Several days ago, I bid my regular role playing group, with whom I've had the pleasure of hosting several successful campaigns, a fond farewell, as the majority of them were no longer able to reliably commit to our weekly sessions. Of the various reasons this had transpired, chief among them was the issue of transportation, as a strangely prevalent trend of geographical relocation had taken hold of many families in my area (read: they all moved away). Where others may have seen a definitive end to their familiar group of players, I saw an opportunity to familiarize myself with the various practices and technologies of 'long-distance role playing'. I know not if their resolve to play is as great as mine, or if their commitment to the game will follow them wherever they lead, but I'll do my best to facilitate the process of adapting our around this new obstacle. Even in the event of catastrophic failure, I'll surely be wiser and more informed from the experience.

As previously mentioned, this is a relatively recent challenge I've undertaken; therefore, I unfortunately have little to offer by way of informed, experienced guidance on the matters of long-distance role playing. Be this as it may, I've decided to supplement what little knowledge I have to offer with a brief 'spotlight' on a website with a number of resourceful tools and a dedicated community:

The programs offered on this site, though a bit technically daunting for those uninitiated in Java, are well-built, customizable, and well-suited for the specific roles. 'DiceTool' and 'InitiativeTool' aren't anything we haven't seen before, but the other three, particularly 'MapTool', are definitely worth noting. As revealed by my veteran role playing contacts and personally tested in preliminary trials, it serves as an excellent virtual medium for representing the board/field-of-battle/play area/etc.; especially when paired with 'CharacterTool'. For managing out-of-character communications and general connectivity, I've been instructed to survey the ever-popular 'Skype'; a program with which I'm sure many of you are already familiar. For those who aren't, it appears to provide registered users with a means to communicate through both instant messaging and voice chat, a feat accomplished with 'Voice over Internet Protocal' (VoIP) and the technologies pertaining thereof. I won't bore you with the technical details, primarily because I've never previously attempted to utilize its services, but I can say that there appears to be much confidence in the Skype + MapTools combination within the role playing community (the one I frequent, anyway).

Hopefully, this will be just the thing I need to keep us all together.

I thank you for your time and attention.

The Unemployed Geek

I'm not much of a professional critic, nor am I particularly skilled appraiser of the various aspects of tabletop gaming, but I like to think I can recognize a valuable resource when I see it. When such a discovery is made, I verify its authenticity as best I can, and provide it to you, my dear readers. This reliable process has guided me through every post viewed on this space, and has lead to my first advertisement of a foreign, yet truly exceptional tabletop-(amongst other things) oriented blog:

The titular proprietor of this blog, as evidenced by his wealth of knowledge that spans 100+ posts (and counting), clearly knows what he's talking about. Whether it's a meditation on video games, comic books, convention activities, or good old tabletop gaming, he's sure to offer a clear, concise, and (usually) impartial overview of the subject material within a post of appropriate length. Quite frankly, I can't say much about his work, for it already speaks volumes for itself. However, I will confess, with a measure of stinging pride, that I'm quite envious of the vastness of his 'geek know-how'; a depth of intelligence concerning the various mediums of fantasy/fiction and the industries relevant to their production (someday, I hope to match this impressive amount of experience, but I'm sure that will come, with time).

This impressive mastery of the 'geek' lore, paired with the consistent quality (and quantity) of his posts, sets the stage for quite a shock when one examines the total count of his followers. This passive tally may not mean much to you, but to me, it shows a disturbing lack of recipients for his insightful advice and wisdom concerning subjects often displayed on my blog. So, if you're seeking to expand your understanding of the world of entertainment outside of tabletop gaming, or if you simply wish to refine certain skills within said niche, I urge you to subscribe to his publications. If it's not too much of a bother, I'm sure a little more exposure for him wouldn't hurt, either.

Thank you, for your time and attention.

How to Run a Horror Game: Part 2

After a regrettably extended period of delay, I present to you, my patient readers, a medley of creative horror 'scenarios' one may use to punctuate their horror/suspense game of choice (as provided by the usual gang of grizzled GM's).

