Showing posts with label Horror. Show all posts
Showing posts with label Horror. Show all posts

Thursday, February 19, 2026

A brand-new horror story by Hundal & Miller!

 A tale of terror by L.L. Hundal & Steve Miller. If you like it, consider checking out Shadow Stories and Moonlit & Other Stories -- anthologies with stories by them writing together and separately.


'Til Death

The cemetery gates had been locked for hours, but Veronica knew the gap in the fence behind the maintenance shed. She'd used it three times before—once to confirm the burial, once on what would have been their anniversary, and now tonight, when sleep proved impossible and the bourbon wasn't working anymore.

Her heels sank into the soft earth as she navigated between headstones, their shadows stretching long and skeletal under the half-moon. October had stripped most of the leaves from the oaks that lined the cemetery's eastern border, and their bare branches clawed at the sky like arthritic fingers. The air carried that particular autumn smell—decay and damp earth and something else, something that made her think of endings.

Robert's plot was in the newer section, where the grass hadn't fully established itself and the headstones still looked too clean, too new. She'd paid extra for the marble angel, though she couldn't say why. Perhaps because his mother had been there, watching with those red-rimmed eyes, silently accusing. Perhaps because appearances still mattered, even when you were standing over the grave of a man who was supposed to be gone.

She stood at the foot of the grave, swaying slightly. The bourbon was catching up with her now, warming her from the inside despite the October chill. Her black dress—the same one she'd worn to the funeral—clung to her curves, and she was suddenly, acutely aware of how alive she felt. How free.

"Hello, Robert." Her voice sounded strange in the silence, too loud and too intimate at once. "I know it's been a while. Nine months, two weeks, four days. Not that I'm counting."

A laugh escaped her, sharp and bitter. She pressed her hand to her mouth, but it bubbled out anyway, echoing off the surrounding headstones. As the echo died, she took a swig from the bourbon bottle she was clutching in her other hand.

"God, you'd hate this. Me standing here, drunk, talking to your corpse like we're having one of our little chats." She took a step closer, her heel catching on the edge of the grave marker. "You know what's funny? Sometimes I actually miss you. Not you-you, but... having someone there. Someone to cook for. Someone whose dry cleaning I had to pick up."

The wind picked up, rustling through the dead leaves scattered across the cemetery grounds. Veronica wrapped her arms around herself, suddenly cold despite the alcohol in her system.

"But then I remember." Her voice dropped, hardening. "I remember the bruises I had to cover with makeup. The ribs you cracked when I overcooked the roast. The time you held my head underwater in the bathtub because I'd smiled at the waiter. The hospital visits I explained away as clumsiness, as accidents, as anything but what they were."

She crouched down, running her fingers over the engraved letters of his name. Robert James Holloway. Beloved Husband. The lie of it made her stomach turn.

"So no, Robert. I don't regret it. I don't regret finding that number in the back of that dive bar in Newark. I don't regret the meetings in parking garages, the cash withdrawals, the careful planning. And I definitely don't regret spending thirty thousand dollars—your thirty thousand dollars, from that account you thought I didn't know about—to have someone put a bullet through your skull."

The memory of that phone call still sent a thrill through her. It's done, the voice had said. Professional. Detached. She'd asked if it had been quick, and the voice had paused before answering. Quick enough. He didn't suffer.

Good, she'd thought. But not good enough.

"You know what would have made it perfect?" She stood, brushing dirt from her knees. "If it had been a woman. A hit-woman. Wouldn't that have been poetic? You, who always said women were weak, who said I was nothing without you, taken out by someone with tits and a trigger finger."

She laughed again, the sound carrying across the empty cemetery. Somewhere in the distance, an owl hooted, and she wondered if anyone could hear her. If anyone would care.

"The undertaker wanted to fix your face. Did you know that? He said he could make you presentable, that he could fill in the hole, use makeup and prosthetics. But I told him no." She smiled, remembering the man's shocked expression. "I told him to leave it. To let everyone see what you really were—a man with a hole where his brain should have been. Closed casket, Robert. You didn't even get a proper viewing."

The satisfaction of that moment still warmed her. His mother had wept, had begged to see her son one last time, but Veronica had been firm. The damage was too extensive, she'd said, her voice appropriately broken. You wouldn't want to remember him that way.

"I hope that hole is still there." She kicked at the grave marker, her heel leaving a scuff on the marble. "I hope it's with you wherever you are. I hope every time you look in a mirror—do they have mirrors in Hell?—you see it. That perfect, round reminder that you're not invincible. That you're not God. That you're just a dead man in a box."

The wind gusted harder, and Veronica stumbled slightly, catching herself on the angel statue. Its cold marble face stared down at her with blank eyes, and for a moment she felt a flicker of something that might have been shame. But no. She'd earned this. She'd earned her freedom, her life, her right to stand here and spit on his memory.

"You're probably in Hell right now." She straightened, smoothing down her dress. "I hope you are. I hope you're burning, Robert. I hope every day is agony. I hope you're surrounded by demons who do to you what you did to me, over and over, for eternity."

The thought made her bold. Made her reckless. She took another long pull from the bourbon bottle, letting the burn settle in her chest, fortifying her. Her fingers trembled slightly as she reached down, finding the hem of her dress.

This was it. This was the line. Once she crossed it, there was no taking it back—no pretending she was just a grieving widow, no hiding behind propriety or shock or the convenient amnesia of trauma. She'd be choosing to desecrate his grave, choosing to stand here naked and defiant in the dark. Choosing to reclaim what he'd tried to own.

She thought of his hands on her. His voice in her ear, whispering mine, always mine. She thought of the fear, the smallness he'd made her feel. And then she thought of that perfect, round hole in his skull, and something crystallized inside her—cold and sharp and absolutely certain.

She hurled the bourbon bottle at the headstone. It shattered against the granite with a satisfying crack, and she hiked her dress up around her thighs. The night air was cold against her skin, raising goosebumps along her legs.

"You remember these legs, Robert? You used to say they were your favorite part of me. That they were the reason you married me." Her voice dripped with venom. "Well, guess what?"

She hooked her thumbs into the waistband of her panties—black lace, expensive, the kind he used to buy her before the honeymoon phase ended and the real Robert emerged. She slid them down slowly, deliberately, stepping out of them and holding them up in the moonlight.

"You'll never touch them again." She let the panties fall onto the grave, watching them settle against the fresh earth. "You'll never touch any of this again. And all those side-whores you thought I didn't know about? Jennifer from your office? That bartender at O'Malley's? The personal trainer you were fucking in our bed? They're done with you too. You're nothing now. Just bones and rot and that beautiful, perfect hole in your head."

She pulled her skirt higher, exposing herself to the night, to the grave, to the memory of the man who'd tried to own her. The gesture was crude, obscene, and absolutely liberating.

"This is mine now, Robert. My body. My life. My—"

A sound cut through her declaration. A scratching, scraping noise that seemed to come from beneath her feet. Veronica froze, her skirt still bunched around her waist.

But the sound came again, louder this time. Deliberate. And the earth on the grave—the fresh earth that had been smooth and undisturbed moments ago—seemed to shift. To bulge upward, as if something beneath was pushing against it.

"No." The word came out as a whisper. "No, that's not—that's not possible."

Run, her mind screamed. Run now.

But her legs wouldn't obey. She stood frozen, watching in horror as the grave continued to shift and buckle. Her panties, still lying on the disturbed earth, began to slide down the mound as the dirt beneath them gave way.

A hand burst through the surface.

Veronica screamed, the sound tearing from her throat raw and primal. The hand was gray, desiccated, the skin hanging loose on bones that looked too white in the moonlight. Dirt clung to it, falling away as the fingers flexed, curled, grasped at the air.

She stumbled backward, her heel catching on a root. She went down hard, her palms scraping against stone and earth, but she barely felt it. All she could see was that hand, now joined by another, both clawing at the earth, pulling, dragging something up from below.

"No, no, no, no—" The words tumbled from her lips as she scrambled to her feet, her dress still hiked up around her waist, her legs shaking so badly she could barely stand.

The thing—because it couldn't be Robert, it couldn't be, the dead didn't rise, the dead stayed buried—pulled itself further from the grave. Shoulders emerged, covered in the remnants of what had once been an expensive suit. The fabric was stained and rotting, hanging in tatters from a frame that was far too thin, far too angular to be human.

