spirits Q Pag &A L

h" 4r I

4

.& __i

fulness. “Healing” and related types of healing powers are not effective in regrowing lost parts unless described as being capable of doing so, but these powers may be used to reconnect amputated parts at any level.

frustrate protagonists so much they feel carrying guns i s more trouble than it is worth. Increase the probabilrty of weapon maJunctron. Eldritch often cause technology to malfunction. While they are not gremlins who wreck everything, they do sometimes affect devices that are in their presence long term due to the supernatural energies they radiate. This can be carried over to weapons easily, causing guns to jam far more frequently, or even causing guns t o break. It i s even possible to have firearms backfire, causing damage to the characters using the guns.

Amputation Amputation i s a serious threat even t o the eldritch. Amputation may occur at Guide’s discretion if one hit, or group of hits, directed at a particular body part reduces a subject’s life score to zero. The loss of an arm causes the permanent loss of I Life point. T h e loss of a leg causes the permanent loss o f 2 Life points. T h e

Asphyxiation, Suffocation & Drowning Once a person can no longer hold her breath and cannot take in fresh air, she begins t o die. This can occur through a variety of methods ranging from asphyxiation, to suffocation, t o drowning. T h e victim suffers 3 points of insidious debilitating damage during the first combat cycle, 6 points o f insidious debilitating damage during the second combat cycle, 9 points during the third, and so on until she manages to take in some air or dies. The Guide may spread the damage out over several turns or may have it occur all at the end of the tenth turn of the combat cycle. T h e damage is debilitating, but damage will be removed completely when the victim can take in fresh air. This insidious damage is automatic, meaning no Resistance draw. Those who do not breathe are immune to damage of this sort. Burn Damage Fire and hot surfaces can cause debilitating damage. The amount of damage caused by a fire is based upon the size and heat intensity of the flames. T h e following information may be applied t o determine fire damage. Take the number of damage points determined by the intensity and multiply it by the size of the flames. T h e debilitating damage may be resisted by a Resilience (7) draw as normal. Damage occurs at the end o f the tenth turn of each combat cycle. If the character gets out of the fire during a combat cycle before the tenth turn, then damage occurs during the last turn the character is in the fire.

Intensity of Flames

0

Matchlight Stove

~

feel pain. Torture and other pain-inducing practices and attacks can be just as effective as bullets and swords, but with fewer long-term effects, if preferred. - - ___ -__ During a character’s torture, the Guide may require several Chemical Fire Flame - - -Thrower _ _ - _ /’ ~_ __ _ Spirit-based Resistance draws, based upon the duration and form Molten Metal of the torture. Typically one Resistance draw is made for every IO minutes of actual torture, though the length of time can vary ExDosure t o Flames greatly depending upon the method used. T h e initial difficulty for Small (burns hand) a Resistance card draw in resisting the torture is 6, but each addiMedium (burns arm or leg) 2 Large (burns half of body) 4- ~ _ _ _ _ _ _ tional draw incurs a cumulative + I difficulty, with a maximum difficulty of 12. If the draw is ever failed completely, the character Huge (burns all of body) 6 divulges information she has. T h e more failed Spirit draws, the Once a victim has caught on fire, she continues to suffer damage more information divulged. If at least one success is achieved, the character resists answering any questions. Destiny points can be equal to the intensity of the flames every combat cycle until the spent t o resist torture. flames are extinguished. For those who want more detailed guidelines for torture, the following should suffice. A character can inflict anywhere from I Chemical and Acids to 6 points of temporary damage each combat cycle through torChemicals and acids can cause debilitating damage. T h e amount ture, depending upon the method used. Only those trained in the of damage caused by a chemical or acid is based upon the characart of torture may inflict more than 7 points of temporary damage ter‘s coverage in it and the causticity of the substance. T h e followwithout causing real damage in addition to temporary damage. ing information may be applied to determine chemical and acid This damage may be resisted by Spirit in a normal Resistance draw. damage. Take the number of damage points determined by the Sometimes the temporary damage actually is accompanied by some causticity and multiply it by the coverage of the character. normal damage or even debilitating damage (such as amputation of Damage may be resisted by a Resilience (7) draw. limbs, burn damage, etc.), usually equal to half the amount of temporary damage points. Real damage may be resisted by Resilience Damave Points Causticitv of Substance in a normal Resistance draw. I TvDical Wooden Torch Electric Torch

I

/

2 3 4 5

CamDfire

Potent Highly Potent ~.

2

Extremely Potent

4

ExDosure t o Substance

Damage Multiplier

3

Small (hand) Medium (arm or leg) Lareelhalf of bodv) Huge (all of body)

_

_

_

_

_

I 2_ 4 6

~~

~

_~_ _~

_ _ ___-

~

Once a victim has the chemical or acid on her, she continues to suffer damage equal to the causticity of the substance once each additional combat cycle until the chemical had been diluted by water or some other means. T h e Guide may spread the damage out over several turns or may have it all occur at the end o f the tenth turn of the combat cycle. Car Crashes & Getting Hit by a Car Characters caught in car crashes, or hit by cars, suffer damage based upon what the speed at which the cars are traveling when the accident occurs. For each 5 mph total (including own vehicle’s speed and, if another vehicle is hit head on, the speed of the other vehicle) one point of damage is suffered. Up t o 25 points of damage may be suffered in this way. Wearing a seatbelt improves the victim’s Resistance card draw by - I difficulty and an airbag reduces damage by 8 points.

Falling Falling damage is two points for every 5 feet above the first IO feet. So, a 20-foot fall would d o 4 points of normal damage, while an 80-foot fall would do 14 points. Terminal-velocity is 60 points of damage, after which n o points are added. Falling damage is not necessarily debilitating, though the Guide can rule that some or even all of the damage IS debilitating, especially for falls from great heights. Frostbite Intense cold can cause damage, just the same as intense heat. Treat exposure t o the cold the same as heat exhaustion, except that only rest within a warm place can reduce the effects. In addition, damage from frostbite can also cause the permanent loss of fingers toes, noses, and other extremities, since gangrene may set in. If the infected portion of the body is not amputated, the gangrene will spread and eventually kill the character. For every two aspect points lost, one point of debilitating damage occurs. T h e details as t o what, if any, body parts are lost, is up to the Guide. If left untreated, consider gangrene a poison that causes 4 points of debilitating insidious damage each day until it’s spread is halted or the victim dies. Regeneration, Healing, Rapid Healing and similar powers may save frozen parts.

Heat exhaustion and dehydration can occur whenever someone is in direct sunlight for an extended period of time. For system purposes, i t should only come into effect in cases of intense heat

ing equal to healing 20 points of debilitating damage are required to remove paralysis from the waist down. An amount of healing equal to healing from 30 points of debilitating damage are

amage not resisted, the subject suffers the loss of one point of

Poisoning Poisons can cause insidious damage over an extended period of time. For instance, a poison might cause a total o f 21 points of insidious damage, doing 3 points of insidious damage every other combat cycle. Another poison might cause 25 points of insidious damage, doing 10 points of insidious damage within the first hour, and 5 points of insidious damage every hour for the next three hours. No known poison can cause more than 10 points of insidious damage in one combat cycle, nor can any poison do more than 30 points of insidious damage total. Some poisons can cause debilitating damage. Regeneration, Rapid Healing, and Healing can heal the effects of poison. Immediate medical attention or calling the Poison Control Center hotline, listed in the front of every phone book, and following their instructions can usually prevent further damage. Hospital treatment can also be extremely effective in reducing damage and preventing further damage, but i t may take too long to get to a medical facility.

regained by resting in a cool place and (in most cases) by replenishing bodily fluids. In addition, if a victim is reduced t o half her normal score in Strength or Dexterity, she must make a Trauma card draw. She must continue making a new Trauma draw every three hours afterwards until she can regain lost Strength and Dexterity points. If the draw is failed, the character es out and may die if she is not somehow rescued.

Illnesses cause a variety o f effects, ranging from loss of aspect points to insidious damage. Very minor illnesses, such as colds and mild headaches, have no specific affect (i.e. no reduction of score, no increased difficulty) on a character’s qualities, but they can serve as nuisances and add to roleplaying. It is up to a Guide as to what real effects illnesses may have upon someone and for how long. For instance, serious stomach cramps might provide a difficulty penalty of 3, while a terrible headache might reduce the umber o f cards drawn by 2 (minimum o f I card.) Some eldritch are immune to the effects of human sicknesses and diseases, but some may still act as carriers of illnesses, ing the illnesses on t o other humans. Some eldritch are not immune to all illnesses, but those with any level of Rapid Healing, Rgeneratton, or Healing can eliminate the effects of illnesses through healing due to

Death of a Protagonist If a protagonist dies the true death, every effort should be made to make the moment a very dramatic one. T h e dying hero may perform one last soliloquy or take some final action, (except attacking someone, unless everyone agrees otherwise,) such as throwing a switch on a train track, pulling the pin on a grenade, or reaching out and clutching the hand of a dear friend. If a protagonist dies during the battle, the death may be postponed until the end of the battle to allow for the dramatic event. A dramatic death at the end of a battle is often much better than a prolonged, bedridden death. Still, sometimes the poor hero may remain conscious for a few hours or days, but her fate is sealed at that point; every effort to heal her fails.

This form o f injury leaves a victim unable to move, usually from the waist or neck down. Paralysis does not really affect the Life point total, but its effects remain until an amount of healing equal to a certain wound level has occurred. Only the best medical care can help in most cases, though Heuling and Regeneration can heal

Radiation is extremely deadly since it cannot be seen, plus it is insidious. Worse yet, the effects are seldom visible, and damage continues occur over a period of time after the exposure. Radiation almost always kills mortals, but those eldritch who have incredible healing powhave a chance to survive. Aside from the actual damage, even if survival occurs, there may be long-term side affects due to the exposure.

Intensitv

Insidious Damage Points while in Irradiated Area

Lingering Effects after leaving area

Time Once every 30 minutes

~~

~~

~~~

Once every 15 minutes Once every 5 minutes Once every minute

2 points per 4 points per 6 points per 8 points per

EVERLASTING @ Page 280 I?

day for I day day for~3 days day for 5 days

day for I week

~~

~~~

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ti

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ing. If four or more succesies are achieved o n one aging card draw, the character dies o f natural causes.

he following guidelines may come up at one time or another over the course of legendmaking. Feel free t o ignore some, if not all, of these guidelines, should they weigh-down the experience with too many card draws and useless detail. Addictions Eldritch of many gentes can become addicted to alcohol, drugs, cigarettes, and other substances. T h e use of potentially-addictive substances carries with it the following risks. Each time the substance is used, make a contested card draw. Draw the number of cards indicated on the table (difficulty 7) against the 's Resilience (7). If the substance gets more successes, the character becomes addicted. Addictive Strength of Substance Strons Verv Strong

Freauencv of Use

&&

Once

0

Several Times Often

2

_ _ _ _ 2 _ _ _ 4~ -

3

5

4

While the everlasting and many other eldritch are fortunately immune to the effects of aging, mortals are not. The following guidelines allow for the aging of mortal characters over time. It is esPecial1Yuseful In bring mortal ing characters from set in the past into stories set in later times. Make Sure Protagonists are aware Of the ravages Of aging those dear they care for So much. Remind them that aging a one-way process leading to inevitable death. Once every five Years after reaching age So a card 1s drawn for every ten Years of the character's age (round down.) The card draw against a difficulty of 9 t o I I (Guide's decision.) For each success,

_ _ _ I_

Maximum Weipht

25 lb

Feats of Strength (including Leaping and Throwing) T h e following table illustrates the maximum weight a character can lift, or amount of force that a character can produce, based upon her Strength score. No card draw is required to utilize Strength for physical tasks. If a character wishes to boost her Strength temporarily, she can make a Spirit (12) draw, adding one point of Strength for each success. However, she must spend an animus point for each success on this draw. Boosting Strength may only be attempted once per story and may not be used for combat purposes. For each additional point of Strength beyond 13, the character can lift one additional ton (2,000 lb.)

6 ~ _ _ _height - or distance based upon her Strength score. This may be mod7 ified by a Dexterity (12 - Acrobatics) draw that adds one temporar

Aging

Strenpth

Encumbrance There are no hard and fast encumbrance guidelines, but for general purposes look o n the Feats of Strength chart, located in the section below, and subtract the weight of equipment carried from the maximum weight listed for the character's Strength. If it is enough to reduce the character's Strength by one or more points, then both the character's Strength and Dexterity are reduced by that many points for as long as she carries that much gear.

LeaDinp Dist 7f-t

point of Strength (for leaping purposes only) per two successes (round up.) For each additional point of Strength beyond 13, the character gains +20 ft horizontal distance and +I5 ft vertical distance. Throwing distance is determined by Strength. This is a character's maximum throwing distance with a softball-sized object. For an object that is twice as large or heavy, reduce the distance to one-half. For an ob~ectthat is four times as large or heavy, reduce the distance to one-fourth, and so on. Each point of Strength beyond 13 adds +50 yards to the throwing distance. All targeting attempts at this long range suffer a +5 difficulty penalty. This penalty is reduced to +3 at half the maximum distance and down to +O at one-forth the

distance. LeaD Height 7 fr

Throwing Dist.

10 vd

.

80 ft 50 ft 450 yd a,uuu ib. ~ ~ _ ~ 7.3

10.000 lb.

IO0 ft

65 ft

500 Yd

k Mastery of Imagination and Reality As mysttcs are to the occult, there a7e tndivtduals known as sorcerers to Magick Magrck is the Lgt-Handed Path to Knowledge, it IS the shortest way to the Enlghtennient we all seek It has a hgher cost - Madame H l? Blavatsky, The List of Seven, by Mark Frost

with a 'k

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4

to represent real magic, not the fantasy

Y apart from how we view the mundane world. Those with the abil-

1 1 I

1

ity to perceive the Reverie are aware of the magick all around them, and some of them have learned to use magick to shape reality to their own ends. Magick permeates the Secret World, filling and binding all things. Magick is the raison di'rre of the magician; it is the tool through which reality can be explored, defined, and commanded. Aleister Crowley, an infamous real world magiclan, defined magick as "the ability to cause change in conformity with the will." This broad-based definition includes every intentional act under its aegis, so other magickal scholars have added ders, such as "through means unknown to current science" or "by causing changes in consciousness." However we choose t o define it, magick remains the manipulation of unseenforces by a sentient mind toward a particular end. Hence the word occult which means "hidden" and "unseen" - has been forever linked

Magick requires the suspension of beliefs that bind us to the world we see, allowing us t o tap into Reservoirs of energy that are invisible to our senses. Magicians call these energy pools by many names - giving them the physical and psychological features of gods, spirits, elementah, and less-definable entities. Many of these reservoirs do appear and act as if they are sentient entities - and indeed may well be - having distinct personalities, areas of interest, beliefs, worshippers, biographies, memories, specific powers, and so on. Some reservoirs even require the magicians who call upon their energies to serve and worship them. The force of magick cannot be successfully tested in a laboratory through modern scientific methods. It may or may not be bound by laws of quantum physics, but magick is too complex ite definition. In addition, be@ in magick is funamental if magick is to occur. Magicians tap into their chosen reservoirs through belief and concentration. Magicians learn to instinctively feel and manipulate magickal energy in various ways. Most often the magicians directly channel the magickal energies they draw upon through their own bodies. Self-focus, creative visualization, freedom from extemporaneous thoughts, ritualism, and the use of symbolic tools that link the minds, bodies, and souls of magicians to the reservoirs are required. It is the magician's mind that dictates the effects that magickal energies have; thus it is mastery over one's own mind that is of

fundamental importance in magick. agicians must utilize the right side of their brains, since imagination and intuition are the keys to understanding and creating magick. In addition, the ability t o draw upon strong, controlled emotions greatly impacts success with most types of magick. Without a strong desire or belief, magick simply will not work. Magick (derived from the Greek word megus, meaning "great") is an illimitable force, meaning magicians must be careful using it or else they can harm themselves and others. It seems that the (meta)physics of magick dictate a law of karmic cause and effect. Those who use magick to cause harm will be harmed by magick, while those who use magick for good may do so freely, possibly even gaining some positive personal impact as a result. Aside from the law of karmic balance, magick always bears a cost. Those who study and perform magick must be willing to dedicate time and effort if they ever wish to master the arts. T h e ways of the magician have long been hidden from uninitiated eyes, for few are willing to take the time or make the sacrifices required for reaching the higher levels of power known to the masters of magick. There are almost as many forms of magick as there are magicians, since each magician brings a spark of individuality to her own magick. Despite this individualization, magickal practices have been ed down through the ages in various recognized traditions and schools, which we call the Paths. Some Paths include: shamanism, druidism, chaos magick, hermetic magirk, and voudoun. T h e magickal Paths are the working tools o f magick and all magicians must study at least one Path. Many Paths are extremely powerful, since they are composed of wisdom gleaned over thousands of years. Each magickal Path is a living art - living, dying, expanding, and shrinking with the dedication and number of its practitioners. Some magickal Paths are tied to religious beliefs, while others are not. However, all magickal Paths have been greatly shaped by the beliefs, morals, and lifestyles of the cultures in which they originated and flourish.

