Tabletop Review: Cthulhu Britannica
by Alex Lucard on August 31, 2011

Cthulhu Britannica
Publisher: Cubicle 7
Page Count: 162
Release Date: 10/10/2009
Cost: $29.95 ($19.99 at DriveThru RPG)
Get it Here: DriveThru RPG

Cthulhu Britannica is the first of three Call of Cthulhu products by Cubicle 7 that are set in the United Kingdom. Although most products that uses Chaosium’s Call of Cthulhu have adventures set in New England, my favorite ones have always been set in Europe, such as Cthulhu by Gaslight or Horror on the Orient Express. I was given review copies of all three of Cubicle 7′s Cthulhu Britannica line, but it makes sense to start with the first even if it’s nearly two years old.

Cthulhu Britannica contains five adventures: one set in Victorian England, one in the 1930s, two in modern times and finally one in the far(?) future. Each adventure is dramatically different from the last and aside from the first one, they can easily be retooled to being set elsewhere, like the States. Of course, why you would purchase Cthulhu Britannica and use the adventures for a States-based game is beyond me.

“Bad Company” is the first scenario and it is my favorite. It takes place in Victorian times and although it doesn’t involve any direct use of the typical Mythos trappings, it’s very well done. Unlike a lot of Gaslight-era scenarios, class, culture, gossip and scandal are the focal points of the adventure. Most published scenarios and GMs tend to forget the huge divides between classes during this time and how the slightest bit of gossip could shift one’s reputation notably. The adventure revolves around a wealthy nobleman’s son descent into debauchery and the need for the Investigators (player characters for those not hip to CoC terminology) to be discreet as they search into the whereabouts of young Mr. Sommers. Of course the twist is that while the interest in…gasp THEATRE FOLK is legitimately mundane, his dalliance with Madame Onlenia Byragan is very Lovecraftian. Or least Bierthian. You see, Madam Byragan is an immortal being that subsists on her victim’s fear and pain. The Investigators need to track down the young man in discreet fashion while also dealing with their first encounter of Mythos creatures. The adventure has a motley cast of characters, from insane back alley abortionists to thin parodies of humanity made of straw. It’s a fun adventure from beginning to end and this adventure is the most Lovecraftian of the five.

“Darkness, Descending” is the 1930s era adventure. It takes place in a sleepy little hamlet/ village and it’s a nice mix of archaeology, Equinox based rituals, possession by inhuman monstrosities that defy human understanding, and a very small smattering of violence for those that need some of that in their RPGs. I will say this is a pretty hard adventure to complete unless the DM holds player hands throughout, but half the fun of Call of Cthulhu is seeing how horribly your characters die when they do. This adventure really is best suited for long time CoC players that know to ask about and look at every little detail provided by the GM. I enjoyed it for the slow descent into insanity that a major NPC engages in, along with the setting of quaint old Middle Harling. “Darkness, Descending” is an adventure that will test the mental acuity of your players as they try to figure out how to prevent a Great Old One from materializing on Earth and it’s adventures like these that made the Call of Cthulhu my setting of choice in my high school & college years.

“Wrong Turn” is a scenario set in modern times, somewhere between 2000-2010. When I first read the scenario, I liked it, even though I didn’t find it very Lovecraftian. It is very surreal and captures the concept of alien/unknown horror very well though, perhaps better than any of the other adventures in this book. This adventure takes place at a long abandoned radio telescope where a TV production company plans to film part of their new series at. Unfortunately this telescope and the surrounding research center known as the Lordsdown facility is not only in the middle of nowhere, but it’s also the remains of a failed government research product, the effects of which are still felt to this day. The location and the events that unfold are indeed creepy, but the entire adventure plays out like a 90s horror movie. Because the plot requires a LOT of death, some players will be unhappy that this scenario puts them in a situation where they literally cannot survive, much less win. Because of this it is important to play this adventure with people who prefer a good story and know this is a one-shot adventure going into it, than with people who feel a tabletop game is something that must be won. “Wrong Turn” really felt like John Carptenter’s “The Thing,” but in England instead of the Antarctic and cerebral instead of visceral. It’s a well done adventure and with the right group of players, this can be a bone-chilling experience. With just one players that wants to “win” however, this thing is a house of cards.

