HorrorinRoleplaying

"Presentfearsarelessthanhorribleimaginings."
Shakespeare

Whatishorror?
Manypeoplehavewrittenmanypagesonthetopic,"Whatishorror?"Isitfear?Isit
revulsion?Isitsuspense?Doesithavetoincorporateanelementofthesupernatural?Does
therehavetobebloodorbrutalviolencedepictedtoqualify?
It'sobviousthatsimplystickingthetrappingsofhorrorintoastoryzombies,oldcastles,
bucketsofblood,etceteradonottransformitinto"horror"automatically.I'velaughed
throughmanyazombiemovie,andhaveseenteamsofadventurerssweepthroughthe
vampirelordStrahd'scastleintheclassicAD&DmoduleI6:Ravenloftlikespecialopsanti
vampiresquadswithoutfeelingaquiveroffright.
Forroleplayingpurposes,Iamgoingtocontendthathorrorissimplyagenrewhosegoalis
theevocationofanyofseveraldifferentvarietiesoffearinitsparticipants,rangingfromthe
basicandprimaltotheesotericandcerebral.Amoodoftension,orsuspense,isgeneratedby
theparticipantsemotionalinvestmentinthestoryandtheirpersonaldreadofwhatwillbe
revealedtherein.Theobjectofthisfearissomethingthatissomehowbadornotnormal.
Aworkthatproducesthisfearisdefinedashorror.
Horrorcanalsobeusefullydefinedinhowitdiffersfromothergenres.Mystery,forexample,
dependsontheunknownnatureofitsantagonistsandeventstospuritsplotalong.Athriller
reliesoncreatingamoodofsuspensesurroundingitsunfoldingevents.Manyanactionmovie
dealswithevilmonstersbesettingtheprotagonists,whoaresometimesfightingagainst
hopelessodds.Somedramaslingerontheevilsorinsanitiesofman.Noneoftheseelements
inandofthemselvescreateasenseofhorror.Horror,toputitsimply,scaresyou.Notjust
withthemomentarysurpriseofanopponentjumpingouttoattack,orwiththesuspenseof
Willhegetoffthemountainalive?orwiththequestionofWhoisthekiller?
Horrorliesnotjustintheunansweredquestionsofamystery,butalsoinfearingtolearnthe
answers.Horrordoesnotlieinthesuspensesparkedbyanysurpriseorunrevealedplottwist
ofasuspensethriller,butintheheartfeltdreadofwhattheplotwillrevealnext.Itliesnotin
theprospectoflosingafightwithmonsters,butintheprospectoflosingoneshumanity
duringthatfight.Itliesnotinourknowledgeoftheinsanityorevilofmenbutin
experiencingitcloseupandinrecognizingitstraceinourownminds.

Whatisfear?
Fearhastwocomponentsanobject(whatyoureafraidof)andamotive(thereasonwhy
youreafraid).
"Notbakedgoods,professorBakedbads!!!"
TheTickvs.The
Breadmaster

TheThingsThatShouldNotBe
Theobjectsthatgeneratethefearthathorrorthrivesuponcanbethoughtof,roughly,asThe
ThingsThatShouldNotBe.Thisincludesanythingthatpeopleconsideroutsidetherangeof
normality.Obviouslymalignsupernaturalentitiesqualify,asdoscarybutmoremundane
threatslikeserialkillers.Onalessphysicallevel,insanityandrevelationsofevildeedsthat
mendoareexamplesofthingsthatstrikeusaswrongaswell.Anythingunnatural,
uncanny,unknown,evil,mysterious,corrupted,immoral,inhuman,orotherwise
hostiletoourbodies,minds,souls,orsenseofproprietycanbeanobjectoffearandthusbe
usedtoevokeamoodofhorror.FortherestofthisessayIwillusethetermsevilandevils
torefertoTheThingsThatShouldNotBe,eventhoughthisisanimpreciseterminsanity,
forexample,isnotreallyevilinamoralortheologicalsense.Butitisevilinthesenseof
beingsomethingweconsiderundesirableornotnormalwhattheTickmightcallabad.
WhatWereAfraidOf
Therearefivemajormotivesforfearthataredealtwithinhorrormedia.Whenwesaythat
wereafraidofamonster,thatsnotreallywhatwemeanthemonsterisabadthing,true,
butwhyareweafraidofit?Werereallyafraidbecauseitwillhurtus,orhurtpeoplewecare
about,orbecauseitsexistencemeansthattheworldisnthowweliketoseeit.Belowarethe
realthingsthatweareafraidof.Ihavelistedtheminroughorder,fromleasttomostdeeply
horrifying.