“Enact a 'sanity' system. whenever the player loses sanity points, hand them a slip of paper with a phrase/command/nonsense on it to represent the voices in the their head.

Make it sound harmless at first:
"Stare suspiciously at the player to your left, then draw a finger across your throat. Deny everything afterward."
"You suddenly have a craving for steak. Rare as possible."
"Everything will be OK. This is not your fault."

As things progress, make them more and more malevolent and creepy:

"Until you cut it out, we will always be able to track you"

"It's weAring his skin. iT's watChing you frOm behind hiS eYes"

"Please wake up. None of this is real. You're just having a nightmare. Please wake up."”

“Give them a stat that doesn't really do anything. Whenever things get tense, have them roll it, then pretend to jot down some notes. Makes 'em paranoid as fuck.”

“The party moves their conversation into a room which they can lock and is private so they can discuss their plan. Suddenly a knock is heard on the door. If the party ignores the knocking, it will continue. If someone asks "Who's there?" There will be no answer. The knocking will only stop once a party member opens the door. The doorway will be empty and so will the accompanying hallway. The party member can then shut and re-lock the door. A short time later, the knocking will come at the door again. Once again, no answer, and when the door is opened,the knocking stops. Shutting the door again, the party member only has to walk away from the door for a moment, before this is another round of knocking. This time when the party member opens the door, there will be a piece of paper laying on the floor at the foot of the door. If the PC reads the paper, it will say:

"Now we are all inside."”

“You may have to use your DM powers to just plain old fuck with the players. I once had a mission that ran through a haunted mine. There were un-killable monsters, sections of tunnel that were never the same twice, I would change details and act as if I never did, I would be purposely ambiguous about my descriptions of things, and I would implement plenty of "false trails;" hinting that something is about to happen but it really doesn't. Another good thing is to just make your players roll for stuff when they're just walking along. You don't even have to tell them what, or they could be rolling for nothing, as long as they believe something bad might happen.”

“Have the PCs in an area with a wall sized mirror and a strong light source. As they're passing through the room, the light flickers. If the party looks at the mirror, they see their shadow instead of their reflection. If they look at their shadows, they instead see their reflections, which smiles calmly and mouths a phrase before the light flickers again and everything returns to normal. If any PCs can read lips, they would understand the message: "Now it's your turn to switch around.””

“A tumbleweed blows across the street. Funny; they're not native to this area. It blows back again the other way. The PCs pass it. It starts to follow them. It has teeth.”

“The barber pole lights up and starts twirling if a male PC passes it. Raw screams can be heard from inside the shop, though there's nobody to be seen. The screams sound as though they are being made through a gashed throat rather than someone's mouth.”

“If the PCs venture into the cinema, a perfectly ordinary movie is playing (something the PCs would be familiar with), but all the characters are dead.”

“The supermarket/grocery shop is offering a special on eyeballs.”

“The PC's stop at an abandoned diner; the name of a missing/deceased PC inexplicably appears on a long-discarded menu.

(Today's Special: John T. Smith

-John Smith Chops
-John Smith Stew


“Corpses lie in the streets, quite obviously dead (gangrenous, bloated, all that), surrounded by clouds of buzzing flies. Every so often, the corpses swat at the flies, but then lie still again.

“The PC's encounter another "traveler", a man/woman/child with no weapons and absolutely no flaws at all, physical or mental. The person is extremely nice and helpful, and the monsters seem to avoid him or her. Beneath the streetlights, it seems like you can see the person's shadow moving in strange ways out of the corner of your eyes. Its movements don't correlate to those of the person casting it.”

“An orchestra is apparently taking place within one of the buildings, which has flickering lights in the windows. It grows louder as one approaches, but as soon as you enter the building from which the sound emanates, the lights go out and there is the sound of hushed whispers. Investigation finds a conductor's music stand and seats for all the band members, but no one is there. Occasionally a whisper comes out of a darkened corner.”

“Hoarse whispers float up from open manholes. "Save me," they say, accompanied by the sound of grinding rock and splashing sewage.”