And then the head.

Veronica's scream died in her throat, replaced by a sound that was more animal than human. The face that emerged from the grave was Robert's face, but wrong, so terribly wrong. The skin had pulled tight against the skull, gray and mottled, the lips drawn back in a permanent grimace that exposed yellowed teeth. One eye was sunken, milky white, while the other socket was empty, just a dark hollow that seemed to stare at her anyway.

And the hole. The perfect, round hole in his temple, just above where his left ear had been. She could see through it, could see the dark cavity of his skull, could see things moving inside that she didn't want to identify.

The corpse pulled itself fully from the grave, dirt cascading off its body as it rose unsteadily to its feet. For one terrible moment it stood there, swaying, that empty eye socket fixed on her—and then its legs gave out. The thing collapsed forward onto the ground with a wet, heavy sound, and immediately began to crawl.

Not slowly. Not like something weak or dying.

It moved with a grinding, relentless speed that defied everything she understood about the world. Its arms pulled it forward, fingers digging into the earth, dragging its ruined body across the cemetery floor. The sound it made—the scrape of fabric against dirt, the crack of joints, the wet rasp of its breathing—was worse than any scream.

Veronica ran.

 

She didn't think, didn't plan, just turned and bolted through the cemetery, her heels sinking into the soft earth with every step. Behind her, she could hear it following—that grinding, dragging sound, getting closer, always closer, moving faster than anything crawling should be able to move.

This isn't happening, she thought wildly, dodging between headstones. This is the bourbon. This is a nightmare. This is—

She glanced back and immediately wished she hadn't. The thing that had been Robert was pulling itself across the ground with inhuman determination, its body pressed low to the earth, moving like some terrible insect. Its arms reached out toward her with each lurch forward, those gray fingers grasping, and she could see her panties clutched in one hand, the black lace stark against the dead flesh.

She screamed again and pushed herself harder, her lungs burning, her legs aching. The cemetery stretched out before her, suddenly vast and maze-like. Where was the parking lot? Where was the gap in the fence? Everything looked the same in the darkness—headstones and shadows and dead grass.

Left, she thought desperately. The parking lot is to the left.

She veered right instead, panic overriding logic, and found herself running deeper into the cemetery, toward the older section where the stones were weathered and crumbling and the trees grew thick and close. The ground was uneven here, treacherous, and her heel caught on something—a root, a stone, she didn't know—and she went sprawling.

She hit the ground hard, the impact driving the air from her lungs. For a moment she just lay there, gasping, tasting dirt and blood where she'd bitten her tongue. Then she heard it—that wet, dragging sound, getting closer. The scrape of dead hands pulling a dead body across the earth.

"No." She pushed herself up, ignoring the pain in her hands and knees, ignoring the way her dress had torn, exposing even more of her skin to the cold night air. "No, please, no."

She ran again, this time in the right direction. She could see the lights of the parking lot now, could see her car sitting alone under the single working streetlamp. So close. Just a little further.

The thing behind her moaned, a sound that was barely human, barely anything at all. But she heard words in it, or thought she did. Syllables that might have been her name.

"Ver...on...i...ca..."

"Shut up!" she screamed over her shoulder. "You're dead!"

She could see the gap in the fence now, could see freedom just beyond it. Her car keys were in her purse, which was—where was her purse? Had she brought it? She couldn't remember, couldn't think past the terror that had her in its grip.

Twenty feet. Fifteen. Ten.

She was going to make it. She was going to—

She dropped to her knees at the fence gap, already pushing herself through, when the hand shot out from ground level and locked around her ankle.

Veronica shrieked as she was yanked backward, dragged out of the gap, her body slamming against the earth. She kicked out wildly, her free foot connecting with something that gave with a wet, sickening sound. But the grip on her ankle didn't loosen. If anything, it tightened, those dead fingers digging into her flesh with strength that shouldn't have been possible.

She was dragged backward across the ground, her nails scrabbling at the earth, leaving furrows in the dirt. She twisted, looking back, and found the thing that had been her husband pressed against the ground beside her, its body stretched out along the earth, pinning her.

That hole in its head wept something dark and viscous. The empty eye socket seemed to bore into her, and the remaining eye—that milky, dead eye—held something that might have been recognition. Might have been rage.

Its mouth opened, the jaw working with a sound like grinding bone, and it spoke. The voice was hoarse, ruined, like gravel being dragged across concrete, but the words were clear enough.

"Remember... the pool..." Its face was inches from hers now, and she could smell it—rot and earth and something chemical from the embalming. "How you... couldn't breathe... how I held you... under..."

"No!" Veronica kicked again, her heel connecting with its shoulder. The joint gave with a crack, but the thing didn't release her. It just adjusted its grip, pulling itself closer along the ground. "Let me go! You're dead!"

"I know... where you go..." The corpse's head tilted, considering, its body still pressed flat against the earth. Its remaining eye fixed on hers with terrible clarity. "Every coffee shop... every friend's house... I always... knew..."

It reached toward her with its free hand, those gray fingers trailing up her exposed leg, over her thigh, higher. The touch was cold, so cold it burned, and Veronica felt bile rise in her throat.

She wrenched her body sideways with everything she had left, her ankle twisting in that cold grip. For a moment—just a moment—the corpse's hold faltered as its body shifted on the uneven ground. She felt the fingers loosen.

That was all she needed.

Veronica tore herself free and scrambled backward, her bare feet scraping against the cold earth. She didn't look back. She ran—past the headstones, past the angel monument, toward the gates that suddenly seemed impossibly far away. Her breath came in ragged gasps, her heart hammering so hard she thought it might burst in her chest.

She burst through the cemetery gates and into the parking lot, her keys already in her shaking hand. The car door slammed behind her, the lock clicked, and she fumbled the key into the ignition.

The engine roared to life. She peeled out of the lot, tires screaming against asphalt, and didn't stop until the cemetery was miles behind her.

But as she drove through the empty streets of the sleeping city, his words kept circling back, relentless as a predator. I know where you go. Every coffee shop. Every friend's house. She gripped the steering wheel tighter, her knuckles white, and tried to convince herself it was just the bourbon talking, just her own fear echoing in her skull.

Except it wasn't. Because he was right. He'd always known. He'd always been there—in the background of her life, watching, tracking, controlling. And now, impossibly, he still was.

She pulled into her apartment complex and sat in the car for a long time, engine off, hands still shaking. The parking lot was empty. The building was dark. Everything was normal.

Tomorrow she'd go to the coffee shop on Fifth Street. Her mother's house on Wednesday. The therapist's office on Thursday afternoon at two.

And he would know.

She'd killed him once. She'd buried him. She'd danced on his grave and poured bourbon on his headstone and reclaimed every piece of herself he'd tried to destroy.

But she would never escape him.

--

If you enjoyed that chilling bit of horror, you can find more from the same team of writers in Shadow Stories and Moonlit & Other Stories.


Sunday, July 13, 2025

THE LAST CARD - A Chilling Tale by Steve Miller

The Last Card

By Steve Miller

The candles flickered in the cramped living room as Madeline shuffled the worn tarot deck. The cards felt heavier tonight, their edges soft from years of use, but there was something else—a weight that seemed to press against her palms like a warning she couldn't quite decipher. She glanced across the small table at her client, a man who had introduced himself simply as "Thomas" when he'd knocked on her door twenty minutes earlier.

He sat perfectly still in the mismatched chair she'd pulled from her kitchen, his pale hands folded in his lap with unnatural precision. Everything about him seemed deliberately unremarkable—average height, thinning brown hair, clothes that looked like they'd been purchased from a department store clearance rack. But his eyes held a quality that made Madeline's skin crawl, a flatness that reminded her of stagnant water. When he'd asked for a reading, his voice had been soft, almost gentle, but there was something underneath it that made her want to lock her door and pretend she wasn't home.

Still, she needed the money. The psychic business wasn't exactly booming in a town of three thousand people, and her day job at the grocery store barely covered rent on the tiny house she'd inherited from her grandmother. The same house where Nana had taught her to read the cards, where she'd learned that sometimes the universe spoke in symbols and shadows. More often than not, though, it was just random cards and vague statements from her that made the customers feel good.