1. EvilThreateningUs
Thefearofevilbefallingoneselfincludingthefearofdanger,death,dyinghorribly,
injury,torture,mutilation,suffering,isolation,beingunloved,beingbetrayed,or
anythingelseonecanimagine.Thisbasicterrorisutilizedbyawidevarietyofhorror
moviestheFridaythe13

thandHalloweenseriesbeingprototypicalexamples,asthe
protagonistsarethreatenedwithdeathbytheevilcreaturestalkingthem.Thereare
plentyofnonsupernaturalexamplesofthiskindofhorroraswellfromTheTexas
ChainsawMassacretoSeven.

2. EvilThreateningOthers
Thefearofevilbefallingoneslovedonesor,alternately,allhumanity,thehelpless,
thesocialorder,oranotherhigherlevelabstractionofotherpeople.TheExorcistisan
exampleofaworkinthisvein,showinganinnocentgirlbeingpossessedand
corruptedbyanevilforce,asisPoltergeist,inwhichsupernaturalforcesthreatenthe
protagonistsfamily.Onanonsupernaturalnote,themovieCapeFeartriggersthis
typeofhorrorinitswatcher.Theadditionalfeelingofhelplessnessthatathreatto
anotherperson,notourselves,whoseactionsandfeelingswecareaboutbutare
outsideourcontrol,engendersinusadditionalterror.

3. CreatingEvilOurselves
Thefearofcreatingsomethingevilorofparticipatinginsomethingevil.Movieslike
RosemarysBabyareexamplesofthislevelofhorror,whichdependsonboththe
terrorofdeeppersonalpsychicviolationandofthefearofharboringorcreating
somethingevilyourself(literallyorfiguratively).Frankenstein,theclassicnovel,is
anotherexampleoffacingthehorrorofyourownevilcreation.Examplesofthiskind
ofhorrorthatdonotuseasupernaturalelementarecommonthehorrorof
discoveringoneofyourchildrenisevil,orthatsomethingyoucreatedisbeingused
forevil(Dr.DysoninTerminator2hastofacethiskindofhorror,whenhediscovers
hisseeminglyinnocentexperimentsleadinthefuturetothenearextinctionofthe
humanrace).Thisleveliswherefeartakesaturninward,andisnolongercompletely
thefearofsomethingothersinceyouareawillingorunwillingaccompliceinthe
evil,youfindreasontofearyourselfaswell.

4. BeingEvilOurselves
Thefearofbeingevilandperformingevilsorofbecomingevil,oroflosingones
humanityorsanity.Attheirheart,thevariousvampirestoriesaddressthislevelof
fearthefearofbecomingsomethingevilyourself(or,alternately,discoveringthat
youarealreadyabaseandtwistedcreatureanddidntknowitseveralofH.P.
Lovecraftsshortstoriesaddressthisfear,asdoesthemovieAngelHeart).Aworkthat
detailsapersonsviolationandabuse,andthenexplorestheirdiscoverythattheywere
themselvessuchanoffender,wouldbeanonsupernaturalexampleofthistypeof
horror.Itislessfundamentallyhorrifyingtothinkoffoulactsbeingperpetratedupon
youthattothinkofyourselfperpetratingthosehorribleacts.