Magick is very mysterious and inscrutable. Magicians know secrets others do not and use their extremely developed imaginations and beliefs in creating magickal effects. Magick, according to most definitions, is "the art of causing change in conformity with will through means not understood by science." Science may one day explain magick, but for now it is beyond the scope o f scientific reasoning. Most magicians are merely hedge wizards - dabblers with a ing fancy in the occult. Most of these dabblers are somewhat "normal" people. However, some human magicians are as powerful and strange as the eldritch. It usually takes years in order to master a single magickal Path. In fact, a magician can spend a whole lifetime pursuing her chosen Path and never attain true mastery. Magicians are more common than eldritch, but powe$.d magicians are as rare as the eldritch. For humans, the Ggt for magickal aptitude usually appears in the 7th son of the 7th son and the 7th daughter of the 7th

daughter. A lesser degree of the gift comes to the 3rd born of a 3rd born of the same sex. While it is rare for even one generation of a family to have a 13th child, if a 13th child is born t o a 13th child, the gift is extremely great in that child. O n occasion, the gift can skip a generation, ing to the child of a 7th child of a 7th child, and so on. Other people are occasionally born with the gift for mag& (just as people are born with a gift for sports or music), but all who applies themselves can become magicians. Eldritch magicians are often far more dangerous than eldritch who do not practice magick. T h e osiriuns, a race of reincarnating eldritch, are the greatest known practitioners of magick aside from the worldsingers (another race of eldritch.) T h e osirians have their own magickal Path called Ureret, which is far more advanced than the Paths of mortal and most eldritch practitioners. In addition, the osirians are believed to be the founders of several other magickal Paths, including Egyptian, Druidic, and Hermetic magick. Magicians have varying views concerning the eldritch - seeing them as potential servants, protectors, enemies, and as sources of power that they can "harvest" through sacrifice or other means. Certain human magicians know of specia1 rituals that allow them to draw forth what they call Amrita from the captured immortals. Amrita is the essence of immortality and mortal magicians can use it in producing magickal, astounding effects, the bestknown of which is extending their own lifespans.

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JNagick System far

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T h e magick system for T h e Everlasting is very flexible and allows for all sorts o f magickal belief systems and forms of magick. Each of the different Paths of magick, such as voodoo, alrhemy, necroman9, shamanism, and so on, has its own unique advantages, trappings, effects, and limitations. It is possible for characters to utilize more than one Path of magick. The magick system provides for spells, spontaneous magickal effects, complex ritual magick, enchantments, and more. Participants who invent and write up spells for their magician protagonists should be rewarded with destiny points. In addition, their magician protagonists may be allowed to use invented spells, (provided the spells are suitable for their Paths and are not overly powerful.) Participants who are innovative, quick-thinking and creative can also reward themselves by having their magician protagonists use spontaneous magicks to d o things other participants d o not think of themselves. Through participant innovation, magickal power is directly related to roleplaying experience. Magickal effects (spells, rituals, and spontaneous effects) cost animus t o cast and, in cases involving powerful or long-lasting

The odours occasionally waffedfrom the laboratoy were likewise exceedingly strange Sometimes thq, were very noxious, but more often thy were aromatic, with a haunting, elusive quality which seemed to have the power of inducingfantastic images People who smelkd them had a tendency to glimpse momentary mirages of enormous vistas with strange hills or endless avenues of sphinxes and hippogrfls stretching o j into i@nite distance - The Case of Charles Dexter Ward, by H P Lovecrgt There is no cataclysmic effect upon reality when magick happens. Mundane humans can even see the magickal effects, but most all of them will overcome what they see - they may rationalize it, repress it, feint, suffer delusions, or become temporarily insane. A few mundanes will, however, awaken to their own imaginations, turning them into Fantasts. Fantasts are ordinary people who can perceive the existence of the Secret World. Only fantasts and eldritch actually see magickal effects for what they really are, but even their perception of it is limited in many ways by their imagination and pre-conceptions. In fact, often even the magician who casts a spell cannot see the spell's true form. While a spell might invoke a horror spirit that rips out and consumes a person's heart, most eyewitnesses might simply see the victim have a heart attack, even the magician might only see this mundane event. Those magicians who dabble in powerful magicks without enough experience probably do not realize the serious entities and forces they evoke when working those magicks. Most magicians are careful not to overuse their magick since it is physically draining to do so. IVldgILKdi c i i c u uu C d U J C U l a L U l bances that are felt in a radius in direct proportion with the size and strength of the magickal effects. Ordinary mortals can feel magickal effects close by (a few feet), sensitive mortals can feel effects up to few blocks away, while psychics can feel effects up to few miles away. Eldritch and mortal rnagiudm L d i i icri IlldglCiXdl CLICCLJ cvcu further away. There are also certain parasitic forces or entities that are seen, they enjoy feeding upor __ Reverie. In addition, powerful magickal effects can leave the sgnattlre of the spellcaster. Signatures are personally unique features within the magickal energies that are released. Signatures might take the form o f lingering tastes, smeL, V l b U d l ciiccm, p y u u u I y l c m w m , and so on. Overuse of magick might allow pursuers to track a ma cian. Magick seems to work best at dawn and at dusk, and at times

,

r

i

riii

efore

categorizing magick Into different schOO1s and branches I t Is

t’

There are three Primary features that

the

magick works*

be addressed

In

of magick. They are: the magician’s Tntent (what the magick is intended to do); Subject (upon whom the magick is intended to Ork); and (the form ‘he takes$ be It a ct, learned Spell, or lengthy Ritual.)

(or Tour Classes of Magick”)

effectiveness, she must journey to the Lower World (one of the manitou’s Sacred Land within the Astra) where her a Kachina or Spirit Helper might teach it to her. A Kabbalist might have to search several exclusive occult libraries throughout the world with or without the consent of the librarians - t o gain the knowledge required for that elusive spell. Countermagid is a fundamental element of focus magick, and includes the ability to dispel the magick of other magicians. Sensitivity to the Reverie is also a feature of Focus magick, allowing a magician to alter her own perception, or that of other people, in of being able to perceive and interact with the Reverie.

-

There are four basic Intents in magick, also called the h u r Chsses T h e intent determines the base difficulty for working magick. The four intents, ranked from most simple to cast t o the most difficult to cast, are: Spiritual, ficus, Mental, and Physical. Within the descriptions of the intents are some related sub-categories of magicks that they include.

Mental Intent

of Ma&.

Mental magick ranges from the Mantic Arts (forms of divination like the Tarot, the I-Ching, geomancy, augury, and rune-casting) to Emotional ~ o n t r o spells, l to more traditional Psychic Efects, like clairaudience, clairvoyance, mind-control, extrasensory perception, and telepathy. Spellwork affecting emotions is considered Mental magick rather than Spiritual magick, as it might seem.

Spiritual magick is perhaps the most common form o f magick found throughout history. It takes the form of evocation, invocation, and religious celebration. It does, however, usually has Some tangible personal benefit for the practitioner. A magician who takes part in spiritual magick usually feels more in tune with herself and ore in touch with the Secret World. Spiritual magicks may be Ebratory, honoring a holy day, feast, or other special occasion of the magician’s Path. Spiritual magick may also be Vocative, by which the magician either invokes an unseen force’s presence into a specific host or invokes its own appearance within any realm (such as the Astra, the Earth, the Dreamworlds, and so on.) Vocation often involves a burning censer and smoke, the reflection of a pool or ny object, or the flames of a fire. Spiritual magick also includes sings and Cursings Astral projection and conscious dream travel tied deeply t o spiritual magick rather than to Mental magick, as it ht seem. Spiritual magick will not, however, affect sensitivity to Reverie, since that is considered Focus magick. Enchantment is also

physical Intent

red in The Magician’s Companion.

Focus magick usually involves one of the following: replenishing imus through magick, attempting to learn a new spell, attempting increase magickal ability, increasing sensitivity to the Keverie, or adopting a new magickal Path Meditation is the main method of replenishing animus and it is focus magick, though it is considered ”non-magickal.” Focus magick can also be used to generate animus by siphoning magickal energy from earthly sources, as well as from reservoirs through a sort of communion or spiritual linking with them. When seeking a new spell, attempting to increase magickal power or adopting a new magickal Path, a quest or service might be in order. This is usually some sort of spiritual journey within the

HE

EVERLASTING @ Page 284

Physical magick may be broken down into two categories: Somatic magick and Sensory magick. Somatic effects actually change the physical structure or appearance o f a subject. T-es of effects range from changing a person’s eye color or fingerprint pattern, to making her grow an extra limb, to conjuring a pistol, t o producing a wind, to collapsing a brick wall. Sensory effects alter the perceptiveness o f the five physical senses. These range from binocular-like vision, to sensitivity to the ultraviolet and infrared ranges of the light spectrum, to ultrasonic hearing, to illusions. It will not affect sensitivity to the Reverie, however, since that is considered Focus magick.

n

e7 014 &tagickaI ~ S$ajects

There are four basic divisions of Sub~ects.T h e subject modifies the base difficulty. The four subjects, listed from easiest in manipulating to most difficult in manipulating, are: Se& Alb, Neutral, and Hostik Xeymagick is that which is cast on one’s self. Ally magick is that which is cast on a willing subject. Neutral magick is that whlch is cast on a inanimate object or unintelligent media (rocks, plants, trees, buildings, mindless spirits, and so on.) Hostik magick is that which is cast on an unwilling subject. T h e magickal Intents (Spiritual, Mental, Focus, and Physical) are consistent in of their effects o n all animate subjects, including the Sey (Although it is difficult t o cast Celebratory spiritual magick on an unwilling party.) O n Neutral subjects, the Mental, Focus, and Physical Intents function normally. However, Spiritual magick takes on a new light - under its bailiwick the art of Enchnntment lies. Enchantment the creation of objects that store, yield, and project magickal power and effects. Enchantment is covered in The Magician’s Companion.

When a magician is working her magick 011 an animate subject, it tends to be easier if the magician and the subject are in comparable forms. This does not mean that if a magician is trying to heal a wounded circus bear that she has to shapeshift into a bear, (although a shaman would say that it helps.) It means that if the magician is casting magick on an earthly being then it helps if she is on Earth. If the magician is casting magick on a being in the Reverie, it helps if she is on the same level within the Reverie. And, if the magician is casting. magick on an astral spirit, it helps . if she is in the Astra.

this chapter. Most magicians become more otherworldly, arcane, and mystical as their scores in any magickal Arts increase. Magickal Lore defines how much the magician knows about a magickal Path. Lore does not reflect the power to actually work magick, but seriously influences learning spells and technical prof;ciency. Therefore a non-magician can know a lot about a magickal Path by having a high score in Lore for that Path, but the nonmagician would still not really know how to use the Path for working magick, since she lacks some important fundamentals, (primarily belief, true understanding, practice, and personal experience.) Thus, magickal Lore represents the First Power of the Magus T h e card and dice mechanics are the same with magick as with all other actions. T h e Guide decides the difficulty for the card draw based o n the Intent, Subject, and Magnitude of the magickal effect the character is trying to create. Use the character’s magickal A r t in place of an Aspect and use her magickal Lore in place of an Ability. T h e card draw is therefore made as follows:

Magickal Art form

of spellrastzng’s base dgzculty +

Magzrk Matrix dzJiriculty mod4fier mody5er Magickal Lore)

-

+ Magnitude d@zrzcUlty

Example: A spontaneous summon spirit spell used to summon a recently deceased murder victim would be as follows for a Hermetic mage with Hermetic Art 4 and Hermetic Lore 5. T h e Guide judges the spell to be Spontaneous (base difficulty of 12), Hostile-Spiritual ($0 diff.), and of First Magnitude (+0 diff), o r . . Four cards (for Hermetic Art) against a difficulty of (for Spontaneous effect), plus I (for Hostile-Spiritual), minus 0 (for being First Magnitude), minus 5 (for Hermetic Lore), o r . . . Magickal Art 4 (I2 0 0 - 5) o r . . . 4 (7 difficulty) This may seem a bit complicated at first, but it is actually very simple and will come much easier during actual legendmaking. The result of the card draw determines how successful the character was in creating the magickal effect. The greater the number of successes, the stronger the effect, while a Disaster can do harm to the magician in the form of injuries, curses, or (most commonly) backlash points. Magick is listed in a separate section of the protagonist profile, away from Aspects, Abilities, and Preternaturae. Scores in both magickal Art and Lore can go as high as 13, possibly even higher for entities of vast power. Mortal magicians are, however, seldom capable of achieving scores higher than 5 in either Art or Lore, unless they are extremely brilliant, adventurous, long-lived, or

.

+ +

Each magickal Path involves the use of two statistics, Lore and Art. Lore represents the magician’s knowledge of the magickal Path, while Art represents the ability of a magician to work magick through that Path. Lore and Art must be purchased separately for each Path in which the character will be proficient. Thus, a shaman must have scores in Shaman Lore and Shaman A r t . A versatile magician might have scores in more than one magickal Path, such as an osirian with scores in Ureret Lore and A r t (the osirian’s magick Path), Voudoun Lore and Art, Mtchcr$t Lorr and Art, and Enochian Lorr and Art. Magickal Art defines a magician’s ability to actually use the inherent powers of magick - the higher the score, the greater the magician’s power. Anyone can have a score in a particular magickal

Gfted I n addition, a magician may not have a inagickal A r t score hgher than her hghest score among her Soul Aspects (Inspiration, Presenre, and Spirit)

Book of the Spirits CB Page 28

There are three basic Forms of Spellcasting open to a magician when she wishes to use magick. T h e magician can use Spontaneous magick, a Spell, or a R i d to achieve her ends. Spontaneous magick is the most difficult, but also the most flexible and innovative; it involves thinking up and creating a magickal effect off-the-cuff, without prior planning. It is also the most costly in of animus points spent creating the effect. Spells are pre-created sets of instructions that trigger particular magickal effects; while predictable, they are also more reliable than spontaneous effects and faster than rituals. Rituals are, in essence, many-layered spells most requiring significant amounts of time and effort t o accomplish. Rituals (and many related features) are detailed in The Magician's Companion.

This gives Watches-from-Twilight a difficulty of 12 (base spellcasting difficulty) -2 (from being Self-Mental) - 5 (from Shaman Lore), which comes out to a difficulty o f 5. T h e spontaneous effect would cost him 2 animus (from Self-Mental) +O (due to being a first magnitude effect), which comes out to 2 animus. H e decides to go with this spontaneous effect rather than the first one he considered. Watches-from-Twilight reaches within himself, feels the flow of magick through him and increases his personal presence. T h e crowd around him begins to part and people look on appreciatively. There are whispers, pointing, and comments like "Hey, isn't that guy on Baywatch." As Watches-from-Twilight makes his way through the parting throng, he realizes, while his desire manifested, he now also has a good many people who will his face the next time they see him . . and maybe that telepathic impulse would have been a better choice after all.

.

When a magician wishes to affect the reality around her - and does not know a particular spell to achieve the desired ends - she may use Spontaneous magick. T h e magician commonly uses her personal animus and her intuitive understanding of magick to alter reality, which is why spontaneous effects cost so much t o use. So, for a spontaneous effect, determine the Intent and Subject. Check the Magick Matrix for base animus cost and the difficulty modifier. Determine the Magnitude. If the effect is of a greater magnitude than I , then multiply the figure from the Magick Matrix times the magnitude to get the final animus cost for the effect. Also, modify the difficulty by the amount listed for the magnitude. Card draw: Magickal Art (I2 Magi& Matrix difficulty modifier Magnitude difficulty modifier - Magickal Lore). Animus cost: (Magick Matrix base animus cost) x (Magnitude animus modifier) Example of Spontaneous Magick: Watches-from-Twilight, a shaman of Bear, (with Shaman Art 3, Lore 5) is trying to make his way through a crowded mall at Christmastime to evade a group of vampires following him. H e decides to use a little magick to speed his way through the mass of people. H e considers his options. First, he could "narrowcast" a telepathic suggestion right ahead of him, saying basically, "Get out of my way." That would be Hostile (since crowds are nothing, if not hostile, at Christmas) - Mental magick (since most purely psychic effects fall in the Mental category.) T h e magick is very subtle, benign, and limited, but involves telepathy and mental domination, so the Guide rules it a First Magnitude effect, reducing the actual animus cost to 6. This gives Watches-from-Twilight a difficulty of I 2 (base spellcasting difficulty) +I (from being Hostile-Mental) - 5 (from Shaman Lore), which comes out to a difficulty of 8. T h e spontaneous effect would cost him 6 animus (from Hostile-Mental). Watches-from-Shadows considers this a little steep, so instead decides to enhance his personal "stage presence" by temporarily increasing his Presence aspect. This is a .%&-Mental effect, so it

+

+

pellcasting differs from geared toward multiple effects and have a reduced animus cost, but they also suffer certain restrictions placed on them. T h e advantage of Spells over spontaneous magick is that once a magician has learned a spell, she always knows it and can in fast-cast it as often as she likes, so long as she can pay the animus cost. Spells cost half as much animus as they would if they were spontaneous effects.