"What would you like to know?" Madeline asked, struggling to push aside the sense of unease that was filling her. She began laying out cards in the Celtic Cross spread, each one landing with a soft whisper against the velvet cloth.

Thomas leaned forward slightly, and she caught a whiff of something metallic, like old pennies. "I want to know about my future," he said. "What's coming for me."

The first card was revealed: The Tower. Lightning splitting a dark spire, figures falling into an abyss. Madeline's stomach tightened, but she forced her expression to remain neutral.

"This represents your current situation," she said. "The Tower suggests significant change. Old structures being torn down."

Thomas nodded slowly. "What kind of change?"

The next card made her pulse quicken—the Seven of Swords. A figure creeping away in the night, carrying stolen blades. The image hit her like a physical blow, and suddenly she understood why the cards had felt so heavy in her hands. This wasn't about challenges he was facing—the cards were revealing what he was planning. Her throat constricted as she stared at the thief in the darkness, carrying weapons into the night.

"The Seven of Swords indicates... hidden actions," she said carefully, her voice barely steady. "Perhaps secrets that need to come to light."

The metallic smell seemed stronger now, and she noticed his hands had moved to rest on the table's edge, fingers drumming silently against the wood.

The third card made her breath catch: The Ten of Swords. A figure lying face-down, ten blades piercing his back against a blood-red dawn. Death, betrayal, the violent end of a cycle. Her hands trembled slightly as she reached for the fourth card, hoping it would somehow balance the reading, provide context that would make this all seem less ominous.

The Death card stared back at her.

"Interesting," Thomas murmured, and there was something like amusement in his voice. "What do those mean?"

Madeline's mouth had gone dry. She could feel sweat beading along her hairline despite the cool October evening. The cards were telling a story she didn't want to read, painting a picture in symbols that made her want to sweep them all back into the deck and pretend this reading had never happened.

"The Ten of Swords represents an ending," she said, her voice barely above a whisper. "But not necessarily a literal death. It could mean the end of a difficult period, a transformation. And the Death card—" She swallowed hard. "The Death card almost never means actual death. It's about rebirth, new beginnings, letting go of what no longer serves you."

Thomas tilted his head, studying her. "You don't sound very convinced."

"Tarot is symbolic," Madeline said quickly. "The cards speak in metaphors. They're not meant to be taken literally." But her hands were shaking now as she reached for the next card in the spread. She needed to finish this reading and get him out of her house. Every instinct she'd inherited from her grandmother was screaming at her to run.

The fifth card—representing the possible outcome—was the Three of Swords. A heart pierced by three blades, storm clouds gathering overhead. Heartbreak, sorrow, emotional pain. But in this context, surrounded by violence and death, it felt like something much more sinister.

"This suggests emotional upheaval," she said, but her voice cracked on the words. "Pain that leads to growth, the necessity of facing difficult truths."

"You're very creative with your interpretations," Thomas said with a thin smile. "But I think we both know what the cards are really saying."

Madeline's heart was pounding so hard she was sure he could hear it. She wanted to stop, to tell him the reading was over, but something kept her frozen in place. Maybe it was professional obligation, or maybe it was the growing certainty that showing fear would be the worst possible thing she could do.

"There are still more cards," she said, though every fiber of her being was telling her to stop.

"Yes," Thomas said softly. "Please continue. I'm very interested to see what comes next."

The sixth card—representing the immediate future—made her gasp audibly. The Moon, but reversed. Deception revealed, hidden enemies exposed, illusions falling away. In the context of this reading, it felt like a countdown timer ticking toward zero.

"This card suggests that hidden truths will soon come to light," she said, but she could barely force the words out. "Secrets will be revealed, and you'll see situations more clearly."

"How soon?" Thomas asked, and there was definitely amusement in his voice now.

"The cards don't give specific timeframes," Madeline said quickly. "It could be days, weeks, months—"

"Or tonight?"

The word hung in the air between them like a blade. Madeline looked up from the cards to find Thomas watching her with an expression that made her blood turn to ice. The mask had slipped completely, revealing something predatory underneath.

"I think we should stop here," she said, starting to gather the cards. "Sometimes readings can be overwhelming, and it's better to—"

"No." His voice was still soft, but there was steel underneath it now. "I want to see the rest. What happens after the truth comes to light?"

Madeline's hands were shaking so badly she could barely hold the cards. She knew she should refuse, should tell him to leave, should do anything except continue this reading. But Thomas was leaning forward now, and she could see something glinting in his jacket pocket. Something metallic that caught the candlelight.

With trembling fingers, she turned over the seventh card. The Hanged Man, but upright this time. Sacrifice, suspension, being trapped between worlds. The figure dangled from a tree, serene in his helplessness.

"This represents your feelings about the situation," she said, her voice barely audible. "The Hanged Man suggests... waiting. Being in a state of suspension, unable to act."

But that wasn't what the card was telling her. In this context, surrounded by violence and death and deception, The Hanged Man was showing her exactly what Thomas had planned. Someone suspended, helpless, waiting for the inevitable end.

"And how do I feel about that?" Thomas asked, his voice taking on a conversational tone that was somehow more terrifying than if he'd been shouting.

Madeline turned over the eighth card with hands that felt disconnected from her body. The Devil. Bondage, addiction, being trapped by one's own desires. The horned figure loomed over two chained humans, but the chains were loose enough to slip off if they chose to.

"You feel... in control," she whispered. "The Devil represents power over others, the ability to manipulate situations to your advantage."

Thomas barked out a brief laugh. "Very good. You're finally being honest. What's the final outcome?"

The last card in the spread seemed to burn her fingers as she turned it over. The World, but reversed. Incomplete journeys, lack of closure, goals that remain forever out of reach. In any other reading, it might have suggested delays or the need for patience. But here, now, it felt like a epitaph.

"The final outcome is..." Madeline's voice failed her completely. She stared at the card, at the dancing figure surrounded by the symbols of the four elements, now inverted and wrong. "Incompletion. A journey that ends before its destination."

"Whose journey?" Thomas asked quietly.

Madeline looked up at him, and in that moment, she understood. The cards hadn't been reading his future at all. They'd been reading hers. Every symbol, every image, every dark portent—they were all about her. The Tower wasn't his life falling apart; it was hers. The Ten of Swords wasn't his ending; it was hers. The Death card, the Three of Swords, The Hanged Man—all of it was about what was going to happen to her. What was going to happen tonight.

"Mine," she whispered.

Thomas smiled, and this time it reached his eyes, transforming his unremarkable face into something monstrous. "Very good. You really are psychic, aren't you?"

He reached into his jacket pocket and withdrew a knife. It was nothing special—just a kitchen knife with a black handle, the kind you could buy at any hardware store. But the blade caught the candlelight and threw it back in sharp, hungry gleams.

"I've been watching you for weeks," Thomas said conversationally. "Learning your routine, your habits. You live alone, no boyfriend, no close neighbors. You advertise your services online, which means people know you invite strangers into your home. It's really quite perfect."

Madeline's chair scraped against the floor as she pushed back from the table. Her mind was racing, trying to calculate distances, escape routes, anything that might give her a chance. The front door was fifteen feet behind Thomas, completely blocked. The back door was through the kitchen doorway to her left, but she'd have to get past him to reach it.

"The cards were right about one thing," Thomas continued, standing slowly. "Tonight is when everything changes. For both of us."

He lunged across the table with surprising speed, the knife aimed at her chest. Madeline threw herself sideways, feeling the blade slice through the air where she'd been sitting a moment before. She crashed into the bookshelf behind her chair, sending volumes of poetry and philosophy tumbling to the floor.

"Don't make this harder than it needs to be," Thomas said, stepping around the table with deliberate calm. "I promise it will be quick."

Madeline scrambled to her feet, grabbing a heavy hardcover book and hurling it at his head. He ducked easily, the book smashing into the wall behind him. She bolted toward the kitchen doorway, but he was faster than she'd expected. His hand closed around her wrist, spinning her back toward him.

The knife came down in a silver arc. Madeline threw up her other arm to block it, feeling the blade bite deep into her forearm. Pain exploded through her nervous system, but adrenaline kept her moving. She drove her knee up toward his groin, connecting hard enough to make him grunt and loosen his grip.

