Category RPG

Let’s talk about Cthulhu Dark

Tonight, I am running the second session of a one-GM-one-player game of Cthulhu Dark by Graham Walmsley. This is the fourth time I’ve run the game on the channel. I ran The Screams of Children from the core book, Fairyland by Scott Dorward, and Of Fathers, an adaptation of a duet scenario for Call of Cthulhu. You can watch those three, plus my current scenario (The Answer), here.

The more I run duet games with one player, the more in love I am. They are intense, intimate, and engaging. If you’ve never tried it, I recommend you do.

If you’ve never run Cthulhu Dark, here’s the pitch: it’s a Lovecraftian horror game so stripped down that your character sheet is basically a name, a job, and one number. Graham Walmsley built it to get out of the way; no combat stats, no skill lists, no inventory tracking. Just you, your profession, and how much of your mind you’re willing to gamble to get what you want.

The core loop is simple. When you act, you roll dice: one if you’re doing something any human could do, two if it’s something your profession makes you good at, and (this is the fun part) a third if you’re willing to risk your Insight, your only stat, by pushing into the horror instead of looking away. You take the highest die. A 4 or better, and you get what you’re after. Anything lower still moves the story forward, just at a cost. If your highest die is a 6, you will get far more than you were trying for and will likely regret it. The key is you always get something; there is no binary fail.

The Insight die is where the game lives. Every time you risk it, your Insight may tick up. It’s less a resource you manage than a fuse you’re lighting because the only way to understand what’s really happening in a Cthulhu Dark scenario is to look straight at the thing that will unmake you. It is not a monster-hunter game. If you try and fight a monster instead of running from it, and you’re not rolling, you’re just dead. There’s no mechanical bargain there. The game isn’t interested in letting you think you can physically take on the supernatural.

When Insight hits six, you’re done. Not “down a few hit points” done — done. Your character either breaks completely or comes out on the other side seeing more of the universe than a human mind was built to hold. Neither is really a good outcome. That’s the point. Your character is lost.

Which is also where I’ll add a caveat, because I don’t think Cthulhu Dark is the right tool for every horror story. If you want survival horror with real tactical stakes, a horror campaign your characters can meaningfully grow across sessions, or investigators who might actually walk away clean, look elsewhere — the system isn’t built for it, and forcing it will feel thin. Where Cthulhu Dark absolutely sings is the scenario where the ending was never really in doubt: your characters are doomed the moment they start pulling the thread, and the only open question is which doom they get. Do they come out the other side irrevocably changed, or expanded — touched by something too big for a human mind to hold, in a way they’ll never fully explain to anyone who wasn’t there? That’s the story Cthulhu Dark is built to tell, and it tells it better than almost anything else on my shelf.

Chapter 1: The First Step Beyond

The longest-running and most popular play on the channel (right now) is Forbidden Lands by Free League.

You can watch all 50+ episodes HERE

As an experiment, I am going to share a narrative telling of each episode. I’d love to hear if you’re enjoying it.

The Weight of an Open Door

The night before they left, Sten could not sleep.

This was not unusual. Sleep had never come easily since he had buried his wife and child in Oakenheart’s soil, not in the winters since when the Blood Mist rose every evening, and the world had shrunk to the size of a village. He had grown comfortable in that smallness. There was a kind of peace to it — the peace of a man who has stopped expecting anything.

Then the mist had simply stopped coming as the sun set.

That was nearly a year ago. People gathered in the square and wept and spoke of miracles. Sten had gone home and sat with his bow across his knees and felt, for the first time in a long time, something he could not name. Not hope. Something older and more cautious. He packed his bag in the dark the night before they left and did not tell anyone he was going, because he had never told anyone anything and saw no reason to start.

Osric came to his door before sunrise.

Sten had never thought much about Osric — a quiet farmer who kept to himself. The man with farmer’s shoulders stood at the threshold in the grey pre-dawn with a brightness in his eyes that had not been there the week before. Osric spent his whole life listening to tales of knights and battles, and now the mist was gone, and the excuse was gone with it, and he apparently decided it was time to become the story rather than tell it.

“Ready?” Osric said.

“I was ready last night,” Sten said as he stepped outside.