“The player walk past a graffiti-covered wall--one prominent piece is a child's drawing of a door. Behind them, they hear the sound of a very rusty hinge squeaking. If they look back, the door is now real, and open.”

“There it is again.

And again.

They didn’t imagine it the first time they heard it. Shuffling footsteps that are intermittently carried on the still air of this unnaturally quiet town. Also, the faint clink of what sounds like chains being dragged.“

“As they walk through the swirling white silence they think they hear a pit-pattering echo to their steps. The soft noise stops each time they hesitate, so that one cannot tell if what they heard was real or just a figment of their apprehension. They feel the cold chill as a drift of the fog caresses their faces. It is then that a soft child’s voice whispers, “Tagged, I’ve got you!”, then a giggle in a high sweet laugh that seems to come from every direction at once.“

“They hear the yowls of a distant cat fight, which is strange because they have yet to see any animal life since coming here.”

“When gazing into a reflection in a pane of glass, a PC sees briefly the face of a dead loved one looking over their shoulder.”

“Pieces of shredded newspaper blow down the street. If a character reads a piece, the text therein at first seems to be describing their personal failings, predicting their doom or revealing some deep personal shame, but on second glance this is just a coincidental sentence/headline to an otherwise unremarkable news story.”

“You and a friend sit in the living room watching a videotape you made of yourselves talking at around 4:30 AM a few nights ago, laughing at your nocturnal antics. As you enjoy the absurdity of your conversation, you notice that the figures on the screen have stopped speaking, and are staring intently. As this continues, you start to speak to your friend, when you're interrupted by your videotape counterpart saying exactly the words that were leaving your mouth in a mocking tone.”

“Billboards or posters advertising the PC's and their various sins and flaws.”

“Several monsters re-enact an important scene from a PC's life, with just enough details (a certain jacket, out of place props) for the PC to recognize the scene, even though all of the dialogue consists of grunts and growls. If the PC's allow the scene to play through to its completion, the monsters revert to normal behavior and attack.”

“A school bus full of child-like monsters, apparently asleep. They can wake up.”

I hope you (and your players) have found that the wait was well worth it.

How to Run a Horror Game: Part 1

Hosting a truly memorable game of the 'Horror/Suspense' genre is doubtlessly one of the greatest challenges of role playing know-how one can undertake. With a complete dependence on atmosphere and player immersion, the delicate pacing and scare tactics needed to frighten one's participants will separate the good storytellers from the great ones; amateurs need not apply. With this daunting task before us, we turn to our peers for assistance, drawing upon their attempts at inflicting psychological stress. Though I've no intention of running my own fear fest in the near future, I've been able to procure much quality advice concerning this formidable challenge from the usual collective of experienced and competent Hosts/Players with which I'm very fortunate to interactive with on a regular basis.

Without further ado, I shall now present a general 'how-to' on crafting and executing a Horror/Suspense game; initially provided by the brilliant 'Dr. Baron von Evilsatan'.

"How do you create horror?


Atmosphere and willing participation.

You cannot scare someone who doesn't want to be scared. You are describing things verbally, and if the player refuses to imagine them, they will never be scared of them.

Atmosphere is how they will imagine them. Use small wrongs to build up tension, larger wrong to accelerate that tension, and when that tension is at its peak, hit them with a horror set-piece. They won't accept either of the latter early on, because they're not in the mood. The small wrongs are there to get them to set their disbelief back just that little bit, and push up the tension slightly higher. That lets you worm in something more wrong, and the process repeats. Never drop a set-piece until they are demonstrating physical signs of discomfort or you'll waste it. The walls, roof, and floor of the giant room you're in all growing faces and starting to sing folkloric music is silly if you aren't in the mood, but if you ARE in the mood, it will fuck you up chronically.

Something critical to your success, or failure, in a horror game will be rules.