Spell Creation Creating spells is basically turning spontaneous effects into dependable magickal effects through rote practice, and by not altering the specific method in which the effect is cast. When a new spell is created or learned, it mustfirst be surcessfil2y cast a certain number .f times as a spontaneous magickal gect However, the spontaneous gect has a base d$zculty of 10, rather than 12 as normalfor spells A number of experience points equal to the animus cost of the spell if it were cast as a spontaneous effect must be paid for the effect to become a spell. T h e highest level of intent determines the cost. For instance, if a Second Magnitude healing spell (Physical magick) were to be useful on one's self and on allies, the experience point cost would be for the higher of the two intents, which is Ally. So, it would be an Ally-Physical Second Magnitude spell and would cost 9 experience points. A very important part o f spell design is the Path in which the spell is designed in accordance with, as it determines the current of

Book of the Spirits @ Page 287

I oose the Path and the spell Detertime Intent, subject, a restrictions on the spel2 Simply cast the spell SnccesSftllly as a spontaneous pbct a number of times equal to one plus two times the magnitude during adventure5 The gect becomes a true spell the next time it is cast, meaning rtgets the animus cost reduction. T h e spell must be recorded in a spell book (Grimoire, Book of Shadows, scroll, computer file, or whatever), particularly notes on thoughts, self-focus, means of energy projection, and visualization. Note that a certain number of experience points equal to the animus cost on the Magick Matrix times the Magnitude modifier must be paid to make the spontaneous effect a spell, otherwise the magician cannot have the effect as a spell, regardless of the number o f times it is cast as a spontaneous effect. Previous times casting a spontaneous effect during adventures do count toward the number of times the effect must be cast as spontaneous magick before it can become a spell. Even spells studied and performed from grimoires and books of shadows (spell books) must be first cast as spontaneous effects. However, the spell need only be cast as a spontaneous effect a number of times equal to one plus one times the magnitude during adventures. T h e next time it is cast will be as a spell, if the experience points are paid for it.

gickal energy. (This has n o effects on system mechanics.) T h e

th must be one in which the magician has both Lore and Art

,I

scores. Certain Paths have intrinsic limitations on their spells, and all Paths require the use of particular collections of symbols and beliefs. Thus, the magician must weave the beliefs, tools, and symbols of her Path into her spell in order to channel the current of magickal energy required. When using a spell found in another magician’s personal grimoire (notebook of spells), or even in a paperback book off the shelf of a chain bookstore, the magician is bound by the particulars of that spell, including the spell’s Path. Spells are exclusive to the magickal Paths from which they are derived. For example, a runemaster’s spell for detecting poison will be useless t o a Voudoun houngan or bokor. Some practitioners do, however, create spells without Path restrictions, but this is actually far more difficult as the magician must rely more upon intuitive magickal wisdom, rather than upon familiar symbology. N o working tools are required for Pathless spells, but they cost twice as many experience points as Path-specific spells. One magician may seek to create a comparable spell to one belonging to another Path, if she has Lore scores in both Paths. Without a Lore score in the Path of the spell, the spell will be meaningless and the magician cannot understand enough of the way it directs magickal currents to create a comparable spell. If the magician has both Lore and Art scores in two Paths and seeks to create a spell in one Path based o n a spell in the other Path, she must make an Intellect (12 - Lore) draw. Spell design has several components - Intent, Subject, and Magnitude - all functioning just as they d o in spontaneous magick. A spell, however, can have several different magickal effects layered within it, such as granting protection from spirits to one’s self, while also summoning particular spirits. Keep in mind, however, spells are usually designed to be cast quickly (as in combat conditions) and by one person.

PeServoirS: Pools of

-

PI

?ewer

Magicians can tap into external sources of animus for use in their magick-work. Many magicians call these external sources Reservoirs, pools of power, and gods. The particular reservoirs that magicians call upon greatly define their Paths of magick. Each Path of magick utilizes a particular reservoir, though many different Paths can tap some reservoirs in different ways. The reservoirs themselves can provide ”special effects” for spells, as each reservoir produces a certain Current of magick, which is like

T h e following modifiers may be applied as appropriate to the difficulty of any magick attempt. If these modifiers prove too cumbersome, disregard them. Situation Castinp in combat (as above. but under dangerous conditions>

Difficulty

+3

+I _ Casting while runninp

+3

-

-~

~

-

__

_

_

_

Use the wound modifier ~~~

Fast-casting (taking one _ - t o three turns instead of minutes) Casting at dawn or dusk Casting during a new moon Casu-a solstice or_ -equinox Casting at a crossroads ~~

+2 -2 -1 _ _ -3 -I

_

~

-

_

_

-

hearing acuity utilizing a Faerie Reservoir might grant the spellcaster elfin ears temporartly, while aTotemic Reservoir might grant the same, but endow temporary wolf-like ears instead. Some reservoirs are Restricted, meaning that they require magicians to perform some particular tasks, or to obey some geasa, oaths, and so on. These restricted reservoirs must therefore be Bonded to magicians by the magicians obeying the restrictions. Among the restricted reservoirs to which a magician can be bonded include: faerie,

in producing magick. The inagician must use one o f these ways, or must have some other suitable means. Working Tools: For spells, most spontaneous effects, and all rituals the magician must use certain accoutrements in casting the magick. T h e working tools are the varlous things that can be used in magick work. Most magicians carry several of these working tools on them at all times. Transmogrifications: These are the weird effects that magick

ast one restriction in addition to some tion that she must start at least one maj

See the Ambience section following t

magician can only tap a reservoi

available animus permeati battlefields, graveyards, tain fascination for the

s: These are bonuses that reduce the difficulty and

chanted in the Old Tongue callingforth her rd to thew masters of the sacr$ce she was ind her, bestial and hideous, but withfrghtenge completed her rncantatron and reverted

er, can summon the primal

into this ambient m

magickal Path has one s (and only it) may acce

o f magick that calls forth the

ism, but - since manitou are

working tools of several magickal Paths. Protagonists may belong to one or more of these Paths by placing points in their magickal Arts and Lores. Other Paths will be detailed later and participants are encouraged to create new Paths of their own which are internally

from healing, t o harming, to blessing, to cursing, t o illusions, to growing, t o commanding natural forces, to communicating with animals, to spirit powers, to the restoration and consecration of Nature.

blended within it. For ins

the strength of an elep

cycles, that practices c

"wounds to the eart tou can use to resto

defilers of nature and

While they often use other worki are the primary key t o power, and are re

res, vision questing, self-isolation, costumed performances, d visions, sleep deprivation, sacred natural cations, tests of courage, spirit, wisdom, playing musical instruments, symbol-making, evocation, meditating, entering trances, visualization, gestured signs of power, words of power, symbolic acts, arcane gestures, autosacrifice, ritual sacrifice, concentration, self-focus, numerology, chanting, moving in patterns, making physical with others

E

Descension: (Apply this modifier after applying all other modifiers, including Magnitude.) All Hostile-Physical magick (+3 difficulty and +3 animus) All Self-physical magick (+3 difficulty and +23 animus) All artificial, human-made objects (+2 difficulty and +2 animus) Countermagick and anti-magick related (+3 difficulty and +3 animus)

EVERLASTING @ Page 290 %

F,-"-.l+.rt

Booklearning, . . rots the brain. - Gil-Shah, The Walk of Air,

Barbara Hambb

T h e djinn's primordial and inscrutable original language, which is called the ashen tongue and theforbidden language, holds great magickal powers that not even the djinn f d y comprehend. Yet they use it a great deal within their magick. If the world is made up o f language, then the rhythm, rhyme, and tone of the forbidden language is one of the purist languages in the universe. T h e ashen tongue forms the basis of Sihr Halal, the "lawfd magick" known to the djinn. This magickal path combines the language with the use of secret geometry, which is also metadimensional and occult realitydefining in nature. The common application of the ashen tongue within this magickal path is to draw energy from the Rub al Khali ("the empty quarter" or "House of the Old Ones," also known as the Void) and shape it in redefining reality. However, doing so is like creating a raw, ruptured hole in reality that spills alien chaos energy for a short time. T h e energy is then shaped haphazardly with convention magickal tools and with secret geometry. There are few djinn who bother with studying the powers of Sihr Halal, for mastery of the path requires a vast amount of training in the Ashen Tongue, Secret Geometry, and ancient lore found only in antique tomes held by the riches tribes in their deeply hidden and well-guarded libraries. T h e sorcerers who manage to apply themselves t o theisrudy of Sihr Halal are often viewed by other djinn as curmudgeons and anti-social book worms who prefer time alone in their sanctums over carnal pleasures and fine company. Still, djinn do not make fun of the sorcerers for fear of their great powers. In fact, djinn so fear the use of magick by djinn sorcerers that they have made the use of magick o n fellow djinn without their prior approval an act punishable by death, except in acts of self-defense. Sorcerers are few in number and have their own secret society called the Shaflla. These secretive magick-s are suspected of a great many conspiracies among the djinn, and they are often accused of keeping slaves of rings and lamps as their own private servants. Since djinnic magick is based upon the power and knowledge that stems from the Elder Lords and the Great Old Ones, they are believed to have the most with these beings. Many sorcerers worship either the Elder Lords or the Great Old Ones. Many sorcerers have direct communications with these inscrutable and deadly entities, and they may even serve as key agents for them on earth. Most sorcerers dress in special, long robes called rnajd'deens. They wear jewelry marked with arcane symbols based on secret geometry, and they also mark their clothing, staves, wands, and weapons with strange symbols and patterns that hold ancient power.

, AI Sayyed Ahmad, and AI Sataran), ashen tongue, secret geometry, using psychedelics, chanting, animal sacrifices, music, dancing, singing, revelry, feasting, masochism, human sacrifice, dramatic rituals, symbol-making, autosacrifices (self-mutilation, bleedings), physical pain, physical pleasure, sexual release, evocation, invocation, numerology, altered states of consciousness, binding, gestured signs of power, words of power, symbolic acts, symbol inscription, ceremonies, summonings, bindings, praying Working Tools: Amulets, talismans, magickal patterns, seasonal events, astrological charts, blood, alcoholic beverages, drugs, magickal circles and other geometric shapes, symbols, ritual robes, candles, body paints, altars, braziers, goblets, daggers, scrolls, black mirrors, idols, symbolic figurines, statuettes, idols, smoke, fire, incense, musical instruments, dance, costumes, songs, wands, staves, scepters, anointing oils, datura ("thornapple"), deadly nightshade, lots of incense, wolf parts, coal pits, monk's hood, silver, copper, gold, brass, cold iron, geometric shapes, gemstones, mandalas, oil, snakes, harjala, wifqs (incantations & prayers), harmala (an herb also known as "huorma" and "soma") Initiation: Only djinn may learn this path o f magick, though human magicians have known shadows of its power. T h e actual source of the power, the Rub a1 Khah is accessible by few other than the djinn and other servitors o f the ancient races. Study of Sihr Halal requires the taking of oaths and the evocation of either the Elder Lords or Great Old Ones. Transmogrification: Djinn who practice Sirh Halal develop certain persona qualities. For each point gained in Lore or Art beyond a score o f one in each, the djinnee gains one point that may be placed in one o f the following: Serve Elder Lords or Serve Great Old Ones (cannot take both), Reclusive, Cruel, or any Dementia quality. In addition, for every two points in Art (rounded down), the djinnee gains one odd magickal feature that is present in keemon and seelah forms. Some possible features include: glowing eyes, an overwhelming spice scent, animated hair, horns, changing skin color, or hooves in place of feet. Restrictions: Only djinn may learn this Path. They cannot reveal secrets of their magick to those who do not serve their masters. They must also perform various functions and services for their masters. Exaltations: (Apply these modifiers after applying all other modifiers, including Magnitude.) Physical magick (-5 difficulty and -5 animus) All summoning, binding, and dismissal effects (-2 difficulty and -2 animus) Descensions: (Apply these modifiers after applying all other modifiers, including Magnitude.) Spiritual magick (+3 difficulty and +3 animus) Mental magick (+2 difficulty and +2 animus) Healing or otherwise restorative magick (+3 difficulty and +3 animus)

Practitioner: Muqarribun, Sorcerer (sorceress) Origins: Elder Lords, Great Old Ones, some Arabic and Egyptian influence

Book of the Spirits Page 2 @

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Here are some sample spells for chantway and srrh halal These spells wdl give you an idea as to how magickal spells look and function. You may add details to these spells, create new spells, or change the ones listed so that they fit other paths. Take into that the card draws and animus costs reflect the exaltations and descensions of the paths.

Abomination Ward Card Draw: Chantway Art ( I O - Chantway Lore) Other Difficulty Modifiers: Geographical location, in a forest 4, rural area -2, city -0, abomination lair +2, wound of the earth

-

Casting Time: One action Duration: Two turns per success Area of Effect: I5 foot radius 3 feet per success over one Range: None, caster is the center of the circle Type: Hostile-Spiritual This spell allows the caster to draw out a magick circle that abominations cannot cross. This ward affects galtisants (see Book of the Light), otgonic spirits, and other extradimensional horrors of various sorts, as well as fleshly things from other worlds. I t even affects siltim, regardless of their current form. (The guide has full discretion as to what creatures are, or are not, affected by this spell.) Extremely powerful abominations, such as leviathan avatars, may cross into the circle, but they suffer one point of insidious, debilitating damage and one backlash point per success the chanter got on casting the spell. These powerful beings take this damage every other turn, starting the turn they enter into the circle.

+

Earth Wisdom Card Draw: Chantway Art (4 - Chantway Lore) Other Difficulty Modifiers: Amount of natural terrain versus artificial terrain; ranging from + I to +3 difficulty

Casting Time: One minute Duration: One scene Area of Effect: 40-yard radius, plus 10 yards per success Range: Chanter must be within or beside the area ed for

This spell allows the chanter to ask the very terrain - planets, earth, water, trees, rocks, etc. - questions. T h e spirits of these things will answer the questions as best as they can. They have good memory and knowledge about things that have happened in their area. The more obscure or mundane the event, the less memorable it is for the spirits. They can also answer questions such as

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where things can be foun answered per success. T h e spirits of the area will answer as truthfully and as completely as possible.

Gathering Lost Spirit Card Draw: Chantway Art (I I - Chantway Lore) Other Difficulty Modifiers: Patient’s reluctance to be cured; anywhere from +I to +4 difficulty for reluctant patients Animus: 4 Magnitude: 4 Casting Time: 10-15 minutes Duration: Permanent Area of Effect: One subject Range: Touch Type: Ally-Physical Through this spell, the chanter enters the Astra and, accompanied by spirit helpers, travels to some astral location where some missing part of the patient’s spirit lies hidden. T h e chanter recovers the lost part of the patient’s spirit, returning it t o the patient’s spirit body, making it whole. For each success, the patient regains two Life points, regardless of whether or not the damage is from one or more wounds, or from debilitating or non-debilitating damage. Unlike some healing spells, this healing spell may be used multiple times to treat a patient, recovering another lost piece of spirit every time the spell is cast successfully.

vengeance of the Earth Card Draw: Chantway Art (14 - Chantway Lore) Other Difficulty Modifiers: Availability and closeness of any potential natural weapon source Animus: 9 Magnitude: 3 Casting Time: One action Duration: Immediate effect Area of Effect: One target Range: Line of sight Type: Hostile-Physical This spell allows the chanter to call forth the spirits of vengeance within any element of nature, be it tree, wind, water, fire, lightning, or anything else. T h e spell animates the force of nature, and allows it to deal one attack of any appropriate type to the victim chosen by the chanter. T h e spell can cause a tree limb to impale a victim, a lightning bolt to strike from the sky, a great wave of water to pummel someone, or stones to f d on a victim. This attack may not be dodged, and causes damage equal to: 5 +2 per success. T h e damage is not debilitating and may be resisted by Resilience. Treat the attack successes as the number of spell successes.

Range: None

Bind to Earth Card Draws: Sirh Halal Art (I3 - Sirh Halal Lore) draw Other Difficulty Modifiers: None Animus: 5 Magnitude: 3 Casting Time: One action Duration: One combat cycle, plus one combat cycle per success Area of Effecc One subject, does not work on flying targets Range: Line o f sight Type: Hostile-Spiritual Through this spell, the sorcerer renders an opponent incapable of moving from the spot where she stands. If knocked down, she will be unable to get up. T h e subject may attempt to move, but for every turn o f movement the subject must get more successes on a Spirit (9) draw than the sorcerer got on the spell casting. In addition, the subject takes one point of insidious, debilitating damage from the forced movement. For combat purposes, the subject is at +I difficulty on dodge attempts per success the sorcerer got on casting the spell.