5. LivinginanEvilWorld
Thefearthattheworld,God,reality,thesocialorder,orsomethingelseisevil,hostile,
orhorrible.Therearegoodexamplesofhorrorbasedonquestioningtheentirenature
ofonesrealitythemovieDarkCityisone,alongwithcosmichorrorlikeH.P.
Lovecraftswritings.ThemovieTheMatrix,thoughnotmadeasahorrormovie,has
anexampleofthistypeofrevelationthemoviesprotagonistfindsoutthathisentire
worldisfalseandthatheandeveryoneheknowsarejustpiecesofmeatinhuge
organicbatteries.Ifthemoviehadstretchedoutitsfirstsectionintoafullstory,and
hadtheclimaxofthemoviebethatrevelation,itwouldhavebeenaveryeffective
horrormovie.Worksinwhichtheprotagonistdiscoversthatyes,indeed,theyARE
insaneandtheworldisnotthewaytheythoughtitwasfitintothiscategoryaswell.
Wederiveanespecialdreadfromtheconceptthattheentireuniverseisevil,orthat
thereisnosuchthingasgoodthatwearealldoomedtopointlesssufferingand
everythingistouchedbytheallpermeatingevil.
Thesemotivesarefoundinmanydifferentvariationsandcombinationsinmorespecific
themes.TheNightmareonElmStreetmovies,forexample,revolvearoundtheevilFreddy
Kruegerinvadingthedreamsofkidstokillthem,toextractvengeanceforhismurderbythose
childrensparents.Thecharactersfeelthefearofthedirectthreat(EvilThreateningUs),but
alsosomeculpabilitybyproxyfortheirparentsactionsinmakingFreddywhatheis(Creating
EvilOurselves),andhismethodofrevengeleavesthemoftenwonderingiftheyareawakeor
asleepanddreaming,orjustgoinginsane(avariationonLivinginanEvilWorld).
ThesedifferenttypesofhorrorarewellillustratedbythemovieAlienanditssequels.This
seriesdoesaverygoodjob,inmyopinion,ofelevatingthelevelofhorrortoaslightlydeeper
andmoreesotericlevelwitheachfilm.Interestinglyenough,thesemoviesareusually
classifiedassciencefiction,nothorror,thoughifyoureplacethealienantagonistswitha
supernaturalthreatinsteadyoucandrawdirectparallelsbetweeneachofthemoviesand
otherextanthorrorfilms.
Alien: Thismoviestensionrevolvesaroundthefearofbeingeaten(orkilledinamore
gruesomeway)byamonster.Thisisasimplebuteffectiveplayuponabasicfightorflight
humanfear.Ripley,theprotagonist,isstalkedbyacreaturethatshesnotcapableofharming,
andisterrorizedasitpicksoffhershipmatesonebyone.Itshorrordependsonthefearofevil
threateningus.
Aliens: Thefilminitiallyoperatesonthesamelevelasthefirst,butthenthefilmmakers
developamoresubtleformofhorrorwhentheythreatenthelittlesurvivorgirlNewt,whoacts
asRipleyssurrogatedaughter.ThistriggersRipleysmotherhoodinstinctandtouches
somethingmuchmoreterrifyingtoherthantheprospectoflosingherownlifeitisthe
threatofdeath(orworse)happeningtoalovedone.Thusthismovietakesthehorrorbeyond
thesimplethreattoselfthemeofthefirsttothefearofevilthreateningothers.
Alien3:
Ripleyisfacedwithanevendeeperviolationinthisfilmsheis"penetrated"
byanalienandattheend"givesbirth"toamonsterherself.Thisisstillfear,butamore