Blood was streaming down her arm, soaking into her sweater, but she ignored it. She broke free and sprinted through the kitchen doorway, Thomas close behind her. The narrow galley kitchen stretched before her—counters on both sides, the back door at the far end seeming impossibly far away.

A ceramic bowl sat on the counter to her right—one of her grandmother's pieces, painted with delicate flowers. Madeline grabbed it without breaking stride and spun around, smashing it against Thomas's temple as he rounded the corner into the kitchen. He staggered, blood trickling down the side of his face, but he didn't go down.

"You're only making me angry," he said, wiping blood from his eye. "I was going to make it quick, but now..."

He came at her again, the knife weaving through the air in practiced patterns. Madeline backed away, her injured arm pressed against her side, looking desperately for another weapon. The knife block on the counter was too far away, and Thomas was between her and the back door.

She feinted left toward the counter, then dove right toward the kitchen table that sat against the far wall. Rolling across its surface, she landed hard on the other side, putting the table between them. Thomas cursed and came after her, but the obstacle bought her precious seconds.

She ran back toward the living room, her mind racing through possibilities. The grandfather clock stood in the corner, a massive antique that had belonged to her great-grandfather. It was easily seven feet tall and probably weighed three hundred pounds. If she could somehow tip it over...

Thomas appeared in the doorway, his face twisted with rage. The calm mask was completely gone now, replaced by something feral and hungry. "Enough games," he snarled.

Madeline put her shoulder against the clock and pushed with everything she had. It was heavier than she'd expected, barely budging despite her desperate efforts. Thomas was crossing the room now, the knife held low and ready.

She pushed harder, feeling the clock rock slightly on its base. Just a little more, just enough to—

Her foot slipped on something—blood from her wounded arm, maybe, or one of the scattered tarot cards. She went down hard, her head cracking against the clock's wooden case. Stars exploded across her vision, and she felt Thomas's weight settling on top of her.

"Finally," he breathed, raising the knife above his head.

Madeline's hand closed around something heavy and cold. One of her grandmother's art pieces—a bronze sculpture of a dancer that usually sat on the side table. Without thinking, she swung it upward with all her remaining strength.

The bronze connected with Thomas's skull with a wet, crushing sound. His eyes went wide with surprise, then rolled back in his head. The knife tumbled from his fingers as he collapsed beside her, blood pooling beneath his shattered skull.

Madeline lay there for a moment, gasping, hardly able to believe she was still alive. The bronze dancer was slick with blood in her hands, and Thomas's body was completely still. She'd done it. She'd survived.

She started to push herself up, her wounded arm screaming in protest. She needed to call the police, get to a hospital, figure out how to explain what had happened. The cards were scattered across the floor around her, their prophecies fulfilled in ways she'd never imagined.

That's when she heard the groaning sound above her.

The grandfather clock, destabilized by her earlier efforts and the impact of her head against its case, was tilting forward. She looked up to see three hundred pounds of antique wood and brass falling toward her like a judgment from heaven.

Madeline tried to roll away, but her injured arm wouldn't support her weight, and Thomas's body was pinning her legs. The clock seemed to fall in slow motion, its ornate face growing larger and larger as it descended.

Her last thought was of the cards, scattered around her like fallen leaves. The Tower, with its lightning-struck spire. The Ten of Swords, with its promise of violent endings. The Death card, which she'd insisted didn't mean literal death.

The World, reversed. A journey that ends before its destination.

The grandfather clock struck midnight as it crushed the life from her body, its chimes echoing through the small house like a funeral bell.

Friday, December 6, 2024

NUELOW at Christmas: Day Six



Today, we set the theme with a bit of Christmas music (and the illo that the post opened with, of course)!

 


IT'S A ZOMBIE CHRISTMAS!
This is a random generated adventure outline with zombies being home for Christmas! Use a six-sided die to determine some basic elements of the plot.

Set Up
On Christmas Eve, whether celebrating together or not, the player characters are each attacked by 1d6 zombies. If one or more of them get overwhelmed and killed... well, new character time! Merry Christmas!
   Once this encounter has ruined Christmas, the real adventure begins.

What's Going On? (Roll 1d6)
1. Hell is full, so the dead walk the Earth.
2. A necromancer (either hired by an enemy of the PCs or a direct enemy 
    of the PCs) has cursed the player characters and their close friends 
    and family. Every day until January 6, 1d6 zombies will show up to attack 
    every one of them. If killed, the PC or other slain characters join the 
    zombie forces.
3. A grieving father has used a powerful artifact to capture Death 
    (aka the Grim Reaper), so now anyone who dies immediately becomes 
    a murderous zombie.
4. Everyone who has been deemed "naughty" by Santa Claus has returned 
    to take revenge upon the world.
5. The Grim Reaper is on strike until Santa Claus considers his daughter 
    as a candidate to join Santa's Helpers, so the dead walk.
6. The Spirit of Christmas has been captured by the evil anti-Christmas forces.

As the PCs battle zombies amidst the Christmas decorations, they will pick up hints and leads as to who or what is the root cause of the rampaging zombies. Once they have enough information, they are ready to save themselves, their neighbors, and maybe even salvage a little bit of Christmas, from the zombies!

How Can It Be Stopped? (Roll 1d6)
1. The PCs must find and recruit Santa to help, as only his all-encompassing 
     knowledge of who's naughty and nice will let them locate the cause behind 
     the zombie rampage.
2.  The PCs must find their way to the Realm of Death to find out why the
     Grim Reaper isn't finishing his job and fix the problem -- or find a temp
     to take over.
3.  The characters must identify a lead zombie in each group and give it
     a pile of pages containing Christmas carols. It then passes sheets to 
     each of the other zombies and all of them start singing Christmas carols.
4.  If exposed to Christmas music, the zombies freeze in place. If they are 
     left alone, they become corpses as the sun rises on Christmas Day.
5.  A character must become a living vessel for the Spirit of Christmas.
     He or she must confront the groups of zombies and wish them 
     Merry Christmas, at which time they die a final death.
6.  The cause of the zombies rising must be found and (if needed) put to 
      an end. Then the zombies all have to be killed the old fashioned way.

Friday, October 14, 2022

The Notebook of Spirit Writing (Part One)

The Notebook of Spirit Writing is a two-part magic item that consists of a notebook and a pen. They allow the creator to communicate with one, possibly two, specific spirits of a person who has passed on. The person must have been literate in the language in which the creator of the Notebook of Spirit Writing wishes to communicate. The person must further be someone that either had no relationship with the creator, or a friendly one. The closer the relationship between the creator and the target, the greater the likelihood of the enchantment succeeding.

CREATING A NOTEBOOK OF SPIRIT WRITING
Infusing the Notebook of Spirit Writing and the pen it will be used with requires the creator to follow a very particular series of ritualistic steps. Any deviation in the order, or any shorter time, and the character will either end up with an item that doesn't function, or an item that functions incorrectly and is possibly dangerous.
   If there is an error or disruption in the rituals along the way, the creator can either restart the enchantment process with other items, or he or she can take a chance that the process will still be successful. At the end of each entry describing the steps in the ritual, there is a section that states the chance of failure and the results of success or failure. The GM should roll against the listed percentage whenever there's a step that's not done properly. If the roll is below or equal to the stated number, the step fails.


1. Selecting the Notebook and the Pen
The value and quality of the items used to make a Notebook of Spirit Writing are immaterial; what matters is the creator's desire to communicate with the subject and the steps taken to charge them with magic. The notebook can be anything from a spiral-bound pad of lined paper, or a leatherbound diary, and the pen can be a plastic ballpoint with an autoshop's name on it, or a 100-year-old fountain pen made of gold and ivory. The only important thing is that the notebook must be bound with some sort of covers.
   Once the notebook and pen have been selected, the creator must sleep with them under a pillow (or similar headrest) for three nights in a row. Each night, while going to sleep, the creator must think of fond memories he or she has of the person that is the intended target of communication. 
   Chance of Failure: 100%. 
   Consequence of Failure: Further steps will produce no result.
   Consequences of Success: During the third night, the creator has a pleasant dream about talking with the target about corresponding. The target likes the idea but says there might be risks. He or she doesn't elaborate.