Brass Skin Card Draws: Sirh Halal Art (7 - Sirh Halal Lore) Other Difficulty Modifiers: None Animus: 2 Magnitude: 3 Casting Time: Two minutes Duration: Three minutes, plus one minute per success Area of Effecc Self Range: None Type: Self-physical Through this spell, the sorcerer enchants her own flesh with the supernatural hardness of metal. For every two successes, rounded up, the sorcerer gains one point of Armor. This armor lasts until the end of the scene, until the sorcerer is knocked unconscious, or until consciously turned off, (if before the end of the scene.) This armor serves to reduce the damage from all physical attacks for which a Resilience draw is made for resistance. Each point of armor reduces the damage by one point. This damage reduction affects any damage remaining after the resistance draw has been made. Multiple castings of this spell on the self will have n o effect. In addition, the sorcerer cannot be wearing armor in order to gain the benefits of this spell.

Glorious Eminence Card Draw: Sirh Halal Art (9 - Sirh Halal Lore) Other Difficulty Modifiers: Situation; if the sorcerer is already in an awe-inspiring position -I to -3 difficulty; if the sorcerer is already in a position that reduces her charisma +I to +4 difficulty Animus: I Magnitude: 4 Casting Time: Three minutes Duration: Remainder of the scene

Type: Self-physical Through this spell, the sorcerer increases her own Presence greatly. T h e djinnee grows up to a foot tall, becomes more robust and healthy, and increases in attractiveness and vibrancy. All who see or hear the djinnee will be overwhelmed by her commanding charisma. For each success, the sorcerer gains +I point in Presence If at least four successes are achieved, the djinnee is so commanding that mortals and other lesser beings will do as the sorcerer commands. Eldritch and strong-willed mortals get t o make a Spirit (9) draw to resist, with two successes required to fully resist one success means compliance, but with much resistance.

Thunderbolt of Doom Card Draw: Sirh Halal Art (I2 - Sirh Halal Lore) Other Difficulty Modifiers: None Animus: 7 +I per thunderbolt Magnitude: 4 Casting Time: Three actions before a thunderbolt may be cast from the cloud Duration: Two combat cycles per success Area of Effect: T h e cloud takes up a 15-foot radius Range: Thunderbolts can target anyone within 30 yards from the cloud; the cloud can be moved about at walking speed to any location within line o f sight Type: . _ Hostile-Physical T h e sorcerer can generate a small, billowing cloud of black foglike substance from the mouth. This cloud rapidly floats into the air and moves over the location desired by the sorcerer. This cloud begins rumbling with thunder. Glowing blue bolts of lightning begin flashing out and the djinn may direct a bolt against any single target she chooses. Any turn on which the sorcerer can act, she can unleash a thunderbolt. A Perception (IO - Accuracy) draw is required for targeting the attack. T h e damage is non-debilitating and 1s equal to: 5 2 per success on the attack. It costs one extra point o f animus for every thunderbolt fired from the black cloud.

+

W.lagi& S e ~ ~ i t i ~ i t y Eldritch and fantasts (mortals with points m Illumination) can see the effects of magick and the supernatural for what they r are in truth. In addition, even when they do not witness a mag occurrence, they can “feel” it psychically. T h e following chart illu trates the effects of their magickal sensitivity based upon the strength of the supernatural emanations. A Perception (10 Illumination) draw must be made for the character, with a minimum difficulty of 3. However, for every 3 points of animus spent on magick or preternaturae by the one creating the effect, all characters with Illumination automatically get +I card to their draw. (Thus, many eldritch and fantasts sense magickal disturbances in the Reverie without even concentrating.)

Book of the Spirits Q Page

___ Certain emotional states can influence a character's behavior and chance of success. Good judgment must be called upon in deciding the appropriate times to evoke emotions. Situations can evoke emotions for protagonists just as they can for anyone else. T h e emotions vary with the situations and the individuals involved. For instance, if the protagonists were defeated, they might each get a temporary score o f 3 in Depression. It is not a permanent persona quality, but it is how they all feel for the remainder of the scene or even for the several days or weeks that follow the defeat. Sometimes an emotional state may be directed at a specific source, such as hatred of a particular osirian, because that osirian betrayed the character. For instance, a tragic battle with wenvulfs might give one character a temporary Despair 4 that is undirected, but it might also give her a permanent Hate Wemu& 3, (which is directed . . . at "Wenvulfs.") Typically the situation relates a certain number of cards for the emotion. If the character has a persona quality that directly relates to the card draw, the character uses that persona score for the number of cards drawn for the situation, but adds a bonus of +I or +3 cards depending upon the intensity of the situation. For instance, if a group of protagonists just saw a vampire murder a priest, this may give them all a situational Hate I/ampires score of 3, which lasts for the scene. If one of the characters has Protective of Priests 2, he draws 5 cards instead of 3 (adding the Protective of Priests score of 2 to the situational Hate of Vampires score of 3.) If one character has Hate Vampires 4, he would draw 7 cards instead of the 5, as his Hate Vampires score is higher than the intensity of the situation, and the Guide gives him the bonus of +3 cards for the situation she gave the other characters. Emotional states are almost always temporary. T h e situational cards usually range from I to 6, depending upon the intensity of whatever evokes the emotional response. Sometimes it is possible to be influenced by more than one emotion, such as Love and Hate, or Curiosity and Fear, treat these as contested card draws against one another to see which emotion overcomes the other. While fear and courage are typical feelings in combat, neither should be used all the time to influence combat. Typically, only the single-most dangerous battle in the story should ever evoke those emotions enough t o require a contested card draw between them. For simplicity, you might simply ignore persona card draws all together in combat situations because of all of the other cards drawing required. Once the number of cards are known (as determined by the situation), they are drawn against a difficulty of 7. Successes have an effect as follows. Successes

I __ 2-3

4-5 6-7

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Giving in to the Emotion Show visible signs of emotion Moderately follow the emotion Strondv follow the emotion Give self over to the emotion completely

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3

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4

gains +I card on all card draws relating to the protection of what she loves (including attack draws.) The character shows open affection for whatever it is that she loves. Lust: For every two successes beyond the first, the character gains -I card o n all card draws to control her desires. The character acts in a lustful manner. Rage: For every two successes beyond the first, the character gains +I card o n all attacks, but gains -1 card on all defensive actions. T h e character acts in a berserk fashion. Repulsion: For every success beyond the first, the character gains -I card on all card draws involving whatever it is that repulses her. T h e character shows open signs of disgust or squeamishness, depending upon the source and type of repulsion.depending upon the source and type of repulsion.

For example, in the above case with the vampire, a character that gets one success might show a look o f hatred on her face. A character that gets three successes might threaten the vampire with violence if she does not leave. A character that gets five successes might attack the vampire. A character that gets seven successes might go berserk and wildly attack the vampire, and might even show open disgust for other vampires for some time to come.

Effects of Emotions These are not all the emotional states possible, but they should provide some idea as to how you can apply modifiers based on emotion if you enjoy this level o f detail. While persona guidelines are optional, these specific guidelines are even more optional, since they can make persona qualities very complex. The choice as to whether or not to use them belongs to the participants as a group. Courage: For every two successes beyond the first, the character gains +I card on her attack card draws. T h e character is confident in the face o f danger. Fear: For every two successes beyond the first, the character gains -I card on her attack card draws. T h e character wishes to flee from whatever is causing her fear. H a t r e d For every two successes beyond the first, the character gains +I card o n her card draws related to harming whatever she hates (including attack draws.) T h e character shows open signs of contempt for whatever she hates.

In addition to evoking emotions, it is possible for situations to evoke temporary insanity. This is handled in the same way emotions are handled. In fact, extreme emotional conditions may seem like insanity.

A character may hold her breath for a length of time based upon her Resilience. This length of time may be increased by a Spirit (12) draw, with each success adding one point of temporary Resilience just for Breath Holding purposes. However, it costs one animus per additional point of Resilience gained. T h e duration of breath is listed on the table below. Marathon reflects the length of time a character can hold out running at a jogging speed or swimming at half speed. By expending one animus point, this may be extended to +I Resilience, for each success made on a Spirit (I2 - Run or Swim) draw. Hard labor reflects how long a character can continually perform extremely strenuous physical work without stopping and taking at least a 30-minute break. Duration of Breath 30 seconds I minute

Resilience

I

2 3

4

.

~

5 6 7 8 9 10 I1 12 I3

2 minutes 4 minutes 7 minutes IO minutes

.~ ~~

~

~~

~~

15 minutes ~20 minutes 25 minutes 30 minutes 40 minutes 5(1minutes 60 minutes

~~

Love: For every two successes beyond the first, the character

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Marathon I minute 5 minutes

I5 minutes 30 minutes -~ I hour 2 hours 4 hours 8 hours 12 hours I6 hours 20 hours 24 hours 30 hours

Hard Labor I hour 4 hours 8 hours -. I 2 hours _ _I 6 hours 20 hours 25 hours 30 hours 40 hours 50 hours 60 hours 100 hours

~

~-

_

_

~

Indefinitely

Book of the Spirits

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Running speed is determined by a character's Speed and Run skill. T h e number of yards a character can cover in one turn is determined

by the following.

+ (1 5 x Run scor,) yards IS + 8 x Run score) yards

Sprintin! Speed iper turn within a combat cycle): 20 Joyin! Speed iper turn within a combat cycle):

er turn within a combat cycle) 10 yard2 1:

F

Running adds a +4 difficulty to combat, while jogging - - - adds +2, and walking - adds none. Terrain can also modify the distance covered (-0% distance), tall grass or slight uph!ill grade '-25% distance), steep uphill grade, ice, mud (-50% distance) mld like to determine runnirig in miles Pf:r houi the following information may be used. This is often useful in keeping up with a character's movement over a long distance. T h e Resilience Feats section describes the length o f time a character can run. The speed listed is the character's fastest movement rate. Typically, most people walk casually at about at a speed of around 3 mph. Jogging speed for the character is half the character's maximum speed (round up.) Base Runnine Speed (based on character's Speed) 5 mph

SDeed /Run score

rn

Runninv bonus (based on character's Run score)

+ I mvh

1 I

II

4

il

6

+5 mph +7 mvh I +IO mph

I5 mph 20 mvh

+ I < mnh

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35 mph

II

8 9

+20 mph

41)mnh

--

+35 mnh ~~

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-AAr +30 & n

+35 mph +40 mph +SO mph +60 mph

IO0 mph

+

Swimming speed per action for a normal character is 5 yards 2 yards per point in Swim. So, a character with Swim 3 could move I I yards in one action. Rugged waters can reduce the distance by however much the Guide sees fit, but the same penalty applies to all swimmers. For those who wish to determine a character's swimming speed in miles per hour, the following chart provides the detads. Find the character's base swimming speed, based off her Speed score, then modify this by her Swim skill, this is the character's maximum swimming

Swimming Speed (based on SDeed score) I mDh L mph _. Y

SDeed/Swh Score

I -~

3

4

6 mnh

6 7

I 2 nmh , T5 mnh

I

Swimming " Bonus (based on Swim score) +I- . mnh . . - __ +L mph +4 mrI)h +6- mnh -~+8 mph +TO mnh - .. . . .. +T3 . - rnnh-. -