They met Aldric at the river bridge. Aldric was a young craftsman, broad and steady, with a cook’s economy of movement and a dark watchfulness behind his eyes that appeared some months ago, when his father walked out of the mist after years of absence and sat in the family’s house, staring at the walls and saying very little. Since then, Aldric woke from dreams with his palms burning. He had told no one. He brought it with him now, whatever it was, rolled up tight in his chest like a letter he hadn’t opened.

Then they heard Vasilla before they saw her — sprinting down the lane from the village center, her lyre bouncing on her back and the strings catching the morning air in a tuneless, helpless little song. She overslept. She was breathless. She was grinning.

She was the only one of the four who was open about why she wanted to go. The others had their reasons — Osric’s restlessness, Sten’s grim and private impulse, Aldric’s unexamined need. But Vasilla simply wanted the world. She wanted her whole life with the ferocity of someone for whom staying still was a kind of dying.

“Did you tell her we were going?” Sten asked Osric.

“I did not,” Osric said. “But she’ll liven the nights.”

“She’ll let everything within ten miles know we’re there.”

The halfling Vasilla arrived among them red-faced and laughing, and the four of them stood at the bridge without speaking. The sky was deep blue above pale gold on the horizon. The river moved quietly beneath them. The whole of the known world was at their backs.

Osric looked south — toward the plains of Ravensland — and nodded once. Then he walked forward, and the others followed, and the grass whispered behind them like something letting go.

* * *

II. The Grass Sea

They had not expected the grass to be so tall.

Knee-high and silver-green, it moved in long, slow waves when the wind came through, so that the whole plain seemed to breathe. Hills rose without warning. The forest that had marked the northern edge of their world fell away behind them and did not return.

Sten led without discussion, drifting ahead the way water finds a slope — noting soft ground, reading tracks, adjusting their line without breaking stride. Behind him, Aldric walked with his eyes moving in the steady sweep of a craftsman looking for the thing out of place.

It was Aldric who spotted the large pile of stones – a cairn.

Five feet high, seven feet long, moss thick on the upper stones, and the earth pulled up around the base. Old work — older than decades. The weathering on the stone went deep, several lifetimes of rain and frost. Whatever this marked, it stood long enough to be forgotten by everyone.

They circled it slowly, none of them speaking. No inscription. No name. Nothing cut into any stone.

“Burial mound,” Osric said. It was not a question.

Vasilla stood a few feet back, and the brightness that was usually so close to her surface had gone quiet. She once sang songs about fallen warriors — the unmarked graves, the stones left behind when armies moved on. She had never expected to stand beside one.

“Long ago,” she said at last, “when people fought and died for their kingdoms, the bravest warriors sometimes never received what they were owed. These monuments were all they left behind.” She paused. “I think we should leave them to it.”

No one suggested digging. It was not a moral calculation so much as recognition: they were four people on their first day outside a village in a world they barely understood. There is nothing gained by disturbing old graves. The cairn survived three centuries without them. There are lives to discover, and dead to let sleep.

“Let them rest,” Osric agreed.

They walked on, and for a while no one spoke, and the grass moved around them like a slow green sea.

* * *

III. TRAP

It was the birds that told Aldric something was wrong.

He had been watching them circle — tight and low, the patient orbit of carrion birds waiting rather than simply flying. And there was movement in the grass ahead that did not match the wind. The grass moved in long waves; this was something localized, purposeful. The gap between the two patterns was small. He caught it anyway.

“Movement,” he said quietly. “Seventy yards. See the birds?”

Osric’s hand went to his sword hilt. Sten said nothing and drifted toward a low rise of ground to the side. He readied an arrow but did not draw.

They saw the wheels — a cart on its side, two wheels spinning idly in the air. Beyond it, something dark and wet in the grass. A woman propped against the wreck, chainmail split at the belly, head hanging, a sword loose in her hand. When she heard them, she lifted her face.

“Robbers,” she managed. “Not far. They took the horses.” Then she collapsed forward.

Osric moved fast. He was not one for hanging back when people were hurt. Sten watched him go, broke left toward the rise, and climbed for higher ground.