2. Enchanting the Pen
The creator must take the pen to a place where there is a pool or basin of blessed water within a sacred site. This can be the Catholic church, a Shinto shrine, or some ancient site in the wilderness with a natural spring where sacred rituals were conducted. Alternatively, the creator can bring the pen to the central well in an Amazon village, or place it in the Pool of All. (Those last two options are probably very difficult for most characters.)
   The pen must remain submerged and undisturbed in the water for at least 8 hours.
   Chance of Failure: 20%
   Consequence of Failure: 50% chance of attracting a Warden each time the Notebook of Spirit Writing is used. (See "Using the Notebook", below.)
   Consequence of Success: The pen is now ready to be used with the notebook to communicate with the target.

3. Enchanting the Notebook I
Using the selected pen, the creator must write the target's name and birthdate on the inside cover of the notebook. The creator must then take the notebook and pen to the place of the target's birth. Here, the notebook and pen must be left within 10 meters (35 feet) of the exact location where the target was born. 
   The notebook must remain where placed, undisturbed, for at least 8 hours.
   Chance of Failure: 20%
   Consequences of Failure: Further steps have a base 10% chance of failing. 50% chance of a random spirit responding, instead of the intended target, each time the Notebook of Spirit Writing is used. (See "Using the Notebook", below.)
   Consequence of Success: Step #4 can be attempted without risk, and the Notebook of Spirit Writing will function properly if the entire ritual is completed correctly.

4. Enchanting the Notebook II
The creator must take the notebook and pen to the place of the target's death. Here, the notebook and pen must be left within 10 meters (35 feet) of the exact location where the target died. 
   The notebook must remain where placed, undisturbed, for at least 8 hours.
   Chance of Failure: 20%
   Consequences of Failure: Further steps have a base 20% chance of failing. 50% chance of a random spirit responding, instead of the intended target, each time the Notebook of Spirit Writing is used. These penalties replace any ones from earlier steps. (See "Using the Notebook", below.)
   Consequence of Success: Step #5 can be attempted without risk, and the Notebook of Spirit Writing will function properly if the entire ritual is completed correctly.

5. Enchanting the Notebook III
The creator must take the notebook and pen to where the target lived the longest during his or her life.  Here, the notebook and pen must be left within the structure, or within 10 meters (35 feet) of it. 
   The notebook must remain where placed, undisturbed, for at least 24 hours. Once retrieved, the creator must write the target's death date on the inside cover with the pen.
   Chance of Failure: 20%
   Consequences of Failure: 50% chance of a random spirit responding, instead of the intended target, each time the Notebook of Spirit Writing is used. These penalties replace any ones from earlier steps. (See "Using the Notebook", below.)
   Consequence of Success: Immediately after writing the target's death date in the notebook, the creator briefly feels safe and secure and as if someone as though someone is standing close to him or her.
   The Notebook of Sprit Writing and the associated pen are now fully enchanted and ready to be used.


 

 

--"Using the Notebook" and more coming soon!

The material in this post was inspired by the short film "Pen Pals". Click here to watch it at the Terror Titans blog.

Saturday, October 2, 2021

Doppelganger Eggs

This material was inspired by Dylan Clark's horror short film "Hatched" (2021). You can watch it at the Terror Titans blog by clicking here. (Ideally, you came here from that post, as even the title of this one may be a little bit of a spoiler.)
   The game mechanics attached are for the OGL Modern variation of the d20 System, but it should be easily adaptable to most other RPGs that are out there.

DOPPLEGANGER EGGS
Doppelganger Eggs
are one-shot magic items that were developed in ancient times by Atlantean Biomancers, and the art of creating them is now only known to the secretive Witchkind and a tribe of equally secretive doppelgangers (creatures capable of assuming the form of any humanoid creature they kill, as well as absorbing their most ingrained personality traits and skills) who work with them. By performing a complex ritual, a doppelganger is put into the egg. When the egg is cracked or hatches when the magic wears off, the doppelganger swiftly returns to his original size. It can then infiltrate the household into which the egg was smuggled (usually among other food items).
   The Atlanteans would use the eggs to unleash assassins and infiltrators on unsuspecting enemies, and that is how they are used in modern-times as well. 

Creating Doppelganger Eggs
Doppelganger Eggs are created using any eggs laid by a non-magical bird or reptile and a willing doppelganger. Two beings with knowledge of how to create Doppelganger Eggs and the ability to cast 5th-level spells and knowledge of the Transmutation and Necromantic magic schools must work together to create the Doppelganger Egg. Usually, the two spellcasters and the Doppelganger are long-time associates, if not actually friends, so all those involved trust each other to do the best possible job and to take care of each other if a client/customer tries to betray them or welch on a deal.
   The ritual must be performed in a specially constructed location with a permanent enchantment area used exclusively for the creation of Doppelganger Eggs and a small number of related magic items. Over the course of three hours of intensive spellcraft, a doppelganger and an egg are merge. By the end of the process, the egg is undetectable from similar eggs, except that it radiates a faint aura of necromantic magic if such is detected for. Up to four Doppelganger Eggs can be created at one time, and the ritual is prolonged by one hour for each Egg in addition to the first one. The makers of the Eggs can perform their ritual once per day, as it drains them to the point where they must have a full night rest before they can cast magic or perform rituals again.
   Doppelgangers that work with the Witchkind conform to the standard statistics in the rule book.

Acquiring Doppelganger Eggs
To acquire one or or more Doppelganger Egg, a character must first gain the trust of the Witchkind, and then they must be able to locate a very secretive group of artificers in their society since what they do is not exactly looked upon kindly by any authorities.
   Each Doppelganger is made to order. Upon making contact, those interested in gaining one or more Egg must provide a general description of what they want to achieve with the Egg, so the Doppelganger knows who to kill and/or replace and what to do once that has been done. A mission can be a straight-forward assassination or it can be a long-term infiltration. For a relatively simple mission, the cost to acquire an Egg requires a DC18 Wealth check (with the check increasing in difficulty by +4 for each additional Egg being ordered) with the base Wealth check being perhaps as high as DC28 for a complicated, long-term intelligence gathering mission). The price can be raised or lowered if the purchaser wants to impose specific restrictions or demands upon the Doppelgangers that aren't directly related to the mission at had (such as demanding that the location and/or assumed identity must be vacated as soon as the mission is complete). The price also increases if the purchaser wants the Witchkind and the Dopplegangers to handle the placement of the Eggs.

Using Doppelganger Eggs
Doppelganger Eggs are usually placed among innocent groceries that are brought into a household or other place where a target lives. As soon as the Egg is cracked or 48 hours pass (the duration of the magic), the Doppelganger bursts forth and swiftly returns to its full size. Any characters who witness this even must roll successful Wisdom checks (DC14) or be so startled that they will not be able to take action that round the Doppelganger appears, and the Doppelganger automatically gains initiative the following round. 
   The Doppelganger suffers a -2 penalty to all skill checks, saving throws, and attack rolls for the first six rounds after emerging from the Egg, due to the physical and mental shock of recovery. As such, it will initially try to retreat if it isn't catching potential victims completely unaware.



Friday, October 1, 2021

What happens if you say 'Bloody Mary' three times?

The urban legend is that if you say Bloody Mary by candlelight in front of a mirror three times, she appears. But what happens when she does? Use the random tables below to find out, if the PCs in your game decide they want to tempt Fate during the Halloween Season. (The table can either be used every time it's done, or used to decide a constant result.)

We've tried to make this as general a game supplement as possible. GMs will have to interpret what's here in the context of whatever RPG system they will be using this content in.


Katy

WHAT HAPPENS WHEN YOU SAY "BLOODY MARY"? (Roll 1d6)
   1. A ghoul with 10 times the normal amount of hit points materializes and attacks the foolish person who summoned it, as well as anyone who tries to intervene. After the summoner is dead, the monster disappears, taking the summoner's tongue with it.
   2. An angry ghost manifests and attacks the foolish person who summon it, as well as anyone who tries to intervene. After the summoner is dead, the ghost will grant one person present (who is still alive) a wish.
   3. A powerful demon appears. It demands that anyone present answer three questions truthfully; they will be questions relating to some dark secret the person harbors, often something they wouldn't want others present to know. In return, it will reveal three secrets kept by a single other person the summoner asks about. If anyone lies to the demon, it attacks the summoner and anyone who tries to intervene. After three rounds of combat, it returns to the mirror and drags the summoner to Hell.
   4. The candles are suddenly and mysterious extinguished, but otherwise nothing seems to happen. In truth, the summoner has been magically replaced by an evil doppelganger that sets about destroying everything the summoner loves, even to the point of murdering his or her friends or family. The summoner is trapped in a mirror-space between dimensions, but can be freed if the ritual is performed again. This is only a temporary fix, though: The evil doppleganger must be captured and killed in front of a mirror before 13 hours have passed. Otherwise, the summoner shatters into a million tiny mirror shards and is dead forever.
   5. A Bloody Mary cocktail (complete with a celery stalk standing in it) appears in a skull-shaped glass. The glass dissolves into vapor once the drink has been consumed. Roll again on "HOW WAS THE BLOODY MARY?" below.
   6. Roll on "IT SEEMS LIKE NOTHING HAPPENED, BUT..." below.