1

~

~~~

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I8 mnh

13

35 mph

+I6 mph +I8 mph +20 mph +22 rnph+25 mph

It is possible to turn temporary persona qualities into permanent ones. If the number of 12’s (successes only) o n a temporary state’s card draw is greater than the character’s normal score in that persona quality, the character’s permanent score for that quality may be raised as much as one point for each 12 drawn, (if the participant roleplaying the character agrees.) Any points gained can remain permanent or might fade away after a few days, weeks, or months. However, preternaturae-induced emotions do not create permanent persona qualities. In addition, scores in any persona qualities that were involved in the story may be altered to some degree either during or at the end of the story. This should be limited to increasing or decrea to two persona qualities by one point each. No score can be raised beyond six in this manner, except by paying experience points for any Distinction benefit required for that persona quality. Dementia scores can also be altered. Decreases in dementia scores, however, require mental health treatment of some sort and the expenditure of experience points.

Psychic awareness and sensitivity t o all things preternatural is a

gift possessed by most all eldritch and a select few mortals called fantasts. Whenever anything supernatural occurs, whenever a character is trying to perceive the Reverie, or whenever the Reverie intentionally reveals itself, the character must make an Inspiration (10 - Illumination) draw. Each success allows the character t o glean more information about the supernatural occurrence or perceive that much more o f the Reverie. Reverie is described in of ”depth,” in that some places have more magick than others do; the deeper the Reverie, the more magickal aspects there are to experience. Reverie depth is used as a scale to represent the degree of magickal change in environment and does not, in any way, represent actual distance or geographic features. Few can comprehend all the magick within sacred and magickal sites. Reverie Level

Supernatural Detail Subtle Differences: Minor changes in lighting, mood, wind, smells, sounds, and psychic emanations, such as noticing that candles that were unlit before are now lit, that a place seems darker and spookier, that graves nearby are open, not closed as before, that a place has a peaceful feel and holy glow to it, that a place has a very unnatural musty smell, or that a wind carries on it strange whispers. T h e character will notice spirits and other supernatural beings out of the corner of eye, but will hardly ever see them head on. T h e character will be able t o locate ”hot” and ”cold” spots of magickal power, with hot spots being places where supernatural power was used, or in use, and cold spots being places where ghosts are located.

1-3

*. I

eepest levels of the Reverie are like intersections between rent dimensions. T h e Dreamworlds, Astra, Underworld, Faeryland, and other realms converge in the Reverie. Magick is exceptionally strong in the Reverie, allowing characters from various realms t o interact with one another physically. O n the shallower levels of the Reverie (I to 3 successes for the corporeal character) all spirits, dead souls, and similar beings are ble, but incorporeal. They can become solid only by spending ir animus points to do so. In the deeper levels of the Reverie (4 or more successes for the corporeal character) beings from many realms and planes all take physically real forms. Spirits, dead souls and their ilk can become desolidified at will, but a Guide might impose a cost of one animus upon them when they do so. This makes battles and the use of preternaturae much more consistent and uniform. It also adds to the drama and danger of the Reverie, particularly for mortal fantasts who wind up accidentally in places filled with spirits and ghosts. In dealing with groups of protagonists, the simplest way of handling the Reverie is to have one character make the card draw for perceiving the Reverie and the others simply follow her into the Reverie at that level. While in the Reverie, characters are still present in the Real World at the lesser depths, but at greater depths they seem t o disappear from mundane sight. Characters interacting with the Reverie may seem crazy to other people due to their weird behavior (i.e. talking to things that are not there or claiming to see spirits.) Also, the presence of characters without any points in llumination, but points in Rationalize (Darn those skeptrcsl) cause he difficulty of perceiving the Reverie to increase by +I for each success the skeptic achieves on a Presence (9 - Rationalize) draw. In addition, characters without points in Illumination cannot see into the Reverie unless they are drawn into the Reverie either by the Reverie itself or by the eldritch. T h e Reverie can add an eerie atmosphere to legendmaking if used properly. Try not to be too blatant about things; turning an apartment into a castle lair filled with goblins is pushing it. Abusing the magick of this altered state of perception will just bring silliness into the mythic experience. This is not to say that every once and a while the protagonists cannot run into a magickal place like the goblin lair described above, just that the power to see into the Reverie exists totally within the imagination of the person. Therefore, enlightenment and insanity are only a half-step away from one another since no one can prove what they gined they perceived was real. The Reverie is best used when wish t o intensify a certain mood or add magickal elements t o setting during dramatic moments within a story.

%y-nteRts

DegvaiLatiaR

Degradation represents the loss of inner strength, humanity, balance, conscience, and zest for life in favor of growing Torment. Over time, and through many hardships, a Torment can nearly possess a character, driving away the last vestiges of her true

HE

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rment card draw. T h e Certain situations will call upon specific situation acts as a modifler for the Torment card draw. T h e difficulty typically ranges between 3 and I I. T h e Torment draw is always contested by the character's Spirit (7). Should a character give herself over to her Torment freely, then the Torment provides her with some sort of bonus, based upon the situation, but also is permanently increased by one point. T h e bonus may range from a difficulty modifier up to -4, to 4 extra cards on a draw, to 3 destiny polnts (the type of bonus is up to the participants) usable immediately.

Torment Difficultv

Situation

I1 - I2

Slight Compulsion or Emotion; small urge to obev Torment

9 - IO

Weak Compulsion or Emotion; bothersome urge to obevTorment

7-8

Typical Compulsion or Emotion; strong urge to obev Torment

5-6

Strong Compulsion or Emotion; intense urge to obev Torment

3-4

Overwhelming compulsion or Emotion; super-intense urge to obey Torment

Some participants may get tired of just sitting down and roleplaying. For those who seek a new form of entertainment, liveaction can serve as a new form o f escapism by placing participants into acting roles, allowing them t o act out the roles of their own protagonists. Participants can roleplay either entire stories or just certain scenes through live-action. While live-action cannot capture the altered-state of consciousness achieved through table-top legendmaking (which relies heavily on the imagination), live-action can produce altered states achievable in no other way. T h e participants can become their protagonists in ways they cannot through tabletop gaming. There is no time for boredom since the participants must be actively engaged in the story as their protagonists on a continuous basis. Live-action is much like improvisational acting, but some guidelines are applied to determine the chances of success a character has in performing various tasks. Live-action uses the card system, along with a few important rules that place safety above ali else.

(Note that these are not merely guidelines.) Participants may n o t touch one another. Participants are n o t allowed t o d o anything physically dangerous (such as running, leaping over things, climbing, and other physical activities. T h e y may n o t carry weapons, since they might be mistake

by real

toy

ones by people

who are n o t participating.) Participants should roleplay only in private places o r a t conventions where other people will know what they are doing. Roleplaying in public places is prohibited, since liveaction can c o n h s e and frighten ”mundanes,” (those who d o n o t have a clue as t o what

is going on.)

Unruly participants and those who take t h e experience t o o serious should n o t be allowed t o participate.

Live-action characters have scores in the nine Aspects, the ten Aptitudes, Life, Animus, Speed, destiny points, and baddash points. They can also have scores in Skills, if you desire that level of detail. Distinctions, weapons, equipment, magickal spells, and preternaturae can all be represented by special cards with the details written on them, and play money can be used to simulate real money.

Guidelines for live-action are the same as for standard legendmaking, except for the following: The person declaring the combat may act first. Participants then go in order of highest Speed to lowest Speed until all have had their turns within the combat cycle. If two characters have the same Speed, then the one with the highest Instincts goes first. If they have the same score in Instincts, then the one with the highest score in Dexterity goes first. If they still have the same score, then toss a coin and let the challenged person call it in the air; the winner goes first. Combat or any other contested action may be initiated at any time. The opponent must be made aware the combat or contested action is taking place by the declaration of “stop. I Chalknge You.“ Other participants cannot enter a combat unless they were standing nearby at the time. These participants may enter (if they wish) at the beginning of the next combat cyde. Anytime a preternatura, spell or other supernatural effect is used, the one using the power must tell the person she is using it on. If the effect is invisible, the participant must comply with the effects as the guidelines describe, but must act in character as if she does not know that anything is happening or how something is happening. No ”crossing-over” is allowed. Life points are recorded on the character sheet as boxes. Each box represents one point. Boxes beyond the character’s life score must

” X is placed in the box. T h e ”X”may be healed through powers, medical treatment, or at a rate of one point per actual day of rolePlay. - .

If a character is killed, the participant may re-enter the current story as a ing character created by the Guide, as one of the participant’s other protagonists, or as a weaker protagonist created with fewer character creation points. For each time a ing character dies, the participant’s next ing character should be little weaker. A participant must wait at least I5 minutes before reentering the current session after reporting t o the Guide for a new character. T h e participant must also dress somehow differently from the deceased character so that other participants will know she is roleplaying a different character. Change in character personality and speech can also help make new characters distinct. Participants must wear their protagonist profile sheets pinned to them somewhere above the waist where it will be visible, with all the information turned to the underside so others cannot read it. Whenever there is a problem, stop things temporarily and go get the Guide to solve the problem. Participants should stay in character unless something prevents them from doing otherwise. When talking out of character, participants should hold up one hand into the air to signal that they are out of character. Participants should not talk out of character except when bringing up a rules issue. Participants cannot leave play by ”going out of character” in a visible place. T h e participant must go somewhere away from other participants in order t o go out of character. Participants can never simply go out of character to avoid a fight. Participants d o not have t o hold up their hands while involved in shuffling, drawing and roleplaying their cards, since the event is occurring within the context of the setting. Participants must describe what it looks like their characters are doing (not necessarily what the characters actually are doing) to other participants who walk by and ask what they see. T h e limits o n ranged combat are 20 feet for simplicity and ranged attacks suffer no range or point-blank modifiers. Participants are expected t o act in the best interest of all other participants when roleplaying, (though not necessarily in the best interest of the other characters.) While a participant’s protagonist may be at odds with another participant’s protagonist, possibly even locked in a struggle to the death, that does not mean the participant are not to act politely when discussing things out of character. Participants should know the rules that have been established and should not cheat. Cheating should be punishable by the immediate removal of the participant from the session. Acting is a very important part of every participant’s duties. Participants should try to behave as their protagonists. Protagonists should act noticeably differently from their participants in at least some ways, such as accent, attitude, mannerisms, or general behavior. Take the acting as far as possible without feeling uncomfortable. Dressing the part is extremely helpful. It is suggested that Guides award those who dress in good costumes with one or two extra experience points or destiny points. Real weapons are obviously banned and not even toy weapons are permitted since other people might think they are real.

Book of the Spirits Q Page 2

d,

Do you believe in auras? It is believed by many people that a vital energy radiates as colored light from everything in nature -- the rocks, trees, animals, plants, humans, and so on. H u m a n auras have been linked to personal magnetic fields, called biofields, but they are too weak t o for visible auras

of light. Some

researchers suggest that clairvoyants who see auras are actually capable of seeing biofields as

light. Another

theory is that

there is some form o f undiscovered light-emitting diodes embedded within all living things that causes auras, though this too lacks scientific credence. Auras have appeared in art and writing dating back t o ancient Egypt, India, Greece, and Rome. Paracelsus, a

6th cen-

tury scholar, described auras in his writings as ”fiery globes.” Emanuel Swedenborg, an

18th century clairvoyant, said, ”there

is a spiritual sphere surrounding everyone, as well as a natural and corporeal one.” I n

1845, Baron Karl von Reichenbach, a

German chemist, announced the discovery of ”odic force.” I n his studies o n clairvoyants, in darkened rooms they could see “flame-like” colored light energy emanating from various living things, as well as from crystals. N o t long before W W I , Dr. Walter Kilner, the doctor in

of electrotherapy at St. Thomas’s Hospital in London, discovered that he could see the human aura by looking charge

through a device containing a coal-tar dye called dicyanin, which made ultraviolet light visible. H e noted that auras reflected health, and

by I919 formulated an auric method of

medical diagnosis. H e published his work in 1919 in a book

The Human Aura. I n 1939, Semyon Devidovich Kirlian, a Russian electrician,

entitled

developed a form of photography that captures the human aura on film. Kirlian photography uses a high-amperage electrical field, and the photos show glowing, multicolored emanations like auras. T h e photos are said to reveal the health and emotional state

of the person by their brightness, color, and 1970s, experiments with kirlian pho-

I am the master offantasy. -Arthur Rimbaud, Nuit de l’ETfer

patterns of light. In the

tography at the University o f California’s Center for Health Sciences at Los Angeles showed that a plant’s auric glow changes color and brightness when a human hand approaches it.

If

a little piece o f a leaf is removed, a glowing outline

of

where the amputated portion o f leaf would have been still appears on film. D o you believe that auras are real? If so, could they be just one example

of the layers of reality we do not see? Maybe of the unseen?

auras are but a stepping stone into deeper levels

Do you believe in auras?

Book of the Spirits &, Page 3C

many lives to live, and many tales to tell, but in order to do so, you must develop those skills you will need as a storyteller and legendmaker. Within this chapter you will find advice that helps you in your storytelling, but you will find nothing that transforms you into a good storyteller that is your job. You can only become a good storyteller by jumping in and participating. As you participate, look to others and see how they do things. Ask for constructive criticism and (most importantly) try your best. Before long, you will be amazed at the power of your own imagination, and you will weave tales of personal myth better than you ever thought possible.

%ales

bf

tlp Stbqteller

Even if you are not serving as a Guide, you must still take an active role within T h e Everlasting as a storyteller. As a storyteller, it is your duty to work with your fellow participants in creating entertaining, imaginative, and believable adventures. You must also work hard at roleplaying your protagonist. You must help maintain the atmosphere of the setting. You must help evoke scenes by adding your own bits and pieces of detail. You must also assist your fellow participants with any problems that arise, while always keeping in mind the golden rub. T h e key to being a successful storyteller is recognizing the importance of the story over the importance of individual protagonuts. While protagonists are the principal characters in all the adventures, you should not set out o n a quest to make your protagonist the biggest, meanest, toughest, most powerful being in the world. While protagonists should grow in power over the course of an Odyssey, it is more important that their persona qualities develop, and that they strive to accomplish something greater than themselves. Also, sometimes the best interest o f one protagonist will conflict with the best interest of the protagonist group, or the best interest o f the adventure itself. In such cases, you should not place your own desires over that o f the other participants. T h e adventure is a communal property that everyone should strive to improve upon and add to in hopes of telling the best tale possible. telling; so (above all else) make sure everyone is having a good

keeping everyone participating involved in the adventure. Stress cooperation and teamwork, if not among the protagonists, then at least among participants. Also concentrate on what everyone likes in their adventures, (be it romance, combat, intrigue, or anything else), but make sure there is something for each individual participant as well. Everyone should have the opportunity for her protagonist to

HE

EVERLASTING @ Page 302

ways, but the simplest methods are often the best. One simple way is by roleplaying your protagonist in a consistent manner that fits in with the atmosphere of the Odyssey - if it is horror, feign shock, suspense, revulsion, or whatever emotion you are called upon, and have your protagonist do horror-oriented things. T h e other simple method is by adding details to scenes, or by adding subplots which accurately portray the atmosphere - if it is an atmosphere of intrigue, run a subplot in which the protagonists must discover a spy in their midst. It is also important that you learn the guidelines t o T h e Everlasting so others will not be responsible for explaining everything to you. There is nothing worse than having a participant who simply will not make the effort to learn the guidelines. Some people are so lax that, even after many sessions, they still cannot comprehend the details on a character sheet or make dice rolls on their own. These people tend to frustrate everyone and may not be invited back. Almost everyone, however, has trouble learning the guidelines, and we all sometimes forget them, so be patient. If you have any problems, ask a fellow participant for help; there is nothing wrong with doing so. If you are an experienced participant, you should make every effort in helping new participants learn what they need to know, but give them plenty of time to apply what they learn.

stsyteiierAaviCe Allow Free Expression: You should not limit other participants in their choices of actions, or in the roleplaying of their protagonists. that it is their adventure too: while you can create situations, it is up to each participant as t o how her protagonist will handle those situations. You should not try to control the other protagonists, and not even force certain actions on them. If you want to control all the protagonists, you should tell the story by yourself, then you could control everything. Ask for Criticism: There is always room for improvement in storytelling. Examine the storytelling styles of others and apply what you find works t o your own style. Ask for (and politely accept) criticism from those who offer it constructively. Be Prepared: You should always have everything you need ready to go when you sit down to begin a session. There is nothing worse

Improvise W h e n Necessary: You should be ready to ignore any preconceived plans for an adventure you have if the protagonists take unforeseen actions. You cannot plan for everything, and since you should not limit participants, you must be able to deal with whatever they throw at you. While this keeps you thinking on your feet, it can also be frustrating. One way of avoiding the problem is by creating a dramatic cliffhanger moment, and then taking a short break to plan things out.

the existing scenes t o fit the new direction the protagonists are going.

especially everyone serving as Guides in one or more respects. After

which the participants are interested.

is especially good at it, but only makes minimal effort in actually

If Someone

Just as Pxperience points and destiny points are awarded to participants who roleplayed protagonists at the end of a session, rewards should

You