"horrifying"fearandnotjustafearofpersonalviolation(thoughthiskindofongoingor
developingviolationisadditionallyhorrifying;IHaveNoMouth,AndIMustScreamisa
verychillingHarlanEllisonshortstorythatdependsonthehorrorofprofoundphysicaland
mentalviolation).ThecorehorrorofthismovieisRipleysfearofwhatshewillhavecreated.
RipleyknowsthattheCompanyisgoingtowanttotakeandusethealienshebirths,visiting
itseviluponothers.Hersenseofhorrorthusrevolvesaroundafearofbeingapartofthis
evil,offurtheringitscauseagainstherwill.Thistapsintoourfearofcreatingevilourselves.
Alien4:Resurrection:Ripleyherselfisreborninthisfilmasahalfalienmonster.Thisisthe
ultimatelevelofhorrorthefearofthepresenttruthandreality,anddoubtingthegoodness
andvalidityofone'sownselfandbeing.Whensheisconfrontedwithothertwisted,
subhumanclonesofherself,themovieissayingtoherdirectlyYou,Ripley,areamonster.
Youarehideouslikethesecreatures,andevillikethealiensyouhate.Sheisnomoresure
thantheothercharactersarethatthisisnotindeedthecase.Thisisaclearappealtowe
viewersfearofbeingevilourselves.
Unfortunately,theresnotanAlien5toillustratethefearoflivinginanevilworld,although
wecancertainlyimaginesuchaplotline(thealiensandtheCompanyarebothleading
candidatesformakingthefictionalworldprettydarnfullofallencompassingevil).
Ofcourse,itisthedeliveryofthesethemesthatturnthemintohorror.Neithermonstersnor
theevilthatlurksinmenssoulsautomaticallyevokehorrorupontheirdiscoveryitisinstead
thesuspense,fear,andrevulsionthattheircarefulrevelationengendersinus.Wewilltalk
moreaboutthetechniquesofhorrorlater.
Truehorroralsoresultsinafearthatistakenwiththeparticipantfromtheviewing,and
causesthemtoexperiencedread.Whatifthatmonsterreallyexisted?Whatifthathappened
tome?WhatifIfoundoutthatIwasamonster?Thesefearsaretheonesthatmakeyou
jumpyevenafteryouveleftthemovietheater,andthatcauseyoutothinkbackonthestory
withafeelingofapprehension.
Provokinganemotionalresponseofthissortisadifficulttaskandbearssomemoreindepth
investigation.Takeamomenttothinkaboutwhatmovies,books,orTVshowsyouhave
personallyfoundthemosthorrifying.Trytoestablishwhatexactlyaboutthemyoufound
horrifyingandthetechniquethattheyusedtoelicitthatfearfromyou.

Whytrytocreatehorrorinaroleplayinggame?
Becauseitsenjoyable.Horrorhasexistedfromtheearliesttimes;fairytalesandghoststories
andepictaleslikeBeowulfallproperlybelongtotherealmofhorror.Peoplehaveenjoyed
beingscaredvicariouslyforaslongastheyvebeencreatingfiction.Justasthecallofromance
orheroismisauniversalcomponentofhumanitysstories,thecallofhorrorisoneaswell.
Itshouldgowithoutsayingthatanyoneplayinginahorrorgameshouldbewillingtobe
scared.Iftheyjustdontlikehorror,oriftheyfeeltheneedtonotcooperatewiththemoodof
fearinthestorytoshowtheotherplayershowtoughtheyare,yourenotgoingtogetvery
far.Thepointisforalltheparticipantstowanttocreateandexperiencethefrightsthat
horroroffers.

HowdoIcreatehorrorinaroleplayinggame?
TheCharactersRolePersonalInvestment
Muchofwhatittakestocreatehorrorinaroleplayingsettingisthesamepersonalinvestment
thatchangesthegamefromatabletopwargametoanexperienceofincharacterroleplayin