“King” is another adventure set in modern times and it’s the worst of the five in the set. Like “Wrong Turn,” this adventure is more akin to a horror movie than a Mythos tale, but it DOES pay lip service to Cthulhuian devices, such as the Tchos-Tchos and a Star Vampire. It’s very schlock-y horror film rather than Lovecraftian though. All the Investigators are kidnapped and have massive surgery done to them. The discover that their eyes have been altered so they can see in the dark along with invisible creatures to boot. This part is …okay but it should have ended there. There’s also a second operation performed on each character which is a huge spoiler, but without pulling words, it’s one of the stupidest and hokiest things I’ve ever seen in a Call of Cthulhu adventure and everyone I’ve run this with has groaned or said the exact same words. It’s like the episode of Freakzoid where the scariest thing in the world was if all the air in the world suddenly turned to wood. It might sound good in someone’s head, but to everyone else, it’s just lame. Factor in this doctor somehow managed to have a secret lab built in a major hospital, fly over an entire civilization of evil dwarves, hollowed them out a set of caverns beneath the hospital (all without anyone realizing or knowing) and performing countless surgeries on people who don’t have records in the hospital, and the entire adventure is less believable than a troupe of Dimensional Shamblers trying to bring back Vaudeville. This adventure is just plain bad from beginning to end.

Finally, we have “My Little Sister Wants You to Suffer.” This is another pretty bad adventure set in the near future. Your characters all awaken with amnesia aboard a spaceship and they have to piece themselves back together while dealing with mutants and damage to the ship which caused their early awakening from suspended animation. Again, this isn’t very Lovecraftian and the entire point of the adventure is to get players to fight amongst themselves more so than the monsters the ship contains and I’ve yet to meet any gamer or GM that actually has fun with adventures that play along those lines. They tend to piss everyone off in the end. Even worse is that the adventure has a “twist ending” right out of M. Night Shyamalan’s horrible movies and unfortunately the title of the adventure and the name of the computer pretty much give away the twist if you’re even remotely familiar with a certain genre of TV – specifically a show that originated in the UK and eventually made its way Stateside. I figured it out just from the title of the adventure and if it is that transparent to me, most gamers will find it so as well.

“My Little Sister” is just unsatisfactory on multiple levels. People wanting a Lovecraftian adventure will be disappointed. People who play CoC for the intellectual challenge (which are most of the fans of this system) will be disappointed. People who like working in teams instead of trying to “win” or compete with the other players, will be disappointed. I can’t think of too many gamers that would actually enjoy this adventure. Cthulhu knows I hated it.

So three adventures are really well done, and two are some of the worst published Call of Cthulhu adventures I’ve ever seen. That means I can give the product a mild approval, but there’s one other thing you need to know before we wrap this review up and which will more than likely turn most of you off purchasing this. ALL the adventures in Cthulhu Britannica are designed for pre-generated characters. This tends to be the kiss of death for a lot of adventures like these. Most gamers want to make their own characters and form an emotional connection with their creations. Now you CAN do that with Cthulhu Britannica, at least with the first two adventures. The modern era ones though are designed specifically to be one-shot experiences and to have grisly things happen to all the characters. The reason you use pre-generated characters in these is because you don’t want the players getting attached to the characters that the GM will purposely be trying to have torture, both mentally and physically. In these three adventures there is definitely a “GM Vs. Players” theme going on and in the very last it is “GM Vs. Player Vs. Player Vs. Player Vs. Etc.” and by making it clear these scenarios are one shots, your friends and fellow gamers won’t be AS ticked when you mark their characters for an insidious demise. They’re more likely to roll with it. Still, the vast majority of gamers tend to eschew adventures for pre-generated characters or one-shot adventures. That puts two strikes against most of the content in Cthulhu Britannica from the get-go. Don’t let this dissuade you though as again, the first two adventures can easily be the start of a Call of Cthulhu campaign and even the third can work with a good GM.