Rules provide predictability. Rules provide stability. Rules provide a known quantity to which everything can be reduced. These are all bad things for horror. If you want to make horror that works, you have to be willing to adapt the rules of the game to meet your needs. You need to keep the players tense and on-guard, especially if you intend to use their paranoia against them. Follow the rules, more or less, but make sure you change them. Make large changes to the rules and keep them that way for a while. Make a one-off exception. Change something,then change it back soon after. If possible, use a system the players are not intimately familiar with. If the players lose the sense of predictability known rules provide, it firstly provides tension, and more subtly, forces them to listen to your descriptions as a whole, instead of just hearing the relevant stats and rolls. That in turn makes them more susceptible to horror tactics. Be sparing, though. Make sure every change is backed by, and appears to have been caused by, something operating in the game world. If they draw causality from there they will pay more attention to the game world, and that makes them listen more and imagine. This also ensures that your players will believe that there are rules. While you don't have to let the players know what the rules are, and you should never do so for horror, the players have to believe a set of rules exist or they will instantly have all immersion destroyed as they realize this is purely based on arbitrary whim. They won't see the point in playing if their cause doesn't lead to an effect.

The challenges the players face are the basis of the game. I like to divide the challenges the players will face into four categories here, for ease of description. First, normal threats. These are threats you can beat by fighting, as in a normal game. Normal things for that world. These challenges the players will beat by fighting. If they run, they escape, but the threat remains. If they ignore it, they get hurt. If they play along, well, work it.These should start the game, to establish the rules you're going to change. As the game progresses, these challenges should get more and more difficult to fight, without actually becoming implausible to beat, to maintain tension.

Next are the Unstoppables. These are challenges, threats, or things that the players can't reasonably overcome. They should run from these,as fighting will get them hurt, ignoring will get them hurt worse, and playing along will get them hurt worst of all. These should come up soon.As the game progresses, these become more dangerous, going from likely hurt, to certain hurt with death chance, to certain death with only a notional chance of survival.

Next, comes the phantasmal challenges. These are challenges that aren't, usually the result of twisted perceptions. They come up later in the piece, once the rules have been changing considerably. These threats cannot be fought without being hurt, and cannot be run from because they will just follow. If you play along you'll either get hurt or stay trapped. The only way out is to ignore them. These must come later in the piece, so that the tone of the campaign already fits things undefeatable by normal methods. The effectiveness of such threats is overwhelmingly based on your description. As the game progresses, these should be less and less obvious, and take more effort to discern the 'escape move'.

Finally, there are the ineffable challenges. These are challenges the players cannot beat, run from, or ignore safely. To escape these, the character must play along, or find a mental escape. Think the Creepy kid from movies and games. These are often the part of the Big Threatof a horror campaign. These have to come latest in the piece, because firstly you need something that is threatening enough that the players have to play along, and secondly you need to show them subtly how to do these. As you progress, these challenges should take more complex, vicious, or unwanted actions from players to play along.

At first, keep all the different challenge types distinct. Then, as the players start to figure out the differences, blur the visual lines. Then, blur the actual lines of the rules. Always leave the players in doubt as to what it is they should do here. Not crippling doubt, save for big setpieces,but ensure every time they plan to deal with something there's that niggling concern in their minds that this might not be the way they think it is.

Pacing is next. This will come down to your ability to read players, and set the pace appropriately, but I find that when I run campaigns a fast pace works best. Always keep things moving slightly faster than the players want to. Don't give them time to stop and think. They start analyzing, they start wondering, they start to figure out the rules and your part in playing them. Keep them moving fast, and don't let them quite catch their breath, and the tension will keep up. Vary the pace slightly, to keep it interesting. Generally accelerate things towards the end. I like to keep the denouement of my horror campaigns with things moving so fast the players barely have any idea what's going on, which is extremely effective in building up the tension. Force them to choose fast, and give them the worst result if they don't choose quick. Just make sure you don't push it too far, into the realm of being unfair instead of just tense, or they'll stop playing along.

Also, if you think you can do it well, try to throw in sudden stops near the end. Points at which everything just slows down. If you've turned on the little paranoia in the players' heads, this will drive them insane. Do this very rarely, though, or it gets very obvious and very old.