anygenre.Ifneitherplayernorcharacterfindsthesituationtheyareplacedinpersonallyand
emotionallycompelling,horrorisnotgeneratedyoucankillacharactergruesomely,butyou
haven'tcreatedahorrifyingexperience.
Generatingpersonalinvestmenthastobeginbeforeyoustartahorroradventure.Playersneed
tobecomfortablewithincharacterplay,feelattachmenttotheircharacters,andgenerallybe
investedinthealternaterealityofthegameworldtosomedegree.Otherwisethereisnot
enoughrelationoftheplayertothegametofeelhorror.Thisissimilartothecharacters,
settings,andsituationsinahorrorstoryormovie.Iftheyarenotbelievableandcompelling
thentheaudiencedoesnot"feel"thestory.WehaveallseenBhorrormovieswherethe
charactersaresostupidandsopoorlymotivatedthatwerootfortheirhorriddemiserather
thanfeelingpathosontheirbehalf.
Youcanhelppromotethisinvestmentatthetimeofplaywiththefollowingpracticesthat
promoteallkindsofgoodincharacterroleplay:
a)Havebelievable,engagingcharacters.Obviouslytheplayerslargelydeterminethisfactor,
buttheGMandtherestofthegroupcandoalottopromotethis.Stayingincharacteris
importantandthatgoesdoublysofortheGM.Nothingruinsincharacterplaymorethan
theGMflatouttellingtheplayerssomething.Allsensoryinputtothecharactersshould
comethroughthegameworld.Metagamingshouldbediscouraged.NPCsshouldbe
interestingandthreedimensional.ThedepictionofNPCsandtheirreactiontotheeventsof
thestoryisoneofthemostpowerfultoolstheGMhasintheirarsenalofterror.Freakish
extras,normalpeopletobethreatened,andotherfoilsallowthePCsaviewontotheterror
athand.
b)Createrealisticsettings.TheGMhasalmostcompletecontroloverthisaspectofthegame.
Horrorandfearoftheunknownworkbestincontrasttothesafeandthefamiliar.When
describingthemundaneorthesupernatural,donotskimpondetail.Oncethingsgetfreaky,
donthesitatetodescribewhatsgoingonatlengthspecialeffectsarefreewhentheyrebeing
createdbyyourmindandvoice.Useallfiveoftheplayerssenses(andthesixthwhen
feasible).Theyneedtoviscerallyfeeltherealityofthesetting,andtheplayerssuspension
ofdisbeliefshouldbemorejealouslyguardedthaninanyothergenre.
c)Useuncontrivedandinterestingsituations.Inhorrorscenariosespecially,theGMcanbe
temptedtorailroadtheplotandforceplayersintocertaindirections.Thismaygettheplot
movingbutruinsthemoodthatisthegoaloftheplot.Ifyourplayerstrustyourgame
masteringenoughtoroleplaytheircharactersandtheirmotivationsfully,youhavetobeable
tocreatesituationsinwhichthosecharactersaregenuinelyinterestedandwillinglyfollowto
generatetheplot.
Descriptions
Thesamescenecanbeeitherstronglyevokeasenseofhorror,ornotdosoatall,basedonthe
GMsandplayersattitudestotheeventsdepictedinthegameasdeterminedbythesefactors.
Asanexample,Irecentlyreadashorthorroradventureinwhichonepuzzleinahaunted
houserequiredacharactertoeataplateofbugs.Inacasualroleplayingenvironmentits
prettyeasyfortheexchangetogolikethis:
GM:Theresaghostinthisroom,hesaysyouhavetoeataplateofbugstogetoutofthe
house.
Player:OK,mycharacterputsonalittlesoysauceandshotgunsthosepuppies!
GM:Youcangoon.
Thisisprettyweakandcertainlynotatallhorrifying.Thinktoyourselfhowthisscenewould
bestagedinahorrormovie,andhowyouwouldpersonallyreacttothissituation.TheGM