From the top, he saw the whole picture: the woman, the cart — and in the grass to the north, four shapes crouched low and still. He almost missed them. They were good; his eyes were better.

He watched Aldric kneel and put his hands to the wound — and stop. Even from a distance, he could read the hesitation. He didn’t know what Aldric found. He would find out later: the intestines were too dark, too cold, too old; blood that was not blood; chainmail cut deliberately. A performance. All of it.

The four shapes rose from the grass.

He drew and fired. The arrow crossed the distance before the closest man had taken three steps, caught him in the side, and put him down without a sound. Osric moved with a matched speed, and his sword found a soft target under the ribs of another ambushing robber.

The others froze — and in that moment, Vasilla climbed the wagon.

She was there suddenly, on top of the overturned cart, three feet higher than anyone, her small figure sharp against the open sky. She pointed at Sten on his hill, and her voice carried over the grass like a struck bell:

“Do you know who that is? That is Sten the Merciless. He has slaughtered hundreds of your kind. His arrows find you before you know he has drawn. Before you have even looked in his direction.” A pause, perfectly timed. “Do you truly wish to be his next?”

On his hill, Sten did not move. He stood with his bow half-raised and said nothing, because stillness, in a man who does not need to speak, is its own kind of threat. He watched the woman with the knife — no victim, he understood now — look at the man he had put in the grass. He watched her decide.

Then Aldric raised his hands.

The light came between his fingers without warning — cold and pale, moving like living smoke, like something aware. He had practiced the shape of it on animals, alone, in the dark. He had never done it under duress, never aimed it at a person. The woman looked down at him on the ground, and her face emptied, and the fear that replaced it was not quite natural.

She dropped the knife and ran. The others ran with her, south into the grass, and did not look back.

For a long moment, the only sounds were the wind, the birds reforming on an updraft, and Osric breathing through his nose.

“You know I made all of that up,” Vasilla said from the top of the wagon. “About Sten.”

“They were coming at us with swords,” Sten said. “I had no objections.”

* * *

IV. The Grave

The man Osric stabbed was still breathing.

He was young — younger than Osric had expected. Both hands were flat against his stomach, eyes moving between the four figures standing over him without settling on any. He had the look of a man who had made a series of bad decisions and had only now arrived at the last one.

Aldric knelt and worked with the same steady hands he brought to everything. The wound was too deep, the blood loss too far along. He sat back on his heels and said, quietly:

“There is nothing I can do for him.”

Osric stood over the man for a long time. He had farmed and told himself stories about valor for sixty years, and he had always known somewhere beneath the stories that the telling of them was a comfortable distance from the doing. The stories always cut away before this part. They never included the waiting, the sound of breathing that was slowing, the quality of the afternoon light on a man who was leaving it.

He did not regret what he had done. But not regretting a thing and understanding it are two different matters.

“The Raven takes his spirit,” he said, half to the dying man and half to himself. “The Worm takes his flesh.”

He found a plank from the wagon and dug. The physical labor was mercy. it gave his hands something to do while his mind caught up with the day. The others sorted through what the bandits had left: the chainmail that turned out to be padded cloth soaked in pig’s blood, the dropped dagger, a broadsword, and a short bow. They worked efficiently and without ceremony. They were not proud of what they were doing. They were four people who had left home that morning with everything they could carry and who needed to survive tomorrow, and the world had provided in the only way it often does — by making someone else pay first.

When the grave was ready, the man had stopped breathing. They covered him over, and Osric stood with his hat in his hands.

“The bravest warriors sometimes never got what they deserved either,” Vasilla said quietly. “But at least this one has a grave.”

Nobody answered. There was nothing to answer.

* * *

V. The First Night

The fire was small, and the rations were shorter than they had planned.

Sten’s jerky had gone off — he could smell it before he confirmed it with a careful bite and threw the rest into the dark without comment. Osric’s water skin had sprung a slow leak sometime during the afternoon and held barely a cup by the time he noticed. He set it by the fire to soften the leather and said nothing about it.

This, Sten thought, was precisely how people died out here. Not from monsters or bandits or dramatic misfortune, but from a hundred small miscalculations that added up quietly. A bad piece of jerky. A leaking skin. He had known this in the abstract. He was learning now what knowing it in practice felt like: like counting what you had and finding it less than you thought.