roleplaying characters, drawing maps, ordering food, or by doing something else which frees Your Own then give them Points to their effort. Treat Everyone Equal: the Golden Rule and treat everyone the way you would want to be treated. Give everyone an oPPortuniV to ParticiPate~and do not sing1e Out individual Protagonists the 'Ime for good Or *" This can be to picking On the protagonists as a group. it 's not You against them - It Your Job to be lmPartial and provide the framework for adventures.TrYing to Pester Or Protagonists is simPIY immature and unimaginative.

Provide Participants with

Use the

a Of stabiliV and fairness. not break the rules your group has adopted You expectthe Other participants to do the same+This does not mean that you do something just because it is not covered in the rules. T h e key to success is being fair and consistent.

00

be given at the end to guides as well. The size of the reward should be based upon how well the guide entertained, how well she made things move along smoothly, how much effort she made, and how creative she was in her own roleplaying and storytelling. One of the best ways for participants to decide on the size of &e reward 1s by secret ballot, writing down a line for each point awarded rather than the actual number so as not t o give away handwriting. T h e ballots should be mixed up and totaled, then divided by the number of participants who voted to get the average. Round up and award that many points of whatever 1s given (destiny or a p e rience) Secret ballot works best since it does not create any awkwardness or hard feelings. Only the Guide herself does not get say in the size of the reward. , do not play favorites and try not to be competitive. Money makes an excellent reward for solitary Guides; after all, we tip servers in restaurants for good service. In fact, most participants will pay five dollars or more to see a movie, but have never considered paying their Guides for all the work they do in order t o provide hours of enjoyment. While money need not be an every session reward, certainly it can be a nice way of saying "thanks for all the hard w o r k every once in a while. Even if everyone just pitches in a dollar or two, it is a sincere token of appreciation. It will also certainly encourage more people t o be thoughtful, creative, and hardworking Guides.

T y p i d PeStixy Y a i h t 6 1 6 x p e l " j e ~ ~

7tewa&

(Points may be used for any character the Guide sees fit, including her own protagonists.)

Effort ~

Handling decisions on adopted rules N P a o n - p a r t i c i p a n t character) control Handling the main plot .-~ Handling a secondary p l o t Providing general assistance to the main Guide

DPs or EPs I I

0- I 0-2

I I 4

0- I 0- I 0-3

~

~~

~. ~

Hosting a session in own home Serving as lone Guide

ook of the Spirits Page

I E i -

11

Eight people have gathered together in a basement for a session o f legendmaking with The Everlasting. They are sitting around on sofas and chairs, discussing their last session, having just finished off some pizzas. O n the coffee table, end tables, and sofas are decks of playing cards, some d12 dice, pencils, the participants’ protagonist profiles, d lots o f empty Mountain Dew cans. T h e participants are: Christopher -Roleplaying a bear manitou named Rachel Mivens. Christopher is running the main plot, and he is also roleplaying some ing characters. Brian - Roleplaying Gotlieb Von Schuler, a German scientist possessed bv a vugtuhul named Ordu Rrian i s hplnirlg out by handling some of the rules decisions and by running a subplot in scenes between scenes for the main plot. Jack - Roleplaying a glass gargoyle named Mathias Shancer. Jack is also roleplaying some ing characters. Alan - Roleplaying a marid djinn known as Vilarias. Alan is the new guy in the erouD. H e is lust Droviding the place to play, though Lv,LyLaJLLA8 avLLLe ing characters too. Y Michael - Roleplaying a rhinoceros manitou called Jacob Ironskin. H e is helDinp out bv makin? card draws for some of the bad guys. Jason - Roleplaying a heavy stone gargoyle that calls itself John Smith. T h e gargoyle is covered in fake flesh and dresses like one of the Men-in-Black. Phillip - Roleplaying a shapechanging faerie called Tim. Phillip is so helping out by making card draws for some nameless opponents Teffrey - RoleDlavinP an intelligent cat named Zacharias. T h e cat was once a human druid, but has been a magician-cat for over a mille-

something to drink.) Brian: I think we need a plan. Jeffrey: What do you have in mind? Brian: I think some of us should check with our eldritch associates to see if they know anything about where this Chasm of the Machine is located. Tim and Vilarias can go back home and ask their kin too. I think you and I should d o some research on the Internet and in the library. Michael: I’m going to seek a spirit vision. Jack: And I’m going to my mentor as well. Maybe she knows something. Jeffrey: After I go to the library, I’m taking a catnap to see if I can dream something about the Chasm o f the Machine. Christopher: Okay, everybody who is going to check with your eldritch ties, including your own people, for every point in Eldritch Ties you have, it takes you one hour. You get t o make a Presence (1 4 Eldritch Tie4 draw. Jeffrey: But my Eldritch Ties is a one, I can’t possibly even get a single success. Michael: You can if you spend a Destiny point and don’t roll any ones. (Jeffrey, Michael, and Alan get one success. Phillip gets two. Brian gets a disaster, meaning he rolled more ones than successes.) Christopher: Between Zacharias, Jacob, and Vilarias, you all figure out from talking to your associates that the Chasm of the Machine is tied to the Doomlands above Canada. Michael: Then we need t o get up there. Christopher: N o t so fast, because Tim has received word from a redcap friend of his that the Chasm is located in the South Pacific, while Gotlieb has learned that the Chasm exists in Bulgaria. Brian: For those of us doing our own research, we need to make an Intelkct (1 4 Research) draw. Michael: Research falls under Humanities, so default to that if you don’t have the Research skill. (Jeffrey and Brian d o not get any successes.) Christopher: Sorry, you didn’t turn up anything. But, Zacharias, your mentor tells you that the last time he heard of the Chasm, it was located in a desert, but he said it has been known to move in the past. Jack: We’re not getting anywhere. Christopher: For Jacob’s spirit vision, the draw is Inspiration @I$culty 9). It’s going t o cost you two destiny points too. Michael: Okay, but I’m also going to pay an additional destiny point for a mystic thirteen draw. Alan: So, if he draws a King, it counts as a thirteen? Brian: Yeah. Aces take off the Kings drawn first, but so long as he has any Kings left then it counts as a mystic thirteen, meaning five successes or some other special result. (Michael draws a 3, 6, 9, and King, meaning he gets six successes.) Christopher: Man, that’s a damn good draw. Okay, so this is what you see. You find yourself in the middle of a deserted scrubland at night. A storm is raging and the clouds are moving diagonally across the sky at around 200 miles an hour. You can hear moaning and cackling on the breeze. You are standing at the edge of a woods. You hear something behind you. Michael: I spin around, but don’t take any action.

-

-

Christopher recaps the last session, which ended with the adventure to the lair o f a powerful djinnee lord living in a reverie realm under the streets of Hong Kong. After defeating the djinnee’s guardian within a huge maze, the djinnee told the fellowship about something called the “Chasm of the Machine.”The fellowship had been holding on to a piece of alien technology, which Alan’s character SusDects to be a K d k w (see Chapter 8) t h o i i ~ hhe has not told anyone. The device has the power to make angels cry when they look at it. It defies scientific testing. and it has now been stolen away by a ,. . . 1 is said to be at this ”Chasm f the Machine,” and he may have the stolen device. Christopher: So that’s where we start, opening the scene with all

f you meeting in Shancer’s Hong Kong penthouse. It is 6:30 at nipht, it’s raining Iightlv. and Shancer has Handel’s water music playing softly o n his state-of-the-art sound system. Li Sung, Shancer’s only servant, has been given the night off. You are all sitting around a 1 are discussing the Chasm of L

Tack: ( H e is Dracticallv live roledaving by standing up and gestur...._ _. - ____ anything I can get for you?

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EVERLASTING @ Page 304

Christopher: (In a deep solemn voice.) ”You have come to the right place son, but you will not like what you find here. It will end in betrayal.” Before you stands a gigantic rhinoceros that is almost as tall as the trees. A wind is rustling through the trees making it hard to hear your totem lord. ”This place lies near the Dream Time. T h e people of the land can guide you here. Seek out the place that the humans call Maralinga in the South Lands.” Suddenly you hear a loud chiming that is so frightening you spin around to see where it is coming from. When you do, you see yourself standing before a giant clockwork set of cogs, wheels, pulleys, and gears made of shiny brass and jutting out of a huge crack in the ground. Then behind you, you hear a man laughing, ”Hahahahahahaha!” Michael: I spin around again. Christopher: You see an old man, maybe an Aborigine. H e is wearing khaki paints and shirt, and his dark face is marked with paint. You wake up. Jeffrey: Well, it sounds like we’re going to Australia to me. Michael: I gather the fellowship and tell them about my vision. Christopher: Zacharias doesn’t have time to take a nap. Jeffrey: Man! Okay, well I go meet with everyone else then. Alan: (He pulls out an atlas and looks up Maralinga o n a map and shows it to everyone.) It lies in South Australia near the Great Victoria Desert. Jack: I get us some plane tickets into the closest airport. I have a Resources of six, so I can afford it. Hell, I could probably charter us a private jet. Christopher: No problem, your first class commercial flight leaves tomorrow at 7 AM, but you’ll have to charter a plane once you get to Melbourne. (The participants discuss their plans and describe their preparations, which include getting weapons, cameras, clothing, maps, and so on. All the protagonists have current visas, but realize that carrying weapons to Australia isn’t all that easy, so decide to pick up what they need when they get there.) Christopher: (Looking at Alan), I need to talk to you in private. Alan: Okay. (The two go into another room.) Christopher: While in Solar Irem later o n that night, you were called before the ruling marids. You walked along a glowing garden path to the stronghold to the council building, up the gold inlaid steps, and down a lift tube to a secret council chamber. Before you are three of the most powerful marid lords you know: Jaczim, Fazir, and Aluqaris. As you may , these nobles are the ones who sent you to the fellowship, to find the item that may be a voidkey. Jaczim looks at you. (In a deep, commanding voice), ”Come, sit before us. Tell us what you have learned.” Alan: I go sit down. I have learned nothing great masters that I have not already reported, except that there is something called the Chasm of the Machine, that it’s tied to the object, and to the doomlords of the north. Christopher: This is most excellent. You may yet recover the voidkey for us, if that is indeed what this object you are hunting for truly is. Aluqaris interrupts. , do not tell the others what we have told you. Take the object and return to us immediately. Alan: Yes master.

It is said that he was once a daeva, and he is known to be very clever. Watch out for his pets; it is believed that he owns two fully-grown rukhs stolen from the Ajam. Show them the seal of the Ajam and yourself off as one; their genetic encoding should prevent them from attacking you. Alan: Thank you master. (The encounter ends and they return to the other participants. Brian has been running a weird subplot involving Jack’s gargoyle, who is hunting a giant teddy bear golem that has been kidnapped by Xiang Shi vampires in Hong Kong. When the scene is finished, Christopher takes back over in guiding the plot. Until that time, he roleplays Rachel, his bear manitou. Brian, Jason, and Alan take a break and go to the kitchen, hunting snacks for a few minutes.) Christopher: Okay, you catch your flight, which is uneventful. You land in Melbourne and then charter a private plane to Maralinga. Does anyone want to acquire weapons? (Most respond with a yes.) Brian: Okay, then make an Intellect (20 Streetwise) druw for legal firearms, and an Intellect (25 - Streetwise) draw for illegal firearms. Each success gets you one weapon. You can just go out and buy any swords or other melee weapons you want while you are in Melbourne. (Everyone but Zacharias winds up with at least some sort of weapon. Mathias and John wind up with fully-automatic assault rifles. John even gets body armor too.) Christopher: Michael, make a Perception (12 -Alertness -Enhanced Senses) draw. Michael: Two successes. Christopher: You see the man from your spirit vision sitting outside a restaurant in Maralinga. He’s puffing on a cigar and talking with some other older Aborigine gentlemen. Michael: I walk over to him and say hello. Jason: I go with him. Christopher: A dark-skinned man in his seventies looks up at you and says, ”Good day. New to Maralinga are you?” Jason: Yes. Michael: We’re looking for someone who can take us into the desert. We’re looking for something; maybe you can help us. Christopher: I don’t know about that, but I am a guide. I’d be happy to take on the service if the pay’s right. Jason: Money’s not a problem. if you can take us to the Chasm of the Machine. Christopher: T h e man’s eyes grow cold. His smile falls away an he looks at you a bit stunned. He’s serious looking now. (Christopher roleplays this out with his own facial expressions.) ”Yeah, I can take you there, but not too close. I won’t go in after you. If you’re not back by sundown, I leave without you. Youie probably not coming back, so I get my pay up front. Michael: How can we be sure you’ll wait o n us. Christopher: Well now, I guess you can’t be sure now, can you? All I can do is give you my word. Jason: Alright. (Giving Christopher a cold stare.)

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Book of the Spirits CB Page 3

e group discusses things with Dan, their Aborigine guide on an old bus. Christopher briefly describes the trip and the participants do a little roleplaying among themselves.) Christopher: Alright. After about a two-hour drive into the middle of nowhere, the bus gets a flat. Phillip: I transform into the appearance of a greasy auto mechanic with a cigarette and I get out to fix the bus. (Looking around at everybody.) Hey, gedoffada damn bus. I’ve got work to do, and yous guys are gonna have to help. (After more roleplaying and an attempt to change a tire. It required an Intelkct (8 Drive)draw. T i m gets a disaster (with two aces) and breaks off two lug nuts. Everyone is complaining.) Christopher: Make a Perception (ZO Akrtness) draw (Various number of successes among the participants.) Christopher: Everyone who got one or more successes notices that the large shadow of a bird is circling the bus. When you look up, you see the largest hawk-like bird you’ve ever seen. I t has a wingspan of at least I50 feet. Dan gives you all a mean look and gets back on the bus. H e says, ”Take off North and you’ll find the chasm, if the bird doesn’t get you first.“ Brian: What is the bird doing? Christopher: Just circling at a high altitude. Jack: I’m going to pop off a few rounds at the thing. (Everyone else chimes in with complaints.) Jack: No. Okay, I take that back. I’m not shooting. Christopher: Sorry, Mathias has already shot up in the air. It happened when you were saying that it was happening. Jason: Great. Now everybody knows we’re coming. Christopher: You begin t o see a little into the Reverie here. Brian: I need everyone to make an Inspiration (10 Illumination) draw. That defaults to Sup~rnatwral- the aptitude, not Supernature under distinctions. (Everyone gets at least one success.) Christopher: Okay. If you got one success, you can see that the sky is getting dark and looks pregnant with a brewing storm. If you got two successes, there is thunder and a strong breeze. If you got three successes, you experience the same thing, but you hear a low

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northward. You can also hear a chiming noise coming from the object. T h e ticking noise is louder for you and it too is coming Brian: We continue northward. Christopher: T h e sky grows darker and two more giant birds 11 in circling overhead. Michael: This doesn’t look so good. Does this area seem familiar Christopher: Yes, it reminds you of your spirit vision. Michael: (Looking at the other participants), the Chasm of the Machine should be just up ahead. Christopher: You all see the object glimmering ahead now, just as heavy rain begins to fall. T h e ticking is growing louder, and occasionally you hear a chiming noise.

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EVERLASTING @ Page 306

them a picture he has drawn of it.) It is made of polished brass, with some steel and chromed metal as well. There are at least a dozen colossal cogs that are each at least thirty feet across in diameter. There are hundreds, maybe even thousands of smaller cogs, with lots of levers, springs, cables, and weights. It has an almost Victorian look to it. T h e device rises out of a crack in the earth that is at least 200 yards wide, though much more narrow. T h e three birds just roosted on one of the brass bars near the top of the machine.

Brian: I walk toward the giant machine. (Everyone s him.) Christopher: Make a Perception (12 Akrtness - Enhanted Senses) draw. (Everyone gets at least one success.) Christopher: You can all hear the sound of things crawling up the side of the chasm wall. Suddenly an imposing, muscular man with brass skin, brass hair, red eyes, and reflective black armor, riding a hellhorse and carrying a glowing purple sword, leaps out of the chasm. This is followed by around seventy-five to a hundred orcs that scramble out of the chasm, drawing weapons of various sorts. T h e brass gentleman looks at you all and laughs, ”Hahaha!” From behind you, you hear another laugh and see your guide, Dan, standing there. H e transforms into a huge hideous nightmare shadow. Suddenly the brass man looks directly at Vilarias. Alan: Uh, oh. Christopher: (In a deep, smug voice), ”Aluqaris told me you’d be here in no time. Hahaha! Welcome.” H e tosses you the small device you came for. “Here is your damnable device. We certainly do not want it.”T h e device looks a little bit like a light bulb screwed into an octagonal block. T h e whole thing seems to be composed of a pearl-like metal. It seems t o change shape, but only t o an almost imperceptible degree every time you look away from it. It is cold to the touch and causes you to hear distant wailing sounds and corruptive whispers. ”It is over. Vilarias, you may go now, but your friends, well, they’ll be staying forever I’m afraid. Michael: I was expecting this sort of treachery. You’re gonna die Vilarias. Jason: N o t so fast, Jacob. N o t so fast. There’s something else. Alan: I’m playing my Chariot card. Vilarias presses the button o n a small handheld remote control. Just then you see a portal open in the air. Christopher: (In a slightly amused voice), ’What?” Alan: Yeah, Bnan, Jason, and I talked about the possibility that Aluqaris was working for the Old Ones while we were in the kitchen. You gave me that impression during the last session. We quickly wrote up what our protagonists planned for, JUSt in case this happened. Everyone can hear the crackle of lightning coming from inside the portal . . .

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mat does Klanas have planned? Will it be enaugh to save thefellowshrpf r o m certain doom? Will i t be enough reasonforjacob not to kill Klarias? Will Christopher recoverfrom the plot twtst that he had not planned for? What the hell is going on here? What is that werrd object anyway? Well, that all depends upon where y o u want to take the s t o 9 . . .

H a y of everything is luck . . . the other hagfate. - Akc Trmelion, Goldeneve

Adventures are the backbone o f T h e Everlasting; everything the participants do hinges upon telling a good story. Before a story can be told, you or whoever else is doing the guiding of the adventure should take the time to outline and develop ideas for the adventure. The basic parts of adventures are described in chapter 1.This section further describes each of those basic parts.

The plot is extremely important since it defines the purpose o f the adventure, what may happen, how and why the protagonists are what the possible outcomes will be.

?Iot %aticS Once you have chosen the form of conflict, you need to decide how to use it in ar adventure. This is the first step in actual plotting. All you need to do is come up with one sentence that basically describes the entire adventure. For instance, "The protagonists uncover and destroy a mortal slave ring that colkcts humans to serve asfood for revenants Another example, "One of the protagonistsfmds a haunted hotrse and, with the help of the other protagonists, exorcise the spirits that dwell there. From simple plotlines such as these you can develop adventures that take one or more sessions to create.

Subplots provide a Guide with an opportunity t o take a break and roleplay a protagonist, while allowing other participants to do some guiding themselves. You should work closely with the Guide in guiding subplots. T h e first thing you should do is get the Guide approval for running a subplot. If you and the Guide share some basic information about the plot and subplot without giving too much away, you will most likely have no problems. You d o not have t o tell the Guide what the subplot is about, especially if the subplot involves her protagonist, but you should stay within any plot boundaries she sets, otherwise the subplot may interfere with the main plot. T h e Guide will usually end a scene for the main plot and cue you to start the next scene, which will feature the subplot. Sometimes either before or after the main adventure. In such cases, the 2s not want to clutter the main plot for some - most likely because it is already complicatnough.