Be descriptive. Being descriptive is utterly vital in horror. A good descriptive GM can make anything seem scary. A mechanical rote DM will make having Yawgmoth propose to you seem mundane and uninteresting. I can't tell you how to be descriptive, since everyone has their own style, and trying to play to another person's style just doesn't work. What I can do is give you a few tricks.

The first, and most common, way of creating tension is the 'nearly there'. That's where you take something very ordinary, and change just the littlest bit. That exploits the players' familiarity, and can work quite well. Another trick if you can do it well is to exploit that familiarity further and not fill in that missing detail until later, playing it as the characters having overlooked it. If you can do that well, it works wonders, making their acceptance of something comfortable even more disturbing. Something like an ordinary beach, plain sand, plain water, buckets, pails,dead fish every so often, and a little seaweed. All rather ordinary, save that the waves are rushing outwards from the sand. Be subtle here,though. Doing this hamfistedly will just annoy your players, kill the mood, and destroy the tension you so painstakingly built up.

Next comes the opposite, or the things that are just wrong, except for one small detail. Focus more on the one small detail than the wrongs.This is more effective once tension has built up, and the players are more willing to accept the strange.

Then comes the outright wrong, where there are no redeeming or familiarizing features to a thing. This only works once tension has mounted considerably and the players accept these things without thinking. Because these depend on their alien-ness, use them as sparingly as possible. They make good cores for horror set-pieces.

Finally, there's the absolutely normal. Only working once the tension has driven your players paranoid, this is something that appears completely normal because it is. Once you've been encountering the horrific and ineffable for hours at a time, something completely normal represents a drastic shift in the rules. You can, if you're good, achieve more fear from something utterly normal than something ostensibly terrifying.

Critically for all descriptive GMing, be descriptive, not prescriptive. The more alien a thing is, the less direct the information should be. Ideally,you want most of your descriptions to raise far more questions than they answer. Even the most horrific known thing can only be as horrific as it is. The unknown, though, is as horrific as everything it can be.

Description is also where you produce real fear in your players. When something goes wrong in horror, never let it be a strict number, or simple YOU ARE DEAD. When something goes wrong, it should be incredibly unpleasant. If what the players fear about failure is that death means end of game no more rewards, you've failed. If the players fear failure because of what happened to their character the last time they fucked up, you're doing it right. A player doesn't fall to zero HP and die; they have their ribs torn open and feel the edges of their vision fading,as they desperately try to stop the bleeding from everywhere at once. They don't get hit by a shadow damage trap, they're sucked violently into a shadow on the floor, fingers gouging tracks in the wood, and after falling under screams of primal fear and pain can be heard from insidethe walls, before the character inexplicably falls through the roof, bloodied, and with a look of utter terror on their face.

Seeing as we're on description and its role in producing horror, there are some types of horror eminently suited for role playing, and many that are not. Don't use 'BOO' horror. It is purely visual and doesn’t work at all here. Even if it did it is the worst kind of horror and is only used in compensation for the failure of the creator to produce something meaningfully terrifying.

Disturbing horror, as in describing things that just make you feel personally uncomfortable, takes exceptional skill, since it's completely dependent on your ability to read your players. If you can do it and maintain it just below the point at which the player has had enough and just leaves the game, do so. If you can't read the player, don't try. Also, don't do it to any player unless you can do it to all, as it'll make that player feel you're trying to go after him personally.

Fear of consequence works well, since the total control over the character and the tension you're creating work to make players empathize with and become immersed in their characters. This is where the consequences mentioned above become truly upsetting.

Paranoia creation works perfectly here, since you have complete control over information, and the players are inherently using their imaginations. Use it, and use it well.

'WHAT THE SHIT IS THAT' may or may not work. That all comes down to your ability as a descriptive GM. If it does, exploit it mercilessly.

On a side note, the use of motifs can work very well in horror. Try to associate all the worst events in the game with one motif, and put them before it. The tinkly music box is one of them, or a certain NPC's voice, or anything. If you use that motif and the players immediately start to get visibly tense, you're doing it right.