Aldric kept watch through the night, his back against a flat stone, the fire burning down to coal. He watched the dark plains and thought about his father — about the years outside, wherever outside had been, and about the man who had come back from it rearranged in ways that didn’t quite show unless you knew where to look. He thought about the light in his own palms, and what it meant that it had found him, and what it would ask of him before it was done.

Osric slept and dreamed of his farm. But tonight the fields in the dream extended past the property lines, past the boundary markers he had set decades ago, beyond the edge of everything familiar. He walked into them without deciding to, and the soil was strange under his boots, and the dream did not frighten him. That, perhaps, was the most surprising thing about it.

The night passed without incident. In the morning, the fire was out, and the plains were grey and soft under low cloud, and they broke camp and got moving, because movement was the only thing that kept the small miscalculations from winning.

* * *

VI. The River

Osric found the spring by looking for wet stone.

He had been working along the base of a low slope, and when he lifted a flat rock and clean water welled up from beneath, he stood for a moment with the gratitude of a man who needs something badly and has just found it. He called the others over, and they filled every skin they had without speaking, with the focused reverence of people who have learned, in the span of a day, what it means to almost run out.

Sten hunted while Aldric fitted the dead man’s leather armor to Sten’s frame, cutting where it ran long, drawing it in at the sides. It was careful work, and he did it carefully. Sten put it on without ceremony.

“It’s terribly worn,” he said.

“It’ll do,” Aldric said.

The crows Sten had taken were poor hunting — small, difficult, and he had nicked the bowstring on the shot. He examined the nick as they walked and said nothing about it, but he was thinking about what it would cost him if the string went, and how far they were from anyone who might help him fix it, and how many more decisions like this were waiting ahead of them in a country they did not know.

It was Vasilla who found the signs of the village: worn paths where the grass had been trodden to nothing, and a small figure of bound sticks hanging from a low branch — a marker, deliberate, left by someone who expected it to be found. She pointed south-southeast without elaborating.

They found the river an hour later, wider than the one at Oakenheart, moving silver-grey through the plains with a sound that was the most welcome thing Sten had heard in two days. They reached the bank and stopped. No celebration. No speeches. Osric filled his skin. Aldric splashed his face. Vasilla stood with her boots off, her feet in the cold water, and her eyes closed. Sten watched for fish and found none, thinking that finding what you need when you need it is one of the oldest satisfactions in the world, and there was no reason to rush past it.

They followed the river downstream.

* * *

VII. The Hollows

The hill appeared first — a blunt rise from the flat plain, too abrupt to be entirely natural, jutting up like a thought someone had left behind.

Then the wall. Stone, low, no higher than a man’s chest and half-fallen in places, long past any practical defense. But beyond it, there were figures moving in the easy, unhurried way of people who belong somewhere, and smoke from fires, and the distant suggestion of voices.

The four of them stopped at the same moment, not by agreement.

No one in Oakenheart had seen another settlement in three hundred years. Twelve generations, give or take — born into the same walls, the same faces repeated and reshuffled and repeated, the whole of human experience compressed into one village at the edge of a mist that never lifted. They had all known this was true. None of them had felt it until this moment, standing three hundred yards from a place full of strangers who had never heard of them.

Aldric found that his palms were still. Whatever had been stirring in him since his father returned was quiet now, and in its absence, he felt something simpler: the ordinary nervousness of a sociable man about to meet people he did not know, in a place where his usual currencies — his steadiness, his willingness, his easy competence with practical things — might not yet be recognized as valuable. He supposed there was only one way to find out if they translated.

Vasilla’s expression was not quite a smile. It was the face of someone who spent her whole life inside a story and is now watching it become real in front of her, and who is not yet certain whether that is the best thing that has ever happened or the most frightening.

Sten cataloged exits. He noted the height of the remaining stonework, the angles of approach, and the gap where a gate had once hung. When he finished noting these things, he waited, because there was nothing more to do, and because waiting had always come naturally to him in a way that most other things had not.

Osric was the last to look away from the wall.