HOW WAS THE BLOODY MARY?
(This table can also be used if characters are just ordering the cocktail.)
   1-2. It's as if the Goddess of Cocktails made it herself. Perfection!
   3-4. It's okay. You've had better.
   5. It's what you imagine fermented menstrual blood from a leprous witch with a yeast infection would taste like.
   6. It tastes great, but those who drink it start feeling sick soon after. The illness lasts for 1d6+6 hours.


Art by Bryan Baugh

IT SEEMS LIKE NOTHING HAPPENED, BUT... (Roll 1d6)
   1. A massive curse has been unleashed within a 1,000-mile radius of where the ritual has been performed: Zombies are animated and killing the living, making more zombies. To stop the world from being overrun by zombies, the PCs will need to find Bloody Mary's body and put her to rest once and for all.
   2. The summoner is stalked by a shadowy figure which he or she sees peeking through windows or lurking behind him or her in reflections...but the figure can never be caught or spotted by others. There always seems to be someone moving around in the next room from the summoner, or just around the corner, but no one is ever there when it is checked. The stress disrupts the summoner's sleep, ability to concentrate and function normally. Eventually, the summoner begins to lose his or her mind. The curse can be reversed by the character performing the ritual again, causing the shadowy figure to manifest and attack. The shadowy figure has the same stats as the summoner. No one other than the summoner can hurt or be hurt by the shadowy figure.
   3. The summoner becomes a magnet for maniacs that become obsessed with him or her, believing that they are destined to be soulmates. 1d6+2 of these "admirers" begin stalking the summoner threatening those he or she really loves, trying to drive wedges between the summoner and them, and otherwise trying to force the summoner to love them and only them. The "admirers" will eventually try to kill those the summoner really cares (and even casual encounters the summoner may have) about and even the summoner. This curse continues until either the summoner or the "admirers" are dead.
   4. The summoner (and any other characters within a 30-foot radius when the ritual is performed) are transported into the world that exists beyond the mirror and in-between moments. Everything initially seems normal, but the summoner and others brought into the weird realm soon realize they are in a place where time does not appear to pass and monsters lurk everywhere. They must find their way to Bloody Mary's lair and force her to let them go home.
   5-6. A long-time friend of the summoner is brutally murdered and witnesses claim they saw the summoner casually leave the site, covered in blood. There is no other evidence, but 1d6 days later, someone else in the summoner's life is murdered. Bloody Mary reveals herself to the summoner, appearing like a haggard version of him or her, and states that people around the summoner will continue to die until he or she kills him-or herself. The only other option is to catch Bloody Mary between two mirrors and causing her reflections to implode.


--
For a great bit of Bloody Mary inspiration, click here to check out the short film starring Katy Ford (seen in the image at the top of this post) over at Terror Titans.

Monday, August 2, 2021

The Lighthouse at Devastation Point

We've turned an old map of a lighthouse into an adventure location. This is strictly first-draft material, going from the brain, to the fingers, through the keyboard, and onto the screen. Feel free to leave comments and suggestions. 

Generally speaking, the content in this article is usable with any roleplaying game system, although there are some specific references that are for the d20 System, or other systems that resemble or are based on D&D. 



DEVASTATION POINT AND THE LIGHTHOUSE
For centuries, ships crashed upon the jagged coastline near Port Defiance, and no approach was more dangerous than that near Devastation Point. After the lighthouse was built, the number of ship wrecks subsided, but then that structure and the windy promontory upon which it stood became the center of strange deaths and disappearances.
   Lighthouse keepers committed suicide, killed their families, or were themselves killed by their wives. Entire families disappeared without a trace, sometimes with signs of violence having been done, other times it looked as if they were in the middle of a normal day and just walked out, leaving all their belongings behind. Further, as time passed, more and more tales of hauntings and mysterious happenings in and around the lighthouse.
   Many attempts have been made to identify and eliminate or put to rest the evil spirits or ghosts that haunt the lighthouse and the promontory--and a growing number of paranormal investigators have died or vanished during these attempts. Other psychics and ghost hunters have seen their reputations destroyed or careers ended when they've declared the lighthouse free of ghosts, only to have the hauntings resume and more lives be lost.

THE HAUNTING OF DEVASTATION POINT
Devastation Point Lighthouse is a focal point of necromantic energy that is drawn here through two sources--a dark artifact that was incorporated into the housing of the lighthouse's refractor; and the restless spirits of a coven of sirines who were murdered as construction began on the lighthouse.
   The eddy of magical energy is so strong that not only is there a very good chance that anyone who dies within the walls of the lighthouse, the residence attached to it, or within 10 meters of the structure in any direction, will join the many ghosts that haunt the place. Similarly, until the ghostly sirines are destroyed and the artifact removed from the lighthouse, the hauntings will never cease.

THE HAUNTINGS IN GENERAL
The following apply to all the hauntings in the lighthouse and attached structure, as well as the immediate surroundings:
  * The hauntings occur between sunset and sunrise, or when the fog is so thick that visibility is less than 5 feet.
   *. Each room in the structure has 2-3 hauntings. The haunting, or lack there-of, in any given room on any given night, is random. Sometimes, multiple hauntings may overlap in the same room. Entities may pursue the living from the rooms they are first encountered in, resulting in a battle against an increasing number of hostile spirits. The GM can roll a check for a haunting each time a new investigator enters a room, or he can just roll when the first or last one enters. A roll should be made whenever an investigator comes or go from any given room.
   * If spirits and ghosts in the lighthouse and its immediate surroundings are destroyed or otherwise exorcised, they may return on the night of the next full moon.
   * The only hauntings in the lighthouse proper are on the ground floor and on the upper and lower galleries at the tower's upper levels. Climbing the tower, however, presents dangers as well.
   * The restless spirits of three regular sirines and the sirine priestess who led them haunt a cave deep below the promontory. It is only visible from the ocean's surface when the tide is at its lowest.


SPECIFIC HAUNTINGS
Roll 1d4 to see what hauntings paranormal investigators or ghost hunters encounter while exploring the Devastation Point Lighthouse and immediate surroundings between sunset and sunrise, or during heavy fog. Creatures always vanish after being defeated, no matter how solid they seemed. They same is true of any damage they did to their environment--although damage done by investigators to the house remains. If a spirit is exorcised or destroyed, and rolled again, it is treated as a "Nothing" result. Creatures always vanish after being defeated, no matter how solid they seem 

THE RESIDENCE
This two-story structure is attached to the Lighthouse. It can be accessed through the Front Door (see Front Door and Vestibule) and through the door on the side of the Oil House (see Oil House). Both doors are locked, and they keep relocking on their own volition, unless the investigators break them outright.

The Immediate Surroundings (Ground Level)
1-2: Nothing.
3: The faint sounds of several female voices, harmonizing a haunting tune.
4. Characters must roll Will saves (DC8). If failed, they feel as if something is watching them. They also think they catch a flicker of light from the top of the lighthouse tower.

The Front of the Residence (Ground Level)
1. Nothing.
2. Spot skill check (DC5). They see movement in the widow above the main entrance.
3. The faint sound of children's laughter is heard from somewhere inside the house.
4. The sound of a concertina is heard from within the residence, and lights glow faintly in all visible windows. The music and glows stop as soon as the front door is opened.

The Front Door and Vestibule  (Ground Level)
1. Nothing.
2. The Front Door must be forced (Strength check DC11) or broken down.
3. The Front Door locks itself, as soon as investigators leave or enter.
4. There is a bright yellow oilskin hat and coat hanging on a hook. They are sprayed with blood. They vanish when touched.