So with two of the five adventures being rubbish and all of them having the pre-generated character kiss of death, it is hard to recommend Cthulhu Britannica for purchase if you’re actually looking for a set of adventures for your campaign. However, it is a lot of fun to read, and for gamers like myself who purchase CoC product to read as much as they do to use, it’s a decent purchase. For $19.99 (or $29.99 for the physical copy), there are better Call of Cthulhu adventure sets out there – including other Cubicle 7 Cthulhu Britannica collections, as you will see in the coming days. Basically Cthulhu Britannica only gets better from here content and quality wise.




Tags: ,

Related Archive Articles

more articles »

Super Smash Bros for Wii U and 3DS - Week in Review 7/25/14 (Robin, Starfox, Tomodachi)

Review: OlliOlli (PC)

Review: Strike Force Foxx (Nintendo 3DS)

Tabletop Review: Dungeon Crawl Classics #83: The Chained Coffin

Alex Lucard

view profile »
  • Pingback: Diehard GameFAN | Review: Cthulhu Britannica: Shadows Over Scotland

  • Simon Reitenbach

    I agree to most of your comments about the adventures. However, I have a different take on the last one, “My Little Sister”, as I think it is the best of the lot. I actually GMd it once, and everyone liked the story and, especially, the twist ending. That said, I have to admit that it really is not Lovecraftian in tone or background. But you asked what kind of player likes such adventures. Well, mainly the kind of player that does not really look for challenges within the story, or who have to have the definitive Lovecraftian thing. And also players who do not have to have that group feel thing. I would say that players who generally like the challenge of coherently and cogently playing interesting characters with a lot of problems, who like to have interesting conflict situations, both in group and without, and who generally like to roleplay encounters and scenes, rather than see an interesting storyline come to a successfull end, are the ones who would enjoy this adventure.
    That said, I think that German CoC players might be different in approach and expectations than their American counterparts are. This, of course, is partly speculation, but seeing that several published German adventures feature the “horrible situation: how do I get out of there alive when everyone is working against me and I can’t stand half of my mates”-plot, and that those are indeed very highly reviewed by the community here, I think there might be some basis for such conjecture…

  • http://www.alexanderlucard.com Alex Lucard

    Simon – that’s a great response and it does bring up the interesting idea of cultural difference re: what people look for in a gaming session. I’ve tabletopped in US, UK and Japan and the general consensus there seems to be “party infighting = ruined game session.”

    It might also be that back there in Germany, where Big Brother started, there might be more acceptance of reality TV over there – and thus more acceptance of the adventure. While here in the States (and especially Japan) Reality TV still has a “white trash/low class” stigma on it.

    My question would be, why would you play Call of Cthulhu, a system that strongly emphases teamwork and Lovecraftian things if one didn’t want those two elements. Wouldn’t it be easier to run a different system, like Modern d20 or the like? It seems like that would be using the Shadowrun system without cybernetics and magic.

  • Simon Reitenbach

    Well, to be honest, Big Brother and versions of this kind of show are seen as “white trash/low class”, too- Although they were widely watched. And probably still are. But let me remind you that Survivor is something that fits into this, as well – a show that was a huge success in the US, with a big audience, as I’ve been told. Not to criticize, but just to contravene arising prejudice…
    :-)

    Well, to your question. First of all, I do not think that Lovecraft(ian) and teamwork are items that are by necessity linked. If you look to the actual work of Lovecraft, you will find that almost all protagonists in the books are, in some way or another, alone with their fate, or even outright loners. Exceptions exist, but are rare. Even the protagonists in “At the Mountains of Madness” are prone to a loneliness of their own devising, and the impact of solitude and isolation that Antarctica imposes upon them. Works like “The Trail of Cthulhu”, diluted by Derleth’s interpretation (I’m no Lovecraft purist, but I hate what that guy did to the interpretation of the Mythos), do even destroy that feeling of utter helplessness that Lovecraft’s work tries to create, in protagonists, and via narration in readers alike.