Many decades old. Most of them behind a plow. He had walked out of Oakenheart yesterday morning, not entirely certain he would survive the day, but he did. He killed a man for the first time, and buried him, and slept on cold ground and drank from a hillside spring and watched a halfling talk a bandit into believing a hunter was a legend. He had done all of this for the first time, and now he was standing in front of a settlement full of strangers, and he was going to walk into it.

The old stories never included this part — they told of a dramatic entrance, the legendary deed, but this: the ordinary and terrifying courage of simply being a person who goes somewhere new.

He nodded. Once, to himself, or to the others, or to no one in particular.

Then he walked forward.

Aldric followed, and Vasilla, and Sten, and the river ran on somewhere to their left, and the plains stretched out behind them all the way back to a village that was still standing, still full of people who had not moved, who would wake tomorrow to the same walls and the same sky and the same careful smallness. That was fine. That was their choice to make.

The four of them passed through the gap where the gate had been, and the people of this village looked up from their work, and the world — which had been the size of a village for three hundred years — grew, at last, a little larger.

Check out Chapter 2!

RPG a Day Blog (2025)

Day 8: Explore

Question: (d6 1) Who

Mood: (d10 2) Nostalgic

Subject: (d8 5) Accessory

I hate trees.

To rephrase, I love printed books. I love hardback, big, printed books. I lust over hardback, big-printed books with ribbon bookmarks sewn in from the spine.

I can easily explore a game on my computer or iPad. I can click a subject on the table of contents, and ZAP, it takes me there. I can click a word in the index, and ZAP, I am there. I can use CTRL-F and search for a word or phrase.

I can’t feel the weight of the book. I can’t feel the paper between my fingers. Somehow, I can’t seem to curl up on the couch with my iPad.

I back a lot of RPGs each year and, when it is available, I always choose the PDF + Physical backing tier. Maybe because I am old, or maybe I love having both. I find a lot more joy scanning the book spines on my shelves than I do the RPG folder on my computer.

I love books.

Day 7: Journey

Question: (d6 2) What

Mood: (d10 6) Optimistic

Subject: (d8 1) Adventure

Forbidden Lands is the longest game I’ve ever run. Next month we start session 43. It has taught me a lot about being a GM. Hex crawling and journeying from one place to another is a big part of the game.

The journey rules are procedural in the game. What I’ve learned is not to handwave, even if a random encounter isn’t rolled. The party is traveling and camping. My time hiking and camping helped me realize how much game there is in travel.

Please take a moment to describe the terrain’s appearance, but don’t forget how it smells, sounds, or feels. Is there weather? What does it feel like to trudge through muddy grasslands in a downpour? What does the air smell like before a snowstorm?

What are the critters doing? Are raccoons scoping them out as they set up camp?

Forbidden Lands helps with its mishap tables related to setting up camp, fishing, hunting, and foraging. It can be done anywhere, though. What does the campfire smell like? Are the skies clear enough to see the stars?

Sometimes, a simple prompt question can create a memorable moment or even half a session!

“Conan, as you sit by the fire after a day of fighting raiders and tending to the wound on your leg, what is running through your mind?”

“Sonya, you saved Conan’s life today. He seems lost in thought by the fire. Will you break the silence?”

Day 6: Motive

Question: (d6 4) When

Mood: (d10 3) Proud

Subject: (d8 4) Rule

I offer one rule I’ve added to every game I run: ask the player their motive. When a player is trying to do something, we can often misunderstand what they are going for.

Conan’s Player: “I want to fast-talk the bartender.”

This seems like a simple action called for by the player. Let them roll and tell them what happens!

GM: “You rolled an 18, success!”

Conan’s Player: “Great, then he will sell me the tavern for one silver” (record scratch)

When a character is taking an action, especially if it will summon a die roll, take a moment and find out their motive.

GM: “What are you trying to accomplish?”

Note that we don’t ask “What are you trying to do?”; instead, we ask about their motive and goal. What does success look like? Make the player explain what they wish would happen if they succeed. This tells you if you need to roll (“I want him to give me a fresh pint”), if a roll is necessary (“I want him to give me a FREE pint”), or if success is possible (“I want him to give me the tavern for FREE.”) This also gives you the chance to set the stakes of the roll by explaining what can happen if they FAIL the roll. If you and the player agree on what success and failure look like, it can prevent confusion. I first learned these concepts from Blades in the Dark, but I now do it in every game I run.