shouldhavelaidtheroom(andghost)descriptiononthick,downtotheclickingofthefat
beetleslegsastheyscurryacrossthescarred,dullpewterplate.Describetheeatingprocessto
thewillingplayer(thecrunching,theoozing,thebitsofchitinstickingbetweenhisteeth);
requireCONchecksofthecharactertoseeifhecanhandlethistaskwithoutgivinguphis
lunch.Oncethetaskiscompleted,justhavetheghost,smilingwickedly,shimmerand
disappearcantheyreallygetoutofthehousenow?Orwasitjustacrueltrick?What
abouttheplayerwhoatethebugs,isanythingweirdgoingtohappentohimasaresult?Pass
himsomenotesabouthowhefeelsstrangelyafterwardsneitherhenortheotherplayerswill
bequitesureiftherewillbefurtherrepercussions.
PropsandActivities
Feelfreeandusepropsanddrawingsasvisualaidsorothertrickstomaketheexperience
moresensoryfortheplayersandaidtheminhavingthe"youarethere"feeling.Darkenthe
room,andmaybeputonspookyambientmusic.Givetheplayershandoutsoreven
constructedpropswhenpossible.Gettheplayersphysicallyinvolvedhorrorisonegenre
whereinsertingalittlebitofliveactioninfluenceisveryeffective.Havethemmovearound.
Ifthepartyisseparated,maketheplayersseparateintotworooms.Makethemshowyou
howtheyareopeningthedoor.Involvingthephysicalbodyisagoodwaytogetthemind
engaged.Youwillneedtoclampdownsomewhatonoutofgamedistractions(TV,readingat
thetable,cuttingup)aswell.ThereisanessaybyhorrorveteranJohnTynesat
http://johntynes.com/revland2000/rl_mofo.htmlthatdealsprimarilywithinterpersonal
tacticstokeepplayersonedgewhilehorrorroleplaying.Itsalittleextremebutcangiveyou
someinspirationonthesubject.
IhaveplayedintheCthulhuMastersTournamentheldyearlyatGenCon,andtheytakegreat
caretogetaseparateroom,setthemood,useprops,andotherwisecreateaveryimmersive
horrorgamingexperience,andIhavealwaysfoundittobeveryeffectiveandenjoyable.
Theresnothinglikebeinginadark,oppressiveroomforfourhours,wonderingifthe
strangersyourewitharereallyalliesorcultiststhatwouldliketofilletyou,andthentyping
occultcodesintoacomputerterminalandseeingthescreenprojectedonthewallresolve
fromdigitalgibberishintothewordsUPLOADSACRIFICEtosendchillsupyourspine.
Compartmentalization
Itisveryimportantinhorrorgamingforplayerstobelinkedstronglytotheircharactersin
gameexperience.Theyshouldberestrictedtoknowingwhattheircharacterknowsinevery
respect.Usewrittennotesandtakeplayersasideandspeaktothemprivatelytoinformthem
ofthingsthatonlytheircharacterhaslearnedorsensed.Makingcharactersactuallyspeakto
oneanothertoshareinformationplaysanimportantroleintransformingthePCinteraction
intosomethingmorerealistic(andsomethingmorelikeyoudfindinahorrormovie).Useof
perceptionmechanics(e.g.d20sSpotandListen)isveryimportantaswell;itallowsdifferent
characterstoperceivedifferentthingsandnotknowwhethertheycantrusteveryoneelses
perceptions.
InmostRPGsthereistheconceptofplayervs.characterknowledge,andusuallyinsakeof
expediencytheplayersaretrustedtoknowthingsandnotlettheircharactersactonthat
knowledge.Inhorror,however,thepointistoscaretheplayersanditisthusofparamount
importancethatplayersnothaveaccesstoknowledgethattheircharactersdonot.
Dissension
Also,sowalackofconfidenceanddissensioninthegroupofplayers.Theyshouldnotbeable
totrusteachotherallthetime.Youcanusemindcontrol,hallucinations,andtheliketo
controlPCs,butevenbetterisgivingthemreasonstonotcooperatewiththerestoftheparty.
Thisisextremelygenreappropriatenearlyeverymodernhorrormoviewithagroupof
protagonistssuffersfromextremedissentioninthegroupAliens,DeepRising,John