There are several types of subplots, but the three most popular are I) single protagonist subplots, 2) historical subplots, and 3) alternate character subplots. Single Protagonist Subplots T h e single protagonist subplot focuses on one protagonist's personal life, challenges, and problems. T h e other partici-

I*

Most often a Guide will oversee the direction of the main plot within an adventure. The Guide may also

ated in the same manner as plots. They are often composed o f scenes intermingled with scenes involving the main plot within the adventure. Subplots are usually smaller in scale and simpler in most-likelY focus One Or two Protagonists rather than a group.

characters that are somehow connected t o the protagonist - they might be friends, relaves, minions or anything else. T h e protago:is either one of the protagonists in the group or the Guide's protagonist, who cannot be with the other protagonists since she has problems method if the role of Guide is ed around among all the participants from session to session. This gives every protagonist a chance to have personal subplots. It is also simply a very nice way rewarding a participant for serving as Guide by highlighting her protagonist in a subplot. Historical Subplots Historical subplots are effective in providing insight into past events involving the protagonists, antagonists, or other characters. Whatever the case, the subplot might in some way relate to the current adventure, but take place in the past. For instance, in an historical subplot the protagonists might the fast time they fought their current enemy featured in the main plot.

Book of the Spirits Page 30

e Guide might give you a little direction and some information ass along to the other protagonists through this subplot, but otherwise she will probably let you tell of this past encounter however you see fit. Through the historical subplot the protagonists may things about the past encounter that will aid them in their current conflict.

Alternate Character Subplots These subplots are almost like separate adventures since the participants roleplay different characters in them. Often the Guide will give you some direction, or some specific things that should be included in the subplot, so that the subplot will relate to the plot. T h e protagonists may be ters within the subplot for this to work. Participants might dead immortals whose the protagonists what happened to them through the p dreams. Participants m They could roleplay eldritch can roleplay people who wro dying at the hands of by the protagonists. Parti mentors, recounting the t e possibilities are almost en

fantasy and whimsy within defying; ~- danger - in action faerie tales. It may also reflect the overall mood of the entire Odyssey. Some possible moods include: antiquity, black humor, brooding, dread, happiness, hope, humor, insanity, loneliness, mystery, natural beauty, paranoia, punk, suspense, romance, splatter, weirdness, and whimsy.

Milieu is the type of adventure story you are telling - be it fantasy, science-fiction, horror, romance, and so on. T h e milieu provides a certain Prom of characteristics commonlv associated with adventures ntained throughout an om adventure to advenries just of one

out and where it o will be involved. In most monly roleplayed by the paryou as to who will be the T h e characters should be kept 11 flow in a believable manner

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as the catalyst for persona development. As lesson from the adventure, they grow in so

aimed at the protagonists.

e antagonist is usually more important to an adventure than the tagonists, since it is the antagonist who often instigates the advenure and provides the source of conflict. T h e antagonist should selbe just some idiot who crosses paths with the protagonists. A antagonist is a memorable one who is at least the equal of tagonists in something that is important to the adventure, be mbat, scheming, magick, or manipulating others.

played through the adventure by having the protagonist, possibly by leading the

yer, but it teaches the protagonist a lesson. simple as "Good Overcomes evil," 1s a good theme. T h e protagonists may face overwhelming odds, but their evil opponent may still be brought down, so long as the protagonists are serving a greater good.

Mood represents the pervasive feel you ingrain in the descriptions - 1 1 1 1 -o events. You can emphasize doom and gloom in horror tales, death-

HE

EVERLASTING 6,Page 308

ing characters represent the remaining Guide characters, ranging from minions of the protagonists, to disinterested scholars that provide information to the protagonists, t o conniving henchmen of the antagonist, to a protagonist's highly intelligent and psychic cat. T h e possibilities are endless when it comes to ing characters, but they generally fall into three categories - I. HelEfuh 2. Neutral, and 3. Opponng. There should be only a few helpful characters, since it remains the protagonists' responsibility t o solve whatever problems they face on their own. Neutral characters, mostly strangers, provide information and are disinterested. Opposing characters range from minions of the antagonist to opportunists who are out for their own gain. Some opposing characters masquerade as helpful characters iintil l l the v ____ rhev --__ ran --. - tise __- a- sirtiatinn - ..m . rheir . ..- . . own - ..advantaw. -._ ..o-' i- -~- -s- -~I ~ aat expense of the protagonists. I_

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You do not need to develop character profiles on all the ing characters you create, but it helps t o list any relevant aspects and abilities that may be used during the adventure. Also list any important information they have, along with descriptions o f their appearance, voices, and mannerisms. By doing so, you d o not have to keep up with everything by memory. It often helps to keep all the ing characters listed on one or two sheets of paper, or on index cards, for easy access.

If you plan o n using ing characters as part-time central characters, the participants who roleplay them might be given some say into what those characters are like. If you wish, you might even allow them to create these characters as if they were protagonists, though you might limit their range of choices and the number of creation points (cards or dice) they receive for the creation process.

The recent weeks had beenfilled with signs and darkforebodings, as thoughfate were cying out that the circle would soon be broken utterb and at last. - Andrew Bennett, The House of Mvsterv #3 18 Here are some special story elements that you can weave into your tales t o produce more sophisticated adventures. Experiment with these and with any other new techniques you encounter or develop yourself.

Dreams A dream within an adventure might belong to a single protagonist. Other participants can either roleplay their own protagonists or other characters within the dream. T h e dream can also belong t o the entire group, such as a collectively shared dream. You can even roleplay the dreams of ing characters and possibly even the antagonist. Dreams can also be seen in third person, allowing the protagonists to watch themselves in their own dreams from some other view point than within themselves. T h e protagonist may be roleplayed by a different participant, while the protagonist's actual roleplayer plays some other character in the dream. You can tell a weird "what if" like tale in which strange and important events occur that cause profound changes in the lives of the protagonists, which at the end turns out to be a dream. You need not tell the participants the tale is a dream until the end when the protagonist awakes. While many people find this technique overused, it can still be effective from time t o time. You can use dreams for precognitive purposes, allowing protagonists to witness terrible events that have yet to occur, or provide them with clues within their dreams. You can also use dreams as internal plays within the psyche. Participants can take the roles of various parts of the single protagonist's subconscious, roleplaying particular emotions, repressed memories, the Id, Superego, Ego, etc. Sometimes dreams are not ed when a participant awakes - a card draw might be made in order t o . If ed,

the dream scene migh eplayed, but otherwise the dream can be recollected later as nts gleaned over the course of the day. These bits and pieces can be roleplayed by interrupting the current scene. Some fragments may build on others that are already recalled. However, as they are recalled over and over, aspects of what occurred can change. You simply roleplay that part over and make minor changes; the protagonist may react the same or differently. You also have more freedom when storytelling dream scenes. You can take greater control over a protagonist in directing her actions and behavior, since her subconscious mind is in control. You can warp reality, thus allowing you t o throw out all the guidelines for the scene and do as you please, since dreams are seldom logical.

bprlogues Epilogues are small scenes that may be added onto the end of adventures. Epilogues are often useful in providing participants (if not the protagonists) with glimpses of the outcome of the adventure. Epilogues may be simply told in narrative form or may involve roleplaying by allowing the participants t o take on the roles of ing characters or the antagonist. Epilogues can be used to show that an enemy did indeed escape, and that she killed three people before sneaking on board a luxury liner that set sail for South America. It can also be used to show how a family of ing characters put their lives back together after everything they owned was destroyed in a fire during the adventure. T h e purpose is t o provide some other perspective on the adventure's outcome, since the protagonists were most likely not the only 4 ones affected by their actions.

Flashbacks Flashbacks are meant to take an important role within many tales within The Everlasting. Flashbacks are important in allowing ancient protagonists to times in the past when they faced other situations very similar to the one they face in the current adventure, and how the past situation turned out. This often gives the protagonists some insight into how things will happen in the adventure set in the current time, and allows them to recognize their mistakes in the past and not make them again. Great detail concerning roleplaying flashbacks, including long-term flashbacks and protagonist development over the course of flashbacks, is included in the Codex of Immortality.

Foreshadowing Foreshadowmg provides a sense o f what is going to occur befor it occurs without openly stating it. Foreshadowing builds suspense and foreboding, and keeps the protagonists on their toes. It can be combined with dreams and flashbacks for dramatic effect. Foreshadowing may take many forms utilizing whatever is available in the setting location, such as odd remarks from strangers, key words or phrases that appear over and over in conversation or print, weird shadows that resemble symbols, prophetic dreams, and coincidentally-related movies, newspaper articles, and television programs.

control over them, and so on. In rare cases, a plot device may become a permanent effect, thus providing a real sense of uncertainty concerning the plot device’s outcome.

Prologues Prologues are like introduction stories that occur before the actual introduction o f the protagonists t o the adventure. Prologues are interesting ways t o introduce and focus upon antagonists and ing characters before moving into the actual adventure. Prologues allow participants to get to know these other characters, which is especially helpful if their protagonists are supposed to already know them - having met them long before the Odyssey started.

Surrealism

Knowing that certain events are going to occur does give the protagonists a certain edge, but it also gives them a sense of foreboding because the foreshadowing will make the events seem that much more inevitable. One of the best ways to use foreshadowing is to combine it with symbolism in the form of omens and portents of the future. The protagonists, being eldritch, are tied to the supernatural and will more readily notice how the ravens tend to follow them around and how the dogs bay whenever a certain person’s name is spoken aloud in conversation. Some omens may be noticeable only t o those who actively plumb the depths of the Reverie. You can find plenty o f dictionaries concerning the meanings of omens. Certainly omens can add supernatural authenticity to the foreshadowing.

Plot Devices Plot devices are events, locations, objects, and effects that affect one or more protagonists. Plot devices can come in many forms, such as: affects from a mystical realms; use of a supernatural device; a curse; a strange act of fate; the magick from a miscast ritual; a weird glowing orb; a preternatura out o f control; a zap from a weird raygun; an accidental spray of some chemical waste; or anyhing else you choose. Plot devices generally last for one adventure, though they can ast any duration within reason, such as from one scene to a few adventures. Plot devices can make up plots or subplots unto themselves. T h e effects can be positive, but only in rare cases. Even when plot devices are beneficial there are usually unforeseen consequences, such as everyone is out to get the character, the character suffers hubris, the character’s persona qualities begin changing for the worse, and so on. Some of the time the effects o f plot devices are primarily negative, such as the infection of disease, reduction o f strength, loss of memory, or the suppression o f all the character’s preternaturae. Much of the time the advantages and disadvantages

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EVERLASTING @ Page 3 Io P

Sometimes hallucinations, delusions, and bizarre events can improve the quality o f adventures. Surrealism consists of introducing fantastical elements into adventures in hopes of shaking things up and enhancing the drama. Often the fantastical events and images serve as metaphors of real life events. While participants may be shocked, often protagonists should act as if nothing out of the ordinary is happening. This only enhances the surrealism of the events. After it is over, the protagonist will most likely not give the bizarre events a second thought. T h e old image of a devil on one shoulder and an angel on the right is a good example. For instance, if a dragon is fighting her own sense of Furor against the humans, her dark emotions may take a physical form very much like her own, but one that is far more demonic. Her conscience and more benevolent emotions might take a form similar to her own, but one that is far more angelic. Both sides might try to persuade the dragon t o take their side and might even physically fight with one another or with the protagonist herself. T h e Twin Peaks television show featured lots of well-developed surrealism and can provide lots of other examples. Protagonists can encounter themselves as children, meet deceased relatives, live alternate lives, and accomplish incredible (yet all too fantastical) feats. Anything is possible in the Reverie and even normal human characters can experience scenes like this on occasion.

Symbolism Symbolism is an important element that should be worked into most adventures. Symbolism is important in legendmaking, allowing adventures to transcend the mundane and become personal mythology. Symbolism conveys an underlying meaning within things. This symbolism is often gleaned from our own understanding of what particular things symbolize. Some adventure elements symbolize many different things. A sword might symbolize war to one person and justice to another. In addition, several different real world things can represent a symbol. T h e ace o f spades, winter, the color black, a scythe, a skull, and a grave might all be used in an adventure to represent death.

you* Do Not Focus On Power: A character can have the greatest powers and wealth o n the planet, but if she has n o personality, she

In order to be a good storyteller, you need to be a good roleplayer. Roleplaying is basically the same as improvisational acting, except that you do not have to stand u p and physically act out your actions.

ParticiPants Often view the deaths Of their Protagonists as the thing that could to them- They grow attached to their characters and want them to prosper, h e long lives, and

.

have success after success. While this is expected, it is also boring + and the life works. It does not fit in with the idea of death-defying heroes who put their lives o n the line each day. Participants usually think through their characters' actions before having them act and generally have them err on the side o f caution rather than let them go where their heroic ions should lead them. Heroes live life on the edge, rather than minimize every potential risk. Their actions are meant to be intense, courageous, and decisive. No doubt Some Protagonists not survive the dangers they face, but facing danger with dauntless heroism against overwhelming Odds is what legendmaking is all about. Certainly valiant protagonists who strwe and fail, and even die, are far more b a b k interesting, and memorable than the most powerful, overprotected protagonists who reach 50th level. New protagonists can always be created, and they too can live life on the edge. Unlike most in roleP1aYing. In video games, there are unlimited lives addition, the heroes who struggle and survive many heroic tasks to live on happily ever after will be that much more memorable.

will be boring to roleplay. Focusing on developing power and influence should be balanced with personality development. Do Not Cross-Over: that you often know more than your protagonist does about what is going on in an adventure W h e n you use your own knowledge to benefit your protagonist, you are crossmg-over - going beyond the protagonist's scope of knowledge. This is unfair, and most participants consider it cheating. It sometimes happens by accident, but you should make every effort to avoid crossing-over. Those who cross-over should be penalized with b a d a s h points. First Person Dialogue: It is a must that roleplayers always refer to themselves as their protagonists in the first person. When a particlpant is talking about what her protagonist is to do, she should say, "1 am going to . . rather than ' T Mcharacter ~ to . . When to anotherparticipant, the should alwaysbe addressedand to as if she were her character, as "Whereare you gobg?" not / ' M ~character asks where is your characteris method of differentiating one between participant and protagonist is that a person can raise her hand when talking as herself rather than as her character. Make It Interesting: While shy characters can be fun, even they can do and say things that entertain everyone. Always stay active within the adventures, 2nd d o not wait around for everyone else to

do &ings and then copy play up ~ ~and G ~ &Rather ~ than isimply reacting ~ to events in adventures, have your protagonist use opportunities during adventures, as well as between adventures, to work towards

her own personal godsand agenda. Play Up Flaws: T h e most boring characters are the perfect ones. By playing up a character's faults, you make her seem more real. This is especially true with protagonists. Without problems to solve, and little idiosyncrasies, the protagonist is a very plain but

There are plenty o f other things that you can d o to improve your roleplaymg, here are some of them.

out

Avoid Talking of character: When you revert back to talking as yourself, not your character, you should let everyone know. You should also avoid doing it whenever possible, because it is distracting to others, and it can detract from the atmosphere and quality of the adventure. Along those Same lines, you should also avoid talking in guideline terminology when in character. (Ha ha! Take 14 points of debilitating damage you bloodsu&ng freak!) Protagonists should not go around asking what difficulty modifiers are, or if their wound is medium or serious. Bod,, bpge: all use body language nicate with one another, though we usually d o so on a subconscious level. By paying attention to your own body language, and actively controlling it, you can create mannerisms, facial expressions, stances, and gestures particular to a character. Watch other people's body language for things you would like t o incorporate within the character. If you work hard enough, you can make the

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Powerful Protagonist to Protagonist Interaction: Participants should make every effort to roleplay conversations between their protagonists. Some of the most interesting characterlzation occurs through this interaction. Soliloquies: A soliloquy is a device used in plays and movies in 'One, revealing her which a character talks aloud to and motlvations~Providing the audience with the information. Participants are encouraged to use soliloquies, primarily during the transitional scenes, as a n'KanS Of Providing insight into the Personalities Of their protagonists. Work On Idioms and Accent: You may wish to develop an accent and particular speaking manner for your protagonist. Preference towards certain words and expressions can be L n , so long as you do not Over use them and make the protagonist twodimensional.

Book of the Spirits Q Page 31

~

Do you believe in Planetary Consciousness? In 1958, Alfred Redfield put forth a theory that the chemical composition of the oceans and atmosphere are biologically controlled. Eastern religions and philosophies have long conceived life on the Earth as an interconnected web. It is Western thought - the dualism of Platonic philosophy - which separates the ideal from the phenomenal world. It is Christianity, that recognizes a transcendent God that exists apart from and above nature, that has led to the ecological problems we now face. The destruction of the rain forests, the depletion of natural resources, global warming, depletion of the ozone layer, contamination of all water supplies and the oceans, and the extinction of animal species. In the I960s, as an outgrowth of the ecological movement, the Earth became seen as a living, self-regulating organism. James E. Lovelock, a British biologist and consultant for the Jet Propulsion Laboratory of NASA in Pasadena, California, proposed the "Gaia Hypothesis," named after Gaia, the Greek earth mother goddess. Lovelock's theory that a homeostasis is made up of three parts that demonstrate that the earth is a biological, self-regulating mechanism.