There is also the option of fucking with the players, and turning them on each other, but that is a very individual choice. It may work; it may not, all depending on your group.

If you want to do like I do sometimes and create a setting where the players are almost outright hostile to each other but work together still solely because they need to survive, combine separation and concentration to produce mutual paranoia. Being alone makes them uncomfortable, since they don't have any support and they don't have anything to confirm that what they see is real. Being with someone else makes them uncomfortable, since there is an excellent chance that they aren't who they say they are or even real. Remember to slide a note to one or both or all players every time they meet, even if it's blank. Sometimes, it will say 'you are an angry/sad/violent/helpful hallucination/ghost/disguised enemy' or 'you are his friend, but have become slightly/significantly/murderously hostile/anti-pathic/helpful/lustful for reason XYZ;. It takes work, but making players completely distrust one another without once making an actual PC willingly betray them makes for excellent horror. You want to create that unique-to-horror feeling of immense relief followed by deep suspicion every time you see another living human.

Or, for a less personal feel, do like 'FEAR', and have the other players almost always good, but with the caveat that if you ever meet another person it's because something absolutely horrible is about to happen to both of you. This is my personal favorite, because they instinctively want to stay other players and NPC's to feel safe, but the moment they actually see someone else they try to get away from each other as soon as possible because something nasty will happen. Try to capture that feeling from FEAR where you're screaming at the screen NO YOU FUCKHEAD DON'T MEET UP WITH ME YOU'RE GOING TO GET BRUTALLY FUCKING KILLED.

One trick I like to use in that situation is to have the players roll up multiple characters. Not individually, since that creates a sense of private-ness, but as a group. Hand them ten character sheets and tell them to fill them out as a group. They take one character at a time, and you work the others as you need to in the plot or under their direction if not. This gives you a much greater ability to produce incredibly harsh consequence, without compromising the extent to which players empathize with their characters, and turn up the difficulty considerably to add to the horror without making the game objectively more difficult. It does add an enormous amount of extra administration, though, so be careful with it.

There's more, but at this point I've completely lost track of my mental organization of this stuff. Just remember the basic rules of horror GMing:

The rules system is irrelevant.

The content is unimportant.

Delivery is everything."

Truly inspiring stuff. For my next post, I think I'll expand upon his masterful guidance and provide some bite-sized samples/material for your enjoyment.

The Board Game Geeks

Tabletop gamers, with their numerous experiences dealing with all sorts of precarious scenarios, diabolical traps, and formidable opponents, often consider themselves above and beyond the paltry offerings of board games. This statement's validity, though existential, may be overestimated, in some cases. The most likely source of this possible exaggeration would be the scope within which one has been exposed to board games in general. For those whom the term exclusively conjures images of the 'Monopoly Man' and 'Trivial Pursuits', I'd like to take the opportunity to broaden your horizons with what I consider to be one of the most respectable and well-categorized collection of board gaming know-how on the internet:

Even those with previously experience or knowledge of the relatively obscure selections presented upon the site, it's worth noting that a healthy collection of a few quality, engaging board games can complement even the most die-hard tabletop gamer's arsenal. In fact, quite a few of these offerings can provide an experience quite difficult to reproduce without such a specially-designed box of equipment. 'Ultimate Werewolf', for example, can provide entertainment for a large party with a group role playing experience for up to 68 players. The 'Arkham Horror' materials, on the other hand, serve nicely as an introduction to the world of tabletop gaming for the uninitiated. In any case, it's always pleasant to surprise your group and/or break up any possible monotony with a nice, informal board game.

Common Pitfalls of Tabletop Gaming: Apathy

To better illuminate the purpose of this post's title and content, I'd like to start by elaborating upon my usage of "apathy". It is, within our relevant context, a loss of interest in a specific facet of tabletop gaming (as opposed to disillusionment with the entire convention). Whether that be a specific role (Host/Player), game (WH40K/D&D), genre (Hyper-Realism/High Fantasy), or some combination of the three. The disinterest in these factors, while unique to any given situation, can range from a gradual erosion in general enjoyment, to a sudden, overwhelming abhorrence for all things relating to the offender in question. Such gross reactions, though seldom, can serve as the catalyst for the disbandment of an otherwise stable group; a fate I hope to help circumvent with the possible alternatives/remedies listed below.