CarpentersVampires,NightoftheLivingDeadAllowplayerstoplaybadguysinthe
partytobetraytheothers,orbetteryettempttheirgoodcharacterswithreasonstokeep
thingstothemselves(ornottotrustotherpartymembers).Playersshouldfeelisolation,not
securityorcomfortintheircomrades,wheneverpossible.
BlurringtheLines
YoumayhavenoticedthatthethingsI'vedescribedhereelevatethesenseofhorrorinthe
player,notthecharacter.Sincehorrorisafeeling,thatisnecessaryforacharactertobe
horrified,allyouhavetodoishaveaplayersay,"mycharacter'shorrified!"Transferringthat
feelingtotheplayeristherealgoalofahorrorscenario.Sothefinalthingyouneedtodois
toblurthelinesalittlebetweentheplayerandcharacter.Thisisanadvancedtopicinrole
playing.Naturally,alotofwhatwedoinanRPGistocomeupwithacharacterdifferent
fromourselvesandplaythem.Westrivetokeepadistinctlinedrawnbetweentheplayersof
thegameandthecharactersinthegame,andforgoodreason.
Thenatureofstorygeneratedemotion,however,issuchthatthegreaterinvestmentyouhave
inthestory,andthemoreyouidentifywiththecharacters,themoredeeplyyoupartakeinthe
adventure.Andthoughplayerscangetemotionallyinvestedinanycharacter,thenatureof
thatinvestmentinanRPGisthattherearealwayselementsoftheplayerinthecharacter.The
characteristheirmindscreation,afterall,andwhilethecharactermighthavedifferent
powersandappearancefromtheplayer,theircorepsychologyismostlythesame.Onceyou
havethestandardtechniquesofhorrordownandwanttotakethegametothenextlevel,you
candeliberatelymakeuseofthetacticofusingplayerpsychologyagainstthem.Tousea
simpleexample,ifacertainplayerreallyfearsspiders,nothingwillcreepthemoutlikespiders
ontheircharacterinthegame.Onamoresubtlelevel,youcanlearnovertimewhataffects
theplayersnotjusttheindividuals,butalsothegroupdynamic(forexample,somegroups
aremorepronetofearandmistrustamongtheirmembers,othersarelessso).Findthe
weaknesses,theplaceswheretheplayersareaffectedandwheretheycanbemosteffectively
horrified.Youshouldalwaysusethistacticcarefully,infrequently,andsubtlybutitworks
verywell.
CaveatArbiter
Needlesstosay,youshouldengageinthispracticewithdiscretionandcompassion.Your
playersshouldwanttobescared,andyoushouldbesensitivetopeoplesrealworldissuesa
realworldvictimofabuse,forexample,wouldprobablyhaveastrongnegativereactiontoin
characterabuse.Beawareofyourplayergroupandbackoffifanyoneshavingaproblem
withthesubjectmatter.
TheStorysRoleTheFearoftheUnknown
Sonowthattheyare"into"thegame,whatwilltrulyhorrifyyourplayers?
TerrorandRevulsion
Twooftheprimarybuildingblocksofhorrorareterrorandrevulsion.Terroristhefeeling
generatedbyascaryeventhappening,especiallyinasurprisingorshockingmanner.A
suddenscare!Adrenalinfloodsintous,makingusjittery.Welltimedshockshelpyouto
elevatetheplayerssuggestibilityandmakethemmoresusceptibletofear.Revulsionisthe
grossoutfeelingcreatedbygoreorotherviscerallyunpleasantimages(bugs,rats,demon
ichor,vomitingupatequilawormdemon,alittlegirlsheadspinningaroundassheutters
horrificcursesandstabsherselfinthevaginawithacrucifix,etcetera).Yuck!Nauseastrikes
usandwewanttoturnaway.GoreorotherdisgustingsightspointindirectlytotheThings
ThatShouldNotBeandcreepouttheplayersonagutlevel.