The Hall  (Ground Level)
1. Nothing
2. One of the investigator's thinks he sees someone darting up the stairs. Another thinks he heard the sound of the person's footsteps.
3. The sound of a man and a woman happily chatting, intermingled with the sound of knives and forks on dinnerware heard from the left (the "Dining Room").
4. The sound of a woman sobbing is heard from the right (the "Parlor").

The Dining Room  (Ground Level)
1. Nothing.
2. A ghostly man and woman in their 20s, dressed in 19th century garb are having dinner. If approached, they attack the investigators. They are ghosts. If left be, the scene fades after 1d4 minutes.
3. A ghostly family of a father, mother, and two young boys, dressed in early 20th century garb, are having dinner. If approached, they solidify into ghouls and attack. If left be, the scene fades after 1d4 minutes.
4. The faint sounds of a man and woman arguing, while a young child cries, are heard. If an investigator uses magic or technology to examine the room, two poltergeists attack.

The Parlor (Ground Level)
1. Nothing.
2. A strong smell of pipe smoke and faint sounds of men chatting is in the air. This persists for 1d4 minutes, the fades away.
3. The sounds of rhythmic creaking can be heard from the room above. After 1d4 minutes, a woman is heard crying out, then all sound stops.
4. A woman in 19th century garb is sitting in an easy chair, sobbing with her face in her hands. If approached or otherwise disturbed, she turns into a banshee and attacks.

The Kitchen (Ground Level)
1. Nothing.
2. A mouthwatering smell of delightful food is strongly in the air. After 1d2 minutes, investigators must roll successful Fortitude saves (DC11) as the odor suddenly turns foul and rotten, or be sickened for 1d4 minutes.
3. 1d4+2 knives appear spinning through the air. They deal 1d4 points of damage each and have a +2 bonus to attack rolls. Each knife goes inert after two successful hits on investigators.
4. A ghastly scene of a battered, blood-soaked woman in a torn slip, who is shrieking as she chops with a meat cleaver at a prone man in dark clothes. Both are in their mid-30s. She is a ghost and attacks any investigator who approaches her. She has a +4 attack bonus against male investigators. The scene fades after 1d4 minutes.

The Sitting Room (Ground Level)
1. Nothing.
2. A creaking sound is heard from the ceiling, as if someone is pacing around in the room above.
3. Investigators must make Will saves (DC8). Those who succeed feel like there's a presence in the room. watching them. Those who fail are filled with blind rage toward the male character standing nearest to them. They attack that character with murderous intent for 1d4 rounds, after which they fall unconscious. When they revive, they don't remember what they did.
4. A bearded man sits in an easy chair, reading a fairy tale to three young girls who are seated in a halfmoon shape on the floor in front of him. If approached, they solidify into ghouls and attack. If left be, the scene fades after 1d4 minutes.

Oil House (Ground Level, structure that connects the residence to the lighthouse)
1-2. Nothing.
3. The room feels strangely hot. There's a faint smell of something burning that grows stronger over a couple of rounds. Then the door to the outside bursts open and a man on fire, screaming and flailing, bursts in, promising to take the investigators to Hell with him. He is a small fire elemental.
4. There's a sudden crash overhead and a muscular man in a lighthouse keepers uniform comes crashing through the ceiling. Investigators near the center of the Oil Room must roll Dexterity attribute checks (DC13) or take 2d4 points of damage from the impact of the falling body and debris. The body, the wreckage, and the damage to the roof and ceiling vanish after 1d4 rounds, but not the injuries to any investigators. Characters gain a cumulative +4 bonus to the Dexterity skill check each time they experience this haunting.

Hall (Upper Level)
1. Nothing
2-3. A body plummets past the window facing the lighthouse tower, crashing onto and through the Oil House roof with a terrible sound of breaking wood and tearing flesh and bone. If the investigators look out the window or run downstairs to check the damage, it's as if nothing happened.
4. The sound of clapping and someone playing a hurdy-gurdy while a woman sings "What Shall We Do With a Druken Sailor" drifts up the stairs from below.

Bed Room (Upper Level)
1. A damp and musty smell grows strong in the room. Investigators in the room must roll successful Will saves (DC12) or suddenly be underwater and feel like they are being dragged deeper into the depths. They must immediately roll successful Fort saves (DC14). The investigators who failed the Will saves find themselves in the room, just as suddenly as they felt like they were in the water. They are soaked to the skin with salt water, any electronic equipment carried is damaged beyond repair, but  otherwise they are fine. Those who failed Fort saves suffer 1d4+2 points of damage and are sickened for 1d4 rounds while they cough up sea water. The whole process barely takes a round. The room and everyone else in it remain dry. (Characters may avoid the affect of this if it is rolled additional times by leaving the room as soon as the air stars to grow musty and damp. Cruel DMs can roll initiative for the effect and the players, to see if they manage to escape.)
2. A bare-chested young man stands with his back to the room, gazing out the window. He is a ghost, and if approached he attacks the investigators. He fades away after 1d4 rounds otherwise.
3. A young woman in a gauzy nightgown stands with her back to the room, gazing out the window. She is a ghost, and if approached she attacks the investigators.
4. A couple is having sex in the bed, causing it and the floor to creak. They get increasingly loud in their excitement. After 1d4+2 rounds, they start to melt into brackish water, soaking the bed and the floor. If approached or otherwise disturbed, they turn into small water elementals and attack the investigators, soaking the room. One round after the couple melts or are slain, the room is perfectly dry again.

Room (Upper Level)
1-2. Nothing.
3. The mutilated bodies of two young boys lay in a bloody, tangled mess on the floor. If disturbed, they animate and attack as half-strength Ghouls. If left alone, they fade away after 1d4 rounds.
4. Three girls in their late teens, wearing old fashioned nightgowns sit around a small statue of some strange creature. They are holding hands and chanting. If the scene is viewed for more than 1d4+1 rounds, witnessing investigators must roll successful Will saves (DC12) or become filled with such intense and overwhelming fear that they must flee the building. They must roll successful Dexterity checks (DC18) or tumble down the stairs and suffer 2d4+2 points of damage. If the chanting girls are approached, they turn into succubae and attack. If left alone, they fade away within 1d4+2 rounds.


 

THE LIGHTHOUSE
As previously mentioned, the Lighthouse has few hauntings, but is possessed by a different sort of supernatural danger. 
   It is accessed through a doorway in the Oil House, and a circular staircase allows investigators and ghost hunters to climb to the Lower Gallery and Upper Gallery at the top of the tower. 
   As the stairs are climbed into the tower, characters pass five landings. They must roll Will saves at each one. At the first landing, the Will save is DC8. Each time a Will save is failed, the DC increases by 2, so if all five Will saves are failed, the final roll is at DC18.
   With each failed saving throw, climbers feel an increasingly level of self-doubt and a feeling that whatever they want to try to achieve in life will always fail. At the same time, they have a feeling that if they make it to the top of the lighthouse, maybe there can be hope yet. (If players wonder, GMs shouldn't hesitate to let them know that thoughts like these are not typical for their character--well, unless the character has been an emo with self-defeatish tendencies up to this point.) 
   If the character fails the fifth Will save, they are consumed with the idea that there is no point in living anymore and that they must end it all by leaping off the top of the tower. The character climbs all the way to the Upper Gallery where he or she may roll one final Will check (DC14) before leaping to their near-certain doom of 10d6 points of damage. 
   If another player character tries to stop the despairing investigator at any time on the way up the tower, he or she immediately snaps out of the spell and realizes that something was affecting his or her mind and emotions. Additional Will saves must still be made as described above (with the base reset to DC8), but even awareness of the influence the lighthouse has on those who climb it does not negate it.
   The saving throws only have to be made during an ascent. Characters may safely descend from the top of the lighthouse via the stairs... assuming the gallery ghosts don't get them...

Lower Gallery (Lighthouse)
1. Nothing.
2. A grizzled old man in a lighthouse keeper's uniform stands and looks out over the sea. If left alone, he fades away after 1d4 rounds. If approached, he turns into a Gargoyle and attacks.
3. Three girls in their late teens, dressed in 19th century clothing, stand side-by-side at the railing, looking out. If left alone, they fade after 1d4 rounds. If approached, they turn into Harpies and attack.
4. A young man and woman, dressed in early 20th century garb, are arguing and fighting. The man declares that if he will kill her before he will let her leave. If the characters watch the scene unfold, the struggle results in the man and woman falling over the railing and disappearing. If anyone tries to intervene, the couple attacks the would-be mediator. They are Ghosts.