    That said, the usual CoC adventure creates some kind of team spirit by neccessity, as the outside forces and threats push the (very often unlikely) companions closer together, leading to trust and teamwork. Also, the usual gaming mode at the RPG table is still teamwork mode, as it is the way most adventures are solved. But this is not the only way to have fun. And is also not the only way to experience Lovecraftian horror. Purists could even say that it is easier to cope with nihilist threats in a group of comforting strangers than on one’s own – and therefore the horror has no real impact.

    I think, horror gets a new, additional dimension when you cannot trust anyone at the table, when paranoia ensues and when it is not just “Us vs. Them”, but “Me vs. Them and Him and probably Her, but hopefully not Him and Her”. When I look back on my GMing experience, both at home or as a RPG supporter for the German publisher, I can honestly say that we had the most intense, and also most horrifying, sessions when the players did not know what was about to happen next, who would have their back and who would stab them in it. This leads, of course, to time fragmentation at the gaming table (as every player deserves to get as much time as everyone else), but in general the players liked it. I even used an old classic, Tatterdemalion, and created new characters to go with it, that have their own goals and agendas, which more often than not are selfish and antagonistic…

    What such situations lead to is intense inter-group-roleplay. This can end in the termination of one character or the other, but usually that does not happen until the end – because there is always the threat from the outside, and the characters have, at some point or other, to rely on each other to survive.

    Other scenarios, like e.g. the acclaimed “In Media Res” or “Cold War”, prep the stage for parts of Live Roleplay Acting. Not in the usual way, with costumes and stuff, but in the way the scene can be used, and people can really talk to each other, emotionally, in real time (equals game time in this situation).

    I like to GM adventures with preexisting characters, because they usually bring with them this tension at the table. There are several existing from German and American publishers alike, and for some others I created my own plethora of characters with motivations and values. Me and my (varying) players always liked the situations that arose best – even if they, in the beginning, did not like the idea of pregenerated characters. Tensions at the table make the impact of outside forces (in my opinion) that much more horryfying, because everyone has to cope on their own. And that is, in my opinion, quite Lovecraftian.

    But you have asked about the scenario “My Little Sister”, which is, admittedly, not very Lovecraftian, neither in its execution, nor in it’s final scene. But I do not like it because of it’s Lovecraftian or Non-Lovecraftian style, but because of the mood of uncertainty, paranoia and pressure it builds up. And it does so magnificently, I think. Because the players tend to ignore the little mentionings of things they cannot fit into their own interpretation of the set. If the GM does not stress to strongly the strange things like cardboard walls, dents etc. but mentions them once, or little things even only in passing, they will attribute them to something they did not understand right, or do not yet understand. Usually. Every now and then some player will come along and probe further. It is up to the GM, then, to mislead him until the climax arrives. This player then will be able to say “I knew it.”, but usually the players are perplexed by the twist in the end.
    And this is one other thing I really like – the adventure toys with the expectations of the players, not only with the characters. They expect something, only to get something completely different. If the GM can pull it off, they are genuinely surprised in the end – something that is really hard to get with experienced gamers. And something the more open-minded gamer would (in my opinion) really appreciate. The open-mouthed stares in the end were my price I took home with me the day I GMed the adventure.