Options for the Burned-Out Host

Hosting responsibilities tend to be rather inflexible; that is, once a group has designated one of their own as "The Host/GM/DM/etc.", they tend to retain the position for most of the foreseeable future. While this may be in the best interest for the Players and/or the group as a whole, a few months (or even years!) of this can leave even the best of us jaded and embittered.

Edit: Case in point (

So, before quitting in a huff, try these first:

-Host Rotation
Ideally, your group would be cycling between each others' places of residence, but even if your abode is the sole locale available for gaming, the duties of running the actual sessions can easily be rotated on a regular basis. To implement this plan, all one needs is a concise, written summary of the overarching plot and the key details/events pertaining thereof. With this blueprint as a guide, each Player can create their own minor details that make up the bulk of play time; instilling a mechanic not entirely unlike the traditional game in which individuals sit around and take turns adding improvisational chapters onto an original story one of them had initially started.

-Schedule Change
Has running the same genre/system/theme for a year or so drained you of your vitality? Perhaps some communication with the Players is in order. If they aren't receptive to the idea of switching games mid-campaign, offer the possibility of adding another day of gaming to your schedule, reserved specifically for a new, fresh style of play (barring the implementation of yet another day of gaming, perhaps a rotation of content within your existing schedule could be negotiated?).

-Skip a Session (or two)
Sometimes nothing beats stepping back and recollecting yourself (tactfully done, of course). The promise of new, freshly inspired content after the lapse in activity will certainly win over even the most staunch objectors.

Options for the Burned-Out Player

-Friend Swap
For the typical purveyor of tabletop war gaming, the prospect of forming and assembling an army is one of great commitment and dedication. Unfortunately, this investment of resources can be quite regretful, if one finds themselves suddenly dissatisfied with their forces. This may be inflicted by a seemingly drastic change in game play rules or a simple matter of stagnation. In any case, your options are admittedly limited, but a trusted friend with similar interests may be open to the idea of temporarily trading figurines; permitting you both a new experience and a deeper understanding of the game in question.

-Concept Change
If you've been consistently stuck as the burly, hard-hitting tank of your gaming group, perhaps it's high time to try your hand the squishy, nimble ranged fighter. If the other Players simply can't do without their veteran damage sponge, an alteration of mere aesthetics or role playing style may do. Instead of the usual dashing, armor-clad paladin that absorbs punishment with a collection of iron and magic, the role of a drunken, uncouth man-mountain of prodigious muscular fortitude could be a refreshing change.

-Skip a Session (or two)
Much like the Host, a properly excused leave of absence can work wonders for one's creatives processes. Just make sure whomever is in charge of your character's actions in the meantime has both of your best interests in mind (or is an impartial party, in the very least).

It's my best hopes that you've found the above material to be informative, concise, and sufficient in preserving the integrity of your group's collective enjoyment. The loss of passion for something that once fascinated yourself and others is truly a terrible thing and I'm happy to do what I can to avert/correct such malady.

Survival Tips for the Horror Gamer

For those interested in the 'horror/suspense' genre of role-playing games, I can attest, despite my limited experience in the matter, that it can be a very engaging and memorable experience, especially when conducted with a suitable ambiance. That said, it's also worth mentioning that these sessions can be wrought with frustration, as the gritty, visceral combat typically provided by most systems can be quite hazardous to a player character's health. Which is why, in a game like 'Call of Cthulhu'* where the average lifespan of said character is comparable to that of a mayfly, some pointers are needed to stay on top of things. With this in mind, I, with the aid of a number of my tabletop gaming acquaintances, saw it fit to spend a uneventful evening compiling a list of general 'pointers' for lengthening what meager lifespan your Host has seen fit to provide your avatar in this world of fictional terror.