Day 5: Ancient

Question: (d6 5) Why

Mood: (d10 8) Grateful

Subject: (d8 3) Genre

It doesn’t have to play this way anymore. I am ancient in the lifespan of the hobby. I was playing Red Box D&D and witnessed the emergence of many of the second-gen games that followed. Throughout the 80s and 90s, we saw games innovate but never quite shake off the simulation style that was left over from miniature wargames.

A simulation ruleset that manages each move, action, and decision is perfect for many players. It was perfect for late teen Craig, too. I first realized I didn’t need that level of crunch when I started being selective about the rules I used in GURPS. One of the best things about GURPS was, for its time, a ruleset built to be as crunchy as you wanted.

When I returned to the hobby after the creative explosion of the 2000s, I was blown away. We didn’t need to play out and simulate everything. We could emulate and simplify. Increasingly, this ancient one finds running Cthulhu Dark a joy, but it doesn’t mean I’ll never play Call of Cthulhu again. Some scenarios fit Dark, and others fit CoC. The gift we have is the options. For that, I am very grateful.

Day 4: Message

Question: (2) What

Mood: (1) Envious

Subject: (1) Adventure

As Gamemasters, we often focus on how to send messages to our players. We wonder how we will convey those clues, how we will communicate about the world, its inhabitants, who is an ally, and who is a threat.

We also need to look beyond the fiction and consider how to send messages to the players (not the characters). It starts with the game pitch. What game will we play? Genre, subject matter, goals, expectations? I find using CATS (by P. R. O’Leary) does this in a repeatable format. When I share the game’s Concept, Aim, Tone, and Subject Matter, I send a message to players (and potential players) about what they can expect. Are they walking into high fantasy where they are great heroes who will reach superhuman power, or are they entering a gritty low-fantasy world where life is cheap? The character they start with is unlikely to be the one they will finish playing as. I also share touchstones in the CATS pitch. What other media gives them the look and feel of the game?

Before play starts, using Ron Edward’s Lines and Veils allows the table to send a message to the GM and the other players. What subjects are not allowed in the game (Lines) and what subjects can be in the game but will only happen “off screen” and not roleplayed (Veils)?

After each session, I ask the players to send me a message by sharing their thoughts, stars, and wishes. Thoughts reveal what they think of the game, especially its mechanics. What is working for them and where is the friction? Stars tell me where each player found the most fun. What stood out to them? The star moment? This is the player telling you what they loved, so you can try to push that aspect of the game more. They are telling you what they want more of!

Wishes are where the main messages often originate. What are they wishing to see more of, and what are they wishing they could see, but have not? What are they wishing for?

The key to Thoughts, Stars, and Wishes is to ask follow-up questions. Clarify the responses by engaging in a conversation with the player and the others at the table. Send clear messages to your players and listen to their messages when they are sent.

Day 3: Tavern

Question: (4) When

Mood: (2) Nostalgic

Subject: (1) Adventure

“The four of you meet in a Tavern.”

This is the classic opening to many a new session or campaign. We need the four characters to become a party. The Avatar Legends RPG has a fascinating twist on this idea. During the first session, after characters are created, the players outline the inciting incident that brought them together. It is a retelling of something that happened before the play begins. It provides a framework for crafting a complete 3-act narrative that brings them together. When they are done, they now have a history, potential NPCs, and Foes. It says, “What if the adventure we are starting today isn’t the FIRST adventure for our characters?”

Suddenly, they are meeting in the Tavern and retelling the adventure that happened yesterday, last week, or a month ago.

This can be done in any game. When I ran Outgunned on the channel, we started with some prompts asking questions about a previous mission. “What did Sara do to save the day and cover up your mistake?” Soon, they will reveal what their characters faced in their last mission, including who they are, how they acted, and how they work as a team. This is GOLD for a GM to start a new campaign.

Watch their faces in session 7 when you bring back an NPC they created in their retelling of an old mission.