    Why I like this is the idea that usually comes with the horror genre – expect the unexpected. That’s how it should be. It is far too easy for a gamer to become accustomed to the Cthulhu Matrix (that is what we call the usual structure of Cthulhu adventures) – someone dies/goes missing/askes for help, characters arrive, investigate, put together the clues, are during this time harrassed by antagonists or smaller horrors, only to face the level boss in the end. Open and shut. Many gamers do like this thing – I actually do, too. But every now and again something has to happen to shake the player up. Otherwise they are only going through the motions, and it becomes only a small challenge of wit, of the mind of the player vs. the creativity of the author. There is not much mood there, not much experience of a truly remarkable story, of horrifying encounters (“Green? Ah, an Orc.” becomes “Bug-Eyed? Ah, a Deep One.”) and scary situations FOR THE PLAYERS, not for the characters.
    The difference can also be explained with a Lovecraftian short story. Read it only within the mind-set of the twenty-first audience, and it will not be horrifying, just strange and sometimes a bit gory. Try to think yourself back to the mind-set of someone living in the 1920es, and the whole shebang is completely different. But you do not have to go that far. If a person really, really tries to visualize experiences for her own, things we see a hundredfold every day on TV, and worse – but on their own, alone and really without help – then it becomes horrifying again. Not the whole nihilism thing, not for us for whom the whole world is a nihilsts playground, but the idea of corrupted ancestry, of eating the rotten bodies of one’s ancestors, of sleeping with aeons-old men in the body of one’s own wife etc.

    Okay. Sorry for the excursion. Back to business.
    I like the adventure because it is so refreshingly different. Because it does not deliver what the players expect. And because sometimes the GM is allowed to have a little bit of fun with the players, not just the characters. I would not use another system for several reasons. One – for the same reason I would play a Cthulhu adventure with Shadowrun or Modern D20 rules (which I dislike, but that’s personal taste) – because it is unexpected by the players. They sit down to get the same old, same old – and the new creeps up and hits them over the head with a shovel. Two: because I like the easy BRP system that does not have that many rules, and I can bend it and, if necessary, break it how I need in order to get the mood and the story flowing. And three: I do not care for systems, anyway. If there was a way to roleplay everything without dice, I would do it. Granted, there are several diceless systems out there. But they still provide conflict rules. Which are, I admit, necessary for every game. But I emphasise strong roleplaying in my sessions, and very often neglect rolling the dice in favour of good, creative or entertaining roleplay. And I absolutely abhor battle maps and tactical maneuver planning. This is personal taste, again – and I know a lot more players like those things then vice versa. But that’s the way my cookie crumbles. And, as far as I have experienced, the Call of Cthulhu community in Germany sees it similarly – at least quite a big percentage…
    :-)

  • http://www.alexanderlucard.com Alex Lucard

    See, that’s very interesting. Over here, (and from what i’ve encounter in my time in Europe and Japan) adventures with pregenerated characters are given the kiss of death. They tend not to be popular or sell all that well. Which is funny because of how popular video games with pregenerated RPG characters are. I personally don’t like pregens when I play instead of gm, but that’s because I like making characters and trying to work with flaws created by the luck of the die (SZ 5? Okay, Circus midget!)

    Don’t remind me about Survivor. I was lucky enough to be living in England when that was popular. Of course that meant I was there for Pop Stars: The Rival and “I’m a Celebrity: Get me out of Here” so I missed out on one horrible show and got another. :-)

    It could be the players over here too. I’m not sure how familar you are with say, Vampire: The Masquerade, but there’s what we sometimes refer to as the “Malkavian effect.” Malks are insane vampires and sadly the majority of people that play them don’t given them an actual mental illness but instead make them annoying as hell to the point where other players try to kill them. It’s the equivalent of a chaotic evil necromancer on a team of good PCs in D&D or the insane evil guy in CoC who summons a dimensional shambler when drunk and it kills the rest of the party. Over here this tends to be a common horror story with most gamers and as such the “work as a team from the getgo” tends to be…suggested by the players and GM so they don’t have to go through that again. The players that tend to go against that quickly end up dead. At least in my experience or in second hand stories other gamers tell me. Maybe Americans are just better at crossing the line from “interesting roleplaying” to “obnoxious asshole ruining for everyone?”

    I agree with you that a LOT of Cthulhu adventures tend to have the same hook. This tends to be a problem with a lot of RPGs though. How many D&D adventures involve the tavern based hook or in Shadowrun, where you and the other players are contacted merc style to do a mission?

    I’m glad someone like “My Little Sister” because I had the exact opposite reaction to it and it really helps to hear someone else point of view regarding WHY they liked it. What are some of the German adventures you’d speak of. You said a lot of them are similar in style and I’d love to take a look at them just to see what they’re like.