Surpriseandrevulsioncanbothbeusefultoolsingeneratinganatmosphereofuneaseamong
theplayers,butshouldbeusedwithcare(theygrowoldwithoveruse)andmustbebackedup
withamoredeeplyfearfultoconcepttogenerateatruefeelingofhorrorinanadventure.
Thesearesuccessfultactics,howeverthereareentiresubgenresofhorrorthatusesuspense
orsplatternearlyexclusivelytogeneratetheirdesiredmood.Usetheminyourhorror
scenariostomakethemmoreeffective.Botharedirectlinksbetweenapersonsmindand
theirphysicalreactions,whichmakethemusefultomanipulatetheparticipantsfeelingof
unease.
EstablishedHorrorConventions
Usingestablishedhorrorconventionsknownbyyourplayerslikethespookyoldhouse,the
creepyoldman,orthegrislyghoulcanworkfororagainstyou.Ontheonehand,commonly
recognizedhorrorconventionscanworkforyouandgeneratetheappropriatetoneinthe
game,insofarastheplayersassociatethosethingswiththefeelingsofhorrorandtrepidation.
Ontheotherhand,thesethingsaresocommonthattheyriskbecomingclichdandeliciting
laughterorfamiliarity,notfear.Usethemonlysofarastheyareeffective.
Dread
Thetruegoalofhorroristhefeelingknownasdreadtheworryoranticipation,orone
mightevensaythesurety,thatbadthingsaregoingtohappen.Thecoldshocksofterrorand
gutwrenchingmorbidityofrevulsionarebutmeanstothisend.Inthecourseofsomeones
normalday,theygenerallyhavetheexpectationthatthingsaregoingtoturnoutallright.
Theyaregoingtogothroughtheirdailyroutine,andsomegoodorbadthingsmighthappen,
butintheendthingswillcontinueonasusualandbeOK.Properlyappliedhorrorreverses
thisexpectationandremovesonesdefaultsenseofsecurity.Itturnsapersonsdefaultsetting
intoanearlycertainfearthatthingswillnotbeOKthatthenextdoorthatisopened,ornext
personthatisencountered,ornextrevelationthatisuncoveredwillbeverybadandwillmake
thesituationevenworse.YourgoalasGMistoworktheplayersintoastatewheretheyare
beginningtoexperiencethisfeeling(butideallynotsofarthattheygiveintohopelessness,
whichistheendgameresultoffulfilleddread).
Terrorandrevulsionareunpleasantatthetime.Butdreadislasting.Itcausesapersonto
fearthefutureandtoanextent,isretainedevenaftertheinitialexperienceisover.
GamingAnecdoteTerrorandDread
IonceGMedanepisodeinalongrunningD&Dcampaignwheretwoofthe
PCs,OradoandMikhail,hadseparatedfromtherestofthegroupandwere
travelingacrosscountrytoperformaspecificerrand.Theyweretakinga
breakfromthemaincampaignplot,whichinvolvedhorridLovecraftian
creaturestryingtoemergefromthedeepUnderdark.Whiletheywere
traveling,theycameacrossagnomishburrow;itsoccupantsofferedtolet
themspendthenight.Theplayerswerequiteserioustypes,asthecampaign
wasextremelydarkintone,andtheytalkedwiththegnomishleaderatsome
length,inquiringifheknewanythingaboutthreatsfromtheUnderdark.With
acompletelystraightface,I(asthegnomishleader)relatedataleofevildark
elvescomingfromthedepthsbelow,concludingwithanasideabouthowthe
drowwarrenshadextended,atonetime,tounderneaththisveryburrow.
Sotheplayerswenttotheirreservedbedchamber,illatease.Well,the
gnomeshadtoldthisstorytojustabouteverytravelerthatcamethrough,and
hadaspecialpracticaljokeprepared.Allthewallsintheburrowwereof
packedearth,andinthemiddleofthenightthePCsawoketosomenoiseand
thecrackingofthefarwalloftheirbedchamber!Theycouldseeadark
humanoidformpushingthroughthewallreallyjustamannequinpainted
black,sealedintothedirtwallbeforehandandthenpushedinfroman

adjacentroomviaanattachedbroomhandle.Well,theplayerswerescared.
ThecombinationoftheirfearoftheUnderdarkthreatsinthecampaignand
thegnomishstoryhadthemsoonedgethatthewizard,Orado,justpanicked
andfiredoffaColorSprayintheclosequartersoftheroom,knockinghis
warriorcomradeMikhailunconsciousbutnotseemingtostoptheemergence
ofthedarkform.Mikhailsplayerwasscaredandsomadhecouldspit,
fearingthathischaracterwouldbeslainwithouttheopportunitytoeven
defendhimself.Oradowasfreakingoutandpreparingtoimmolatethewhole
roominaFireballwhenheheardthegnomeslaughterthroughthewalls.
Thisunexpectedscarecertainlyterrifiedthematthetime,andeventhoughit
turnedouttobejustaprank,itheightenedtheiroveralllevelofuneaseas
theyreturnedtotherealadventure.Theyfeltadditionaldreadaboutthe
prospectofventuringintothecoldvastnessoftheUnderdark,eventhough
thescaretheyhadwasnottrulyrelatedtothattaskatall.
Thisexperimentinterrorwasaslightlymorecomplexversionoftheclassic
catscareinahorrormovie,whereacharacterhearssomethingmoving,
creepshesitantlytowardsit,andROWR!Itsjustacat.Theimmediate
tensionreleases,buttheunderlyingleveloftensionintheprotagonistand
audiencehasbeenincreased,andthusweexperienceenhancedanticipation
ofbadthingstocomeandjumptwiceashighwhenthemonsterreally
appears.
"Theoldestandstrongestemotionofmankindisfear,andtheoldestand
strongestkindoffearisfearoftheunknown."
H.P.Lovecraft
TheKnownvs.TheUnknown
Theelementsofthehorrorstoryfallintotwomajorcategoriesthosewhichareknowntoand
understoodbythecharacters