*Given special mention due to the fact that this list had originally been conceived to serve as a general guide to playing said game. Veterans of the Lovecraft mythos will no doubt spy quite a few quality tips born directly from this initial focus.

-Always carry one more magazine than you expect to use.

-Have you just inherited a mansion whose previous owner went mad, died horribly or simply vanished? Never ever sleep in the master bedroom, explore the unmapped caverns beneath the cellar and never try to find the source of that insane piping-sound going on at night. In fact, never ever visit the mansion in question.

-Wimps fondle guns. Real Men fondle Doomsday-devices.

-Conduct investigations while the sun is still above the horizon. The common idea that night is the proper time for sneaking around and committing B&E is even deadlier than The Thousand-Faced Rotting Bubble-Person From Beyond ever could be.

-The abandoned mine never is.

-Always bring a handgun, that way you can make sure that one of your friends will be in no shape to run when your group is chased by outer-dimensional hunting-creatures, thereby giving the horrible being something other than you to munch on. Hopefully.

-If in doubt, empty the magazine.

-Old Nazis never die. Period.

-Reading books is for the colleague you keep locked up in the nice room with soft walls.

-Never become good friends with University professors. They are the living embodiment of trouble. In fact, watch out for people whose job is to read books, specifically old books, or 'tomes', as they like to call them. They always want help after having summoned The Horrible Horror with a Shady Reputation. Helping them will get you dead right quick or, at the very least, insane. Surreal happenings or outer-dimensional summoning may be commonplace in their lives; better not make it commonplace in your life.

-Never let your less-than-sane colleague carry the explosives.

-Never go abroad. If you, for any reason, have to go abroad it better not be as a crew member on an expedition.

-An autopsy-room is not a "safe place".

-Egypt and Antarctica kills off more investigators each year than cancer does.

-Any dark strangers offering you gifts and favors should be avoided like the plague.

-Always bring explosives. Not pansy explosives like grenades, instead bring bundles of TNT. Going to your cousins wedding? Great! Just remember to pack the TNT. TNT is good for some many things, like blowing up blasphemous temples or horrible proto-masses. Failing that, TNT makes great firewood for your final bonfire.

-When contemplating ways to execute your mission: think "Overkill".

-Never join a cult or sect. Enough said.

-Sleep is only a bad substitute for caffeine.

-Curiosity did not kill the cat. Some unspeakable horror did. Not only that, it also turned the cat inside out, had pseudo pods grow from every orifice imaginable, gave it a taste for human blood and made it six times larger than before. Now the cat is coming for you.

-Any offer to let you "Experience the Other Dimensions" should be tactfully declined ... with a shotgun blast.

-Stay well away from mountain cabins. Every mountain cabin comes with an obligatory psychopath. Some cabin-retailers may allow for the psychopath to be exchanged for an Unknown Horror Existing in Far Too Many Dimensions. Beware cabins!

-If you have no social skills: try 'physical interrogation'.

-Try not to live your life in England or New England. In fact, you should probably move to Sweden, a country where Mythos activity seems to be quite non-existent.

-There is no such thing as "too many guns".

-Avoid anything that can be associated with the words 'ancient', 'elder', 'forgotten', etc. I cannot emphasize this enough. Contracting Ebola is far more enjoyable than being torn to pieces over the course of seven years by the Ancient Guardian-Monstrosity.

-Gasoline. Refueling cars is only its secondary use.

-When dealing with beings of incomprehensible power, tread lightly. If you suddenly decompose, burst into flames, explode or suffer otherwise along similar lines you know you have done something wrong.

-On the other hand, if you deal with beings of incomprehensible power you are a right git and deserve nothing less. Steer well clear of Outer Gods, Elder Gods, Old Ones, etc.

-When you enter a government facility and the toilet-doors are marked: 'Men', 'Women' and 'Other' you might want to reconsider your position.

-Always save the last bullet for the moron who got you into this.

-If that moron isn't you, aim for the legs. If you're going to be eaten alive, so are they.