Day 2: Prompt

Question: (2) What

Mood: (9) Contemplative

Subject: (3) Genre

For the Queen by Alex Roberts is in my top 10 RPGs list. It was the first game that showed me the power of prompts. My approach to prompts and what makes a good prompt has changed recently.

We are told this is a hobby where “you can do anything”. The issue is that we inherently don’t like that as much as we think we do. We like constraints and clear choices. As a GM, we prompt all the time as we run a game. “What are you going to do?” is a prompt. It implies they can do anything and can often create silence after you drop it.

“Conan, tell me how you feel about Sara.”

This is a prompt, but what if we add constraints and make it far more provocative?

“Conan, what about Sara makes you not fully trust her?”

I’ve added a constraint. Now Conan’s player knows Conan doesn’t trust her. Why? What does this mean for Conan? We spice it up with a constraint.

When you Ruin goes up in Trophy, or your Insight increases in Cthulhu Dark, the GM should press you to explain how your character is changed as they step closer to the inevitable ruin, or their mind takes in the unexplainable horrors previously unknown.

In Cthulhu Dark, I enjoy offering a constrained prompt as their Insight increases.

Not: “What happens to you as your Insight increases?”

Instead: “You hear a voice in your head that isn’t yours. You’ve never heard the voice before, but you know it’s always been there. What does it say to you right now?”

Now the player has something to work with, and I am pressing them to embrace how the horrors of reality are changing them. The same can be done with a simple location prompt. Instead of offering, “Conan, describe what you see as you enter the tavern,” you spice it up and focus the prompt: “Conan, you notice something as you enter the tavern that tells you the owner once worshipped Crom, what is it?”

Don’t be afraid to sharpen your prompts and create a table culture that gives the players the freedom of saying, “I do trust Sara because…” Any fear of them losing agency vanishes.

Day 1: Patron

Question: (rolled 4) When

Mood: (rolled 6) Optimistic

Subject: (rolled 1) Adventure

In the upcoming play of Monster of the Week on my channel, the players chose the Always on the Road Team Playbook with Family as the Style. The Team Playbooks in MotW offer a new Blades-like “Crew” sheet. One choice they make is for the Team’s Ally. This team chose:

Bingo, an always-online researcher into strangeness. They can put you in touch with people who need help, coordinate communication, and help you with research.

Essentially, Bingo will play as the Hunters’ patron.

I am excited to bring Bingo to life.

To start, I envisioned a mix of Penelope from Criminal Minds, Oracle from Batman comics, and Chloe from 24. A snarky southern woman who flirts while being the smartest member of the team. She will kick off the first session by giving the team a lead (while introducing herself to the players).

She will be mysterious, having never met her face-to-face, funny, sassy, but hyper competent. I am excited to see what the players latch onto. Will they treat her as a quest giver or realize she is a bevy of knowledge in an age before smartphones?

I want each of the four hunters to foster their relationship with her.

Bingo is yet another NPC whom I cannot wait to play and learn. I know she already exists, and I am excited to listen to her play and see who she is.

Patrons can give us GMs a character to act through, roleplay as a recurring character, and a lever to activate player character roleplay.

Cthulhu Dark – LIVE!

A new 1-Player and 1-Director scenario adapted from Call of Cthulhu to Cthulhu Dark. Joseph is a reporter for the Chicago Daily News. An evening visiting his wealthy father kicks off a series of events that will change Joseph forever. See you in the Twitch chat? #ttrpg

Monster of the Week (and more!)

We are at the finale of this first run of Sentinels! At the end of the month, we start a 1-player game of Cthulhu Dark, adapting a CoC scenario. Finally, to kick off August, we get Monster of the Week on the channel! #ttrpg

Sentinel Comics LIVE

The Blood Coin Cartel seems to have our heroes in their sights. They stopped one member from robbing a bank. What is their next plan? What if Neuro Nexus has figured out Midnight Warden’s real identity? Is his elderly mother in danger? #ttrpg Catch up here!

Blade Runner – LIVE!

It is starting to come together for our Blade Runners. We’ve identified our suspect rogue replicant. We think we know where he is. We don’t know what he is or who made him. He is something beyond any model we’ve seen. Can we stop him before he kills another Blade Runner? #ttrpg