I. T h e amount of methane and oxygen in Earth's atmosphere has remained almost consistent for hundreds of millions of years, even though methane and oxygen destroy one another on interaction. 2. T h e oceans have remained consistent in salt content at approximately 3.4%. 3. T h e earth's surface temperature has remained fairly constant, despite the fact that the sun is now radiating 25% more heat than it did 3.5 billion years ago when life first appeared. Lovelock's work first appeared in scientific journals, where they remained unnoticed, b

It would not be too much to say that myth i. the secret opening through which the inexhaustibli eneTies of the cosmos pour into human cultural man@station. Religions, philosophies, arts, the social forms of primitive and historic man, prin discoveries in science and technolou, the very dreams that blister sleep, boil upfrom the basic, magic ring of myth. Joseph Campbell, The Hero with a Thousand Faces

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Do you believe in Planetary Consciousness?

Book of the Spirits @ Page 3

s 6.

ost of us have become lost to the magic within our lives. We look at everything with tired eyes and tired souls, hoping to make it through life one day at a time. We spend entirely too much time worrying about our jobs, families, health, and (especially) money t o really enjoy our lives. We have given up all our dreams, imagination, and aspirations in life in exchange for security and stability. We are happy just siting back and letting other people entertain us with their stories, without any effort on our part. But it is never ever too late to rediscover within ourselves the wonders of life . . . all we

logical scars, hopes, dreams, strengths, and abilities. T h e objective is to test out new ways of living and perceiving the world.

m a t 'is ? ~ Y S O AJkyt&do~y? ~~

Whether you know it or not, you possess a mythology of your own, which is unique unto you. Your mythology acts as a guiding force within your life, though you are most likely oblivious to its existence. Your personal mythology is, in a way, the mythology of your culture, with certain areas strengthened and other areas diminished. Every thought and deed you have performed or witnessed has been a stroke upon the tapestry of your personal mythology. Even the seemingly "natural" and "everyday" activities of your life have been deeply shaped by your interests - what you eat, what you wear, how you speak, your interests, your thoughts, your feelings, r self-image, your relationships - all are tied to the mythic

er to understand what your personal mythology is, you must first understand mythology itself. Mythology today appears not in the obvious form of elaborate stories ed from generation to generation, and obvious ceremonial rituals o f our "tribe." The gods, demigods, spirits, and legendary heroes of tribal, classical, and medieval cultures have faded into antiquity. Instead, our modern cultural mythology appears in the form of television programs, books, movies, pop stars, musicians, super-models, and pro-

THEEVERLASTING @ Page 314

fessional athletes. O u r heroes and heroines are not venerable and ancient; they appear suddenly, have their impact, and then almost as abruptly back into obscurity. Lyrics of popular songs become mythic messages that deeply resonate in the souls of impressionable listeners. Television shows develop "cult" followings. Media stars receive countless fan letters each day. We do not recognize modern mythology because we cannot see the forest for all the trees; we are so immersed in a culture in which the media disseminates powerful mythic messages continuously. T h e history books and news sources only solidify certain messages presented. Stage, screen, song, education, advertising, religion, politics, literature, glorified activities, vilified activities, art, news reporting, and sports all bear strong cultural mythic images which impact our culture. Mythology has always existed as a means of carrying the wisdom and knowledge of the past from one generation to the next. Today, however, long-enduring myths are not holding up. Our social circumstances and conditions, and the proliferation of messages delivered by the entertainment only increases the speed at which our new myths change. The diversity of mythic images we have access to daily can be overwhelming. In the past, myths maintained conformity within society, allowing little divergence. Ancient mythologies were bound in traditions and laws, and, in some cases, the visions of religious leaders. In our modern times we have no consolidated mythology - our complex civilization maintains itself within a global community containing countless mythic images. People today are more capable of creating distinctively personal mythologies and reflecting upon them than at any time in human history. It is highly likely that your values and attitudes differ from those o f other people you know to a degree that would be unimaginable to cultures of the past. Never in history has such a vast collection of different mythic images been available. Heroes today range from the Terminator, to Michael Jordan, to Gandhi, to Batman, to Bill Gates, t o Jackie Chan, to the President. I t is no longer possible to grow up following in footsteps of our parents. Because you have so little to rely upon mythically, you are compelled toward self-reliance by drawing upon various sources unconsciously in building your personal mythology. Thus you find your guidance not in antiquated cultural practices, family codes of behavior, and ancestral beliefs, but from personal experience and exposure to a near-limitless array of mythic sources in the media. Your personal myths serve as structures of belief, emotions, preconceived notions, and images that serve mythic functions. Mythology serves four basic functions in our lives, teaching us - 1. Understanding of the universe, 2. Understanding our place in the universe, 3. Wisdom and success in life, and 4.O u r positive roles in the community (or subculture.) Your personal myths are often contradictory to one another. You are influenced by a wide range of contradicting sources of seeming wisdom - peers, parents, teachers, professional athletes, music, sports, and movies. Your behavior will sometimes express the conflicts in your personal mythology. In such cases where your beliefs and your behavior do not match, your personal myths are conflicting. Some people believe in honesty, yet lie constantly. Some people

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believe in independence, yet stay in a demeaning job working for other people for years. Times of indecision, inner conflict, loss of faith or courage, and the questioning o f one’s own morals, beliefs, and identity are warning signs from your unconscious mind for a renewal of your mythology. Your personal myths are deeply connected to your inner emotions and address themselves t o your past, present, and future. T h e myths define your sense of identity and give you purpose in the world. Your personal mythology serves as a lens that colors your perceptions and causes you to make specific assumptions about everyday experiences in your life. Your myths unconsciously affect what you think, feel, say, and do. It seems that unconsciously you are drawn toward certain central mythic themes in your life that are core to your being. You live your life self-fulfilling the beliefs found in your personal myths. For instance, if you believe you are never going to find someone you truly love, you probably never will find anyone. If you believe being cool means always being different, you always will be different, even when you don’t really want to be. If you believe you are brilliant, you will make better use of your mental faculties than people who believe they are dumb. So you see, myths are not ancient legends of heroes, but are instead powerful images that fuel your self-conception and operate on the unconscious level. Through our personal mythology we tend t o see our choices in life very clearly. We make decisions seeing only one correct path of action; we d o not view that path as our own right way, we view it as the right way, never realizing that there may be other options that are equally correct, or even more so. We also almost never see that path we choose might be the wrong one. Still, there come times when our personal mythology matches and converges with the mythology of a larger group (family, friends, particular subculture, race, sex, nationality, or world.) We sometimes recognize that our personal concerns are of little significance compared to greater problems faced by others, either individually or collectively. Sometimes we even recognize that no one is truly independent. We have always depended upon others for food, shelter, wisdom, protection, love, and success. Legendmaking in The Everlasting is about personal transformation of the self through participation in ritual exercises, roleplaying, storytelling, lucid dreaming, and relaxation techniques. Your goal is to recognize and define your own mythology, and discover t o what extent certain guiding myths are n o longer allies. You then look for counter myths that create conflict in your psyche. You examine the conflict and then synthesize the old myths and their counter-myths into a viable and useful mythology through confrontation with your beliefs. Once you have developed your new myths, you test them out upon the stage of storytelling. This is followed by applying your new mythology to your life. Legendmaking may be undertaken through whatever methods are preferred and by any number of participants - alone, with partners, or in groups. T h e person guiding the story is not the only one responsible for legendmaking. Just as you are expected to be a storyteller, you are also expected to be a creator o f your own mythology - you must be your own Legendmaker.

shall symbolize a deeper truth than our ewyday activities LPt us dose our lyes There is more to reality than what we see More than what we hear Canfeel

For now we are in the Secret World (Deal out major arcana tarot cards, if they are being used. Pause briefly in silence before beginning the story.)

(If the candles were extinguished, they can be re-lit before the

is called the Chart-based creative method and it will utilize tarot cards and various lists o f possible plots, NPCs, NPC reactions, events, outcomes, dangers, and so forth. For the free-form creative style, you do not need a protagonist profile or use actual system mechanics, but you can if you want. Simply having a protagonist profile can help you decide how well your protagonist can perform certain actions. Card draws (or dice rolls) can also provide a degree of uncertainty. You should always allow your protagonist to show her flaws, weaknesses, and unflattering qualities. T h e protagonist should not succeed in everything she attempts, or else the stories you create will really just become

boring power trips. Through the free-form method you basically do what writers do . . you write stories. However, you write your stories as you think them up, rather than thinking through detailed outlines of them before starting. You get to discover what happens as soon as the characters uncover the plot and decide their own actions. You will be amazed at the directions your stories will take when you do not try to force certain On characters. It as If you let the characters be themselves and determine their own actions. T h e

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And so this mythic journey comes to an e n d . . for now. Participants (One by one) Optlon~ly,each may have her make a closing statement, possibly a few words to the other protagonists or as a short so~l~oquy. Any who have to say may

ur writing efforts are what professional writers experience

An example would be: human. 1will not rest until the end, there

back into the mists

Candles of particular

een your protagonist nship with one of your

itary legendmaking, your Yellow - Questers Brown - Nature, Manitou Dark Red -Vampires

Gold - Osirians

Dark Gray - Gargoyles

Green - Elves

If you do not have anyone to share in legendmaking with you, then you can do your own solitary legendmaking. Solitary legend-

of your own than stories cre-

Odyssey but still want t o do some solitary legendmaking with your protagonist. By doing flashback narratives you get t o know your protagonist better and can share the flashbacks (if you wish) with your Guide and fellow participants. There is no appropriate length to the stories you create through solitary legendmaking. If a story takes a page, then it takes a page. If it takes 60 pages, then it takes 60 pages. What matters is that the story is fun for you t o create.

I like to consider myself an open-minded skeptic, but I grew up with some strange experiences. My aunts and cousins who live in California and Illinois come back home to Georgia every summer, and sometimes for Christmas. O n nearly every visit, we have several hours of conversation concerning ghosts and other weird things they have experienced. See, the women o n my mother’s side o f the family see ghosts. They are not flaky New Agers, gullible true believers, or weirdoes - they are normal people. They don’t even make a big deal out o f their experiences. They are not afraid of the ghosts they see; in fact, some o f the ghosts seem t o comfort them. The ones they have trouble with are the ones that foreshadow death. My mother claims to see a little old lady who stands over her shoulder and who walks through the kitchen, but only shortly before someone dies. My aunt saw her father and son after death, and has had other encounters. A cousin could hear her friend strumming a guitar in her bedroom shortly after the girl was murdered, along with the rest of her family by the father, who seemed possessed. I suspect the men see or hear things too, but they are less forthcoming about things. I have certainly had numerous strange experiences myself (involving my grandfather, a ghost that haunted my college, and a t least two malign entities - among other things.) So, I think I get my own fascination for the unknown from my mother’s side of the family. I have learned from them that there may be more to reality than what we see. Maybe ghosts are just a form o f energy, some mental hallucination, or some other unknown phenomenon. . . or maybe they are independent entities. I don’t know. What I d o know is that growing up in a Southern family that talked about these things built my imagination and sparked my love of fantasy, horror, and roleplaying in particular. I hope you enjoyed this curious Book .f the Spirits. May your own experiences with the spirit world be either benign or benevolent, and I wish you the best. Sincerely, Steven Brown

11/11/98

Abilities 48-50, 272-275 Abominations 28-29 Abyss, the 105-106 Actions 74 Addictions 281 Adventure creation 21-23, 307-310 Adventure (story) elements 309-310 Agartha 264-265 Aging 281 Airts 269 Ajam 224-225 Altered states of consciousness 20 Ambience 289 Amoliators 199 Angels 244-245 Animal hosts for manitou I33 Animal totem, sample 149-150 Animal totems I32 Animalism 135-136 Animus 59 Antagonists 308 Armor 278 Art, magick 285 Artistic value 20 Ashen tongue 233 Aspect descriptors 6 7 Aspects 47-48 Astral Aethyrs 265 Astrological auspices I I5 Atatarho 139-140 Backlash points 62-63 Being everything to everyone 272 Benedera 168 Benefits & drawbacks 53-54 Biography 51 Bloated things 199 Blobs 199-200 Body Carvings I02 Body jaunting 109 Borderlands of dream 269 Bound ones 235 Breath, holding 295 Burgalborg 1I I Candles 3I6 Cannibalism I 4 4 Cards 70-79 Cats of the Dreamworlds 179-180 Ceremony for The Everlasting 3 I5 Cerunnos and Gaea I38 Chantway 143-144,289-290 Chaos barrier 266 Circles of the storms 142 Clans, rnanitou 139-141 Combat 76435,276-278 Communal protagonists 17-18 Concepts, twenty questions 39 Constructive escapism I6 Consuming flesh 144 Corruption I74 Covert pagan network I42 Cthulhu I96-I97 Daevas 245-246 Dalhan 225-226 Decimalized scores 88

Defilements 207-209 Defiler War 28-29 Dementia 46 Destiny points 6 1-62 Dhylocs 200 Dice 70-79 Difficulty 72-73 Disasters 73 Distinctions 50-53 Djinn affinities 241 Djinn anatomy 215 Djinn character creation 237-238 Djinn countenance 220 Djinn culture 230 Djinn gentes relations 237 Djinn history 227-228 Djinn introduction 212.213 Djinn lexicon 212.219 Djinn mythology 228-229 Djinn psychology 222-223. Djinn senses 220 Djinn servants 236-237 Djinn sustenance 221 Djinn vulnerabilities 221-222 Djinn. forms of the 216 Djinn, nature of existence 214 Do you believe? Astrology 271 Auras 301 Djinn 21 I Gargoyles 9 7 Great Old Ones 193 Numerology 3 I Ouija boards 69 Out-of-Body Experiences 259 Shamanism I27 Spirit Possession I65 Supernatural creatures 243 Doomlands 27-28,263 Double or nothing 76 Dragons 246-248 Drawbacks, sample 53-54 Dream denizens I 7 8 Dream minions I 7 8 Dreams 309 Dreamself 267 Dreamshaping 172 Dreamworlds 27, 266-269 Dural form 216 Efrit 224 Elder Lords 196-197, 229-230 Eldritch among us 261 Eldritch, other 244-256 Eldritch Ties 52 Elements, important 24-25 Elves 248-249 Embodiments 152-I53 Encumbrance 281 Endurance 295 Energumen 239.241 Enspiritment 133 Epilogues 309 Equipment, starting 61

Experience level 59, 63 Experience points 63-64 Extradimensional rifts 262-263 Faerie 249-250 Faminers 200-201 Fear feeding 171-172

Flashbacks 309 Foreshadowing 309 Freeform system 87-88 Gambling and bluffing 74-75 Gargoyle affinities 125 Gargoyle anatomy 100-101 Gargoyles, basics on 36-37 Gargoyle character creation 119-121 Gargoyle countenance 102 Gargoyle culture I I O Gargoyle fienzy 107108 Gargoylegentes relations 118-1 I 9 Gargoyle history 110-11I Gargoyle odyseys 125 Gargoyle psychology I04 Gargoyle sanctums I I I Gargoyle senses I 0 3 Gargoyle sustenance I03 Gargoyle vulnerabilities I 0 3 Gargoyles, introduction 98-99 Gargoyles, nature of existence 100 Genos, protagonist creation 36-39

Guidelines, Advanced 272-299

Hosts of the possessed 169-170

Injury guidelines, physical 278-280 Intents (four classes of magick) 284 Inventing own guidelines 272 Irem 230-232 Iremtech 233-235

Keemon form 217

Legendmaking, example of 304-306 Leviathans 197-198

Guideline 70-77 Manitou 128-132 Possessed 166-168

Magicians 282-283

Magick 282-293 Magick, appearance of 283 Magick, basics 55, 282 Magick difficulty modifiers 288 Magick matrix 286 Magnitude 286 Manitou affinities 154 Manitou anatomy I30 Manitou, basics 38 Manitou character creation I 5 1-152 Manitou clans 139-141 Manitou Countenance 130 Manitou creation and purpose 137I38 Manitou culture 139 Manitou embodiments 152-153 Manitou frenzy 136-137 Manitou gentes relations 150 Manitou lexicon 128-132 Manitou mythos I37 Manitou odysseys I 6 3 Manitou psychology I34 Manitou racial memory 135 Manitou senses 130-131 Manitou shapeshifting I3 I Manitou sustenance 134 Manitou totems 157-162 Manitou vulnerability I 3 4 Manitou, introduction 128-129 Manitou, nature of existence 130 Manitou, new hosts for 154 Manitou, small I 4 1 Marid 224 Medical treatment 85 Milieu 25-26, 308 Milieu elements 25-26 Mood 308 Moon and planets 269 Moon cheese I 7 8 Murgoleths 202 Mystical thirteen 75 Nasnas 226-227 Natural reverence 138 Necronomicon 229 Nefal form 219 Nightmare realms 268-269 Ochelum culture I76 Ochelum mythos 175 Ochelum, activities of the I77 Ochelum, life of the 176-177 Oneira 188-189 Odysseys 23 Old Ones 196-197,229-230 Old ways, the 143 Order of Thendis I12 Otgon the defiler 28-29.194-195 Osirians 252-253 Paths of magick 289 Percentile System 89-90 Persona 44-46 Persona development 46 Persona Guidelines 294-295 Personal mythology 3 14-315 Phantasia 268 Plots 307

Possessed, affinities of the I90 Possessed, basics for the 39 Possessed, character creation for the 185-187 Possessed, countenance of the I 7 1 Possessed, creating new hosts for 187 Possessed, gentes relations of the I84 Possessed, guiding the I 9 0 Possessed, introduction to the 166 Possessed, lexicon for the 166-168 Possessed, nature of existence 170 Possessed, odysseys for the I90 Possessed, roleplaying the I89 Possessed, senses of the I72 Possessed, vulnerabilities of the 173 Preternaturae 55-58, 207-209, 238 Prisoners of the stone 1I 7 Prologue, An October's Ending pt. 3 6-12 Prologues 310 Protagonist Creation 33-64 Protagonist journals 66 Protagonists, basics 32-35 Psyche 52 Pure ones I42 Questers 253-254 Real world 260 Red shamblers 203 Regeneration 86 Reservoirs 288 Resilience feats 295 Resources 52 Revenants 254-255 Reverie 26, 260-262 Reverie awareness 297-298 Reverie, basics 26 Rewarding the guides 303 Roleplaying 16-17, 311 Roleplaying gargoyles I 2 4 Roleplaying manitou I 6 3 Roleplaying the possessed I89 Rugaloti 202-203 Running 296 Sacred mysteries 122-123 Sacred Ones I I8 Sath Stygias I 7 6 Secret language, rnanitou I43 Secret world 260-269 Seelah form 2 I 8 Sekaris form 218 Serim 226 Servitors 52 Setting 260-269 Shadows 182-184 Shapeshiftlng 131 Sihr Halal291 Siltim 203-205 Simsu 113-114 Smeanng 103, 106 Smokeless fire 221 Sodality of Black Hearts I I 2 Solomon 232 Somnomancers 180-181 Somnoriums 267-268 Soul-prisons 169, I76 Speed 3 5 , 5 9 , 7 8

Spellcasting, forms of Spirit visions 139 Spirituality 52 Spontaneous magick 287 Story Creation 21-23, 302-305 Story creation elements 21 Story creation format 22 Storyteller advice 302-303 Storyteller, roles of 302 Storytelling 18-19, 302-310 Strength, feats of 281 Subjects of magick 284 Subplots 307 Supernatural reality 260-262 Supernature 52 ing characters 308 Surrealism 310 Sustenance 59-60 Sutekh 227 Swimming 296 Symbolism 3 I O System basics 70 Tarot cards 90-93 Temporal Ties 52 Thal221 Theme 23-24 Theme, other elements 24-25 Theme, primary 23-24 Throwing 281 Tiawath 141 Torments 60-61 Torments and degradation 293-294 Totem inheritances 155-157 Totemic lords I38 Trauma 79 Tribes of the djinn 223-227 Unbound, the I77 Underworld, the 264 Unnaturals 142-143 Unspeakable horrors 195-196 Urgis form 219 Url'Goltzati 205 Urontonthis 198 Vampires 255-256 Verdantians 144-147 Voices of the celestines I 0 8 VR gargoyles 113-114 Vulnerabilities and true death 86 Wakanda 147-149 Waking Dreams 267 Wounds and death 86-87 Ydthigs 206 Yugtuhul 167- 168 Zhat 233 Ziggurats of dream 175-176 Zurgoth 27-28 Zurgotic larvae 206

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