  • Simon Reitenbach

    Okay.
    Problem here.
    I love Vampire: The Masquerade. I played it for about six years. My character, which I created in England, lasted that long in Germany, which is (duration-wise) quite uncommon. That said, here come two things you probably wouldn’t like. One: I played a Malkavian, and Two: I played LAPR (not Mind’s Eye, mind you, but a system of our own making). But I have to agree that the usual player plays an annoying little scary clown with teddybear and whatnot. And, to use strong language, I HATE THOS F&%$s. Not, because the try to undermine roleplaying or to annoy others, but because they are ruining the show for everyone who likes to play a Malkavian that can be taken “seriously” up to a point. Malkavians should be the very scary soothsayers, the Jester that is allowed to say anything about the king because A it is the truth and B it helps in some way not yet understood. Malkavians are not funny, they are fucking-hell-scary. Because they are unreliable. Not because they say they help and then wander off to smell the roses, but because they say they help, and then they HELP, and screams and dying and bloody murder all around, and the Malkavian looks innocent, and three weeks later, after he is dead, you realize he did really help because at that time you did not understand the full extent…
    …but I digress…
    I love Vampire: The Masquerade. However, I don’t think it is playable as a Pen&Paper-Game, because the thing I like about it are the intrigues and the in-fighting and all that stuff. Those are things that can be played awesomely in LARP-sessions, because everyone only plays an egocentric charactar all on their own. On the table, intrigue and inter-clan-problems would actually destroy the group, because the egocentricity of the characters would be so great that it would destroy playing “together”. Only if the outside threat is strong enough is there a chance that such a group would stoop to work in a pack, a coterie or whatnot. Whereas we are back at the Cthulhu-Problem, characters who would under normal circumstances not be seen dead with the others, but under the given ones have to work together. No in-fighting here, but everything else apart from that.

    Actually, we have several gamers here that can cross the line to being an asshole, too. And I would not judge whether one nation is better at this than another. Interesting, though – I just had a conversation about the image of the American gamer vs. the image of the German gamer with my wife, who does not play RPG at all. And she agreed that, although only in their image (as purported on TV and in the media, of course), American gamers or geeks or whatnot tend to be seen or tend to portray themselves as much more extreme in their attire, their opinions and probably their whole giving the hobby space in their lives than here in Germany. I know some very freaky (and scary) people around here, too (comes with the territory), and also some assholes, as you put it, but they are a very small minority. And thank the Old Ones for that.
    …with image I am referring, mostly, to pictures and reviews etc. I have seen about, e.g. ComiCon etc…

    Okay, let’s see about the adventures. I might have bragged a bit about A LOT of such adventures, but there are some.
    There is “abwärts”, an adventure about four characters being locked in an elevator, a situation much like in the movie “Devil” (which I saw just a few hours ago, coincidentally) by Mr. Shyamalan. Not overly Lovecraftian, but the end is at least a bit of that…
    For everything else I have to look…
    Mom

  • Simon Reitenbach

    Okay, compared to other scenarios they are not that many, but they are, as far as I know, all very well liked in the community.
    Some of them are original American publications:

    …careful, this is full of SPOILERS…

    - Cold War: six very egocentric cultists must stick their heads together because the head of their order has just been murdered. Unbeknownst, the killer is in their midst.
    - In Media Res: four hardened convicts come to, standing around in a dining room with a dead and skinned prison guard slumped over the table, and one of them holding a knife. What the f&%$ happened…?
    - The Curse of Chaugnar Faugn: the male part of a romance turns against the group as he is overtaken by an evil man doing the bidding of his god
    - The Truth Shall Set You Free: one character goes insane and starts to impose his fractured world view on the other players. The others must hurry to realize it and get him help – otherwise his delusions gain strenght and foothold in reality.