Upper Gallery (Lighthouse) 
1. Nothing
2. The upper gallery shudders and creaks and shakes and bends beneath the investigators feet. They must roll Reflex saves (DC11) or tumble from the Upper Gallery to the Lower Galler, suffering 1d6 points of damage. If this occurs more than once, additional Reflex saves are DC8.
3. The lamp suddenly blazes to life, turns and sweeps a powerful beam of light across the investigators. Each person on the Upper Gallery must roll a Fortitude save (DC15) or be blinded. The blindness lasts for 2d4 days, during which the impacted characters' eyesight gradually returns to normal. Blind characters who attempt to climb down the steep stairs of the lighthouse must descend at 1/3 their normal movement rate and roll five different successful Dexterity checks (DC8), one for each landing. A failed save means the character has tripped and fallen down a stretch of stairs, and suffers 2d6 points of damage. If the character tries to descend at his or her normal movement rate, the Dexterity check is at DC14.
4. As the result of 3, but the light is also searing hot. Characters who fail their Fortitude saves suffer 1d6+2 points of heat damage.

THE SIRINE CAVE
At some point, we'll reveal something about these placce and the creatures that haunt it, too, as well as how to break the curse on the Devastation Point Lighthouse.

WHAT ABOUT THAT "DARK ARTIFACT"?
Oh, we'll almost certainly get to this one soon. Perhaps it'll even be Bessie Love who recovers it...

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Monday, October 23, 2017

Three Nights of the Werewolf

Here's another random table to help spur adventure ideas (or subplots for adventures). With this one, you determine which among a group of citizens in a village is a werewolf, which are the monster's victims, and what is motivating it (aside from bloodlust).

Art by Pablo Marco

THREE NIGHTS OF THE WEREWOLF
By Steve Miller

This plot generator is here to help you build an exciting horror scenario for your roleplaying campaign.

First, 20 character tags are listed, the list of suspects/possible werewolf. Then there are a series of questions seven questions. Roll 1d20 against the list of characters for each question to generate the plot surrounding the werewolf.

THE CHARACTERS
1. The Consulting Detective
2. The Debutante
3. The Baroness
4. The Baron
5. The Butcher
6. The Night Watchman
7. The Attractive Gypsy Woman
8. The Handsome Gypsy Man
9. The Inn Keeper
10. The Preacher
11. The Gameskeeper
12. The Retired Army Officer
13. The Farmer
14. The Farmer's Daughter
15. The Hermit
16. The Town Drunk
17. The Historian
18. The Libertine
19. The Mysterious Foreigner
20. The Widow


A. WHO IS THE WEREWOLF?
B. WHO IS THE FIRST VICTIM?
C. WHO IS THE SECOND VICTIM?
D. WHO DOES THE WEREWOLF LOVE AND WISHes TO MAKE INTO A FELLOW CREATURE OF MOON?
E. WHO DOES THE WEREWOLF HATE (and try to frame as being the werewolf)?
F. WHO IS THE FINAL VICTIM (whose death scene will contain a clue to the werewolf's true identity)?

Note: If you roll A, B, or F, more than once, the victim rises from the dead as a ghoul and attacks the player characters--either on its own or during a confrontation with the werewolf. Roll the question again, until you get a different result.

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Wednesday, October 4, 2017

Why does the mummy walk?

A random adventure idea generator for your horror RPGs! (For a more complex tale, roll twice on the "Why Does the Mummy Walk?" table. There can be one mummy with multiple motivations or two different mummies (or one fake mummy and one real mummy) shuffling along in the shadows.)



WHO IS THE MUMMY THAT WALKS? (Roll 1d12 and consult the list below).
1-3. A priest (or priestess) cursed by the gods for betraying vows.
4-6. A prince (or princess) cursed for betraying a spouse or lover.
7-12. A wizard (or sorceress) cursed for protecting a spouse or lover.


WHY DOES THE MUMMY WALK... AND KILL?! (Roll 1d12 and consult the list below)
1. It has sensed the reincarnated spirit of a loved one, and wishes to be reunited.
2. It wants to protect a person (whose mummy is also present, or is nearby, alive and reincarnated) it cared about in life.
3. It wants to recover an object it valued in life.
4. It wants to avenge the defilement of the tomb.
5. It has been awakened by a spell and is being commanded by the caster.
6. It has been awakened by a spell and is seeking the caster in order to gain its total freedom (and immortality).
7. An accidentially triggered enchantment awakened it, and now its gathering the components for a ritual that will grant it immortal life.
8. It is a guardian who is protecting an item that is in a different museum.
9. The Stars Were Right, and it is has awakened to bring together cultists and unleash the Black Pharaoh upon the world.
10. It seeks to trigger the Zombie Apocalypse.
11. An ancient curse has caused mummies world wide to reanimate and go on murderous rampages.
12. It doesn't. It's a hoax, carried out by the (1-3 museum curator; 4-6 disgruntled Egyptologist; 7-9 tabloid reporter; 10-12 creepy ex-cop turned insurance fraud investigator) in order to (1-3 drum up publicity; 4-6 cover up murders; 7-9 cover up a theft of an ancient artifact; 10-12 distract from a ritual that will awaken another mummy for real).


Thursday, May 5, 2016

'Monster, Monster: Vampires' on sale now!

With game designer Andrew Pavlides and artist Pablo Marcos once again front-and-center, we've released our third product for D&D Fifth Edition--Monster, Monster: Vampires

Cover art by Michael Wolmarans
Monster, Monster: Vampires is more than twice the size of the previous entries in the series. It contains five vampire variants of use with your Fifth Edition games, three adventure hooks revolving around unique vampire personalities, and two chilling, offbeat illustrated vampire tales. Andrew and Pablo are joined this time out by "guest contributors" Ed Fedory and Steve Miller, while Robert Martin and Ricardo Villamonte provide most of the spot illustrations. It's all behind a creepy cover by Michael Wolmarans.

Monster, Monster: Vampires is available at RPGNow, DriveThruComics, and DriveThruRPG. You can see previews at any of those sites. Further, it's already been reviewed! Click here to see what was said bout the book on the RPG Crazy blog.

Wednesday, December 9, 2015

Return to Egypt with NUELOW Games!

NUELOW Games has just released its third Egyptian-themed comics/rpg hybrid book. Titled Terrors of Egypt, it has tales that span the ages from the Old Kingdoms through modern day. Vengeful mummies, strange curses, and unknowable mysteries... this one has it all!

Khafra.
Art by Cesar Lopez
The main attraction of the book is "The Mummy Khafre". It's the tale of one of the many "horror-mood" characters that Alan Hewetson created for Skywald's magazines in the mid-1970s... and her story has now been collected in one place for the first time ever. I'm sure you'll agree, after reading this story that Khafre is a worthy addition to our line-up of female characters... and that she may even give the Sorceress of Zoom or the Queen of Evil a run for their money when it comes to nastiness.

You can click here to see previews or to get your own copy of Terrors of Egypt (which features art by Cesar Lopez, Ricardo Villamonte, Xavier Villanova, and Norman Nodel). It also has a fun add-on to d20 System character creation that lets you determine a character's sign under the Egyptian zodiac.

One tidbit that I briefly considered for the book, but ultimately rejected, were rules that let you randomly determine a character's exact birth date. So they don't go completely to waste, I'm posting them here (modified so the don't rely on the material in Terrors of Egypt, as the original version did).

Everything in this post from this point forward if released under the Open Game License.

Random Character Birthday Generator
Copyright ©2015 Steve Miller

   Step One: Determine month of birth by rolling 1d12. The result is the month in which the character was born.
   Step Two: Roll 1d6. Record the result.
   Step Three: If the d6 roll was 1-2, roll 1d12 to determine the birth date; 3-4, roll 2d12-1 to determine the birth date; 5-6 roll 3d12-2 to determine the birth date. If a result of 3d12-2 puts you outside the number of days in the month, the birthday is on the last day of the month.

Available Now!