    Other adventures have been translated and published in the cancelled Worlds of Cthulhu:
    -Project Icarus: several characters of various political Houses awake on board a spaceship adrift somewhere, and must cope with their trust issues as well as the hostile surroundings
    - The Singer of Dhol: four egocentric inbreds wake on a sandbank to discover that some things have gone horribly wong at their farmstead, and that maybe they had a hand in it
    - super 8: a horrible snuff video of a monstrosity devouring an innocent girl leads the investigators in the belly of the S&M-scene, where they encounter even worse perversities and a cult of worshippers. But those who have seen the god have already become a vessel to him, and cannot control whether he manifests through them or not…

    And then there are some that have not been translated. The aforementioned “abwärts” (“down”), as well as:
    - blackout: Something has gone horribly wrong on the ISS, and the characters on it must find out who is to blame. But who else could it be as one of them – there is noone else around…
    - In Scherben (“Shattered”) Several egocentric and ammoral heirs come to the opening of the testament of a rich industrial magnate (friends or family), only to realize that their heritage might not be what they wanted it to be. And all the problems that arise when one can’t really control his actions – or can they??

    Those are all I found for now. Oh, yeah, and let’s not forget John Wick’s magnificent “Curse of the Yellow Sign” scenarios, which thrive of inner conflict, and are all about surviving a terrible situation…

  • Simon Reitenbach

    Sorry, made a mistake. “super 8″ has not been translated, yet…

  • Simon Reitenbach

    …damn, within the last two posts my English really sucked. It seems the hour is getting to me . It’s already long past midnight, so I have to postpone this conversation for some hours…
    :-)

  • http://www.alexanderlucard.com Alex Lucard

    No problem at all. I did some work for White Wolf ages ago and I ran their first official online game (which ironically to this conversation was a CoC crossover), so there’s nothing wrong with loving V:TM or Malks from my point of view. Just using the Malk problem as an example since it runs in every system here in the States. It’s good to know that’s one thing we share in both America and Germany. :-)

    Thanks for the links. I’ll try and find them. At least the English translated ones. At the very least it’ll be fun to read them.

  • http://www.alexanderlucard.com Alex Lucard

    Also, your English is far better than my German which is maybe a dozen words. Alas French and Japanese are the two languages I studied. Not much help in a Cthulhu game unfortunately. :-P

  • Simon Reitenbach

    Damn, your French gives you an advantage I’d like to have. The French 30eth Anniversary Edition of the Rulebook is absolutely awesome. Also the luxury pack of the published newly written “Beyond the Mountains of Madness” is just beautiful! But both are no use to me…
    :-(

    To help you track down the adventures:
    - “The Truth Shall Make You Free” appeared as second adventure in the supplement “Unseen Masters”
    - “Curse of Chaugnar Faugn” you will find under this name
    - “Cold War” was published in “The Unspeakable Oath 11″
    - “In Media Res” was also part of “The Unspeakable Oath”, albeit Issue 10. You will also find it in “The Resurrected III: Out of the Vault”

    - “super 8″ was actually translated. You find it, as well as “The Singer of Dhol” and “Project Icarus”, in “Worlds of Cthulhu 2″

    - “blackout” and “abwärts” were both published in the German magazine “Cthuloide Welten” – issues 16 and 15, respectively

    - “In Scherben” appeared as part of the larger supplement “Dementophobia”.

    - And John Wick’s trilogy “Curse of the Yellow Sign” is available only in pdf form. I personally would recommend the second scenario, “Calling the King”.

    I hope that helps a bit. If you have problems or further questions – you got my mail address…
    :-)

  • Pingback: Diehard GameFAN | Tabletop Review: Mysteries of Ireland (Call of Cthulhu)

  • Pingback: Diehard GameFAN | Tabletop Review: Cthulhu Britannica: Folklore (Call of Cthulhu)

  • Pingback: Diehard GameFAN | Tabletop Review: Cthulhu Britannica: The Ballad of Bass Rock (Call of Cthulhu)

Recent Comments

Search Pulse

Author:

Zone:

Category:

So, with this Simple Jquery Modal Window, it can be in any shapes you want! Simple and Easy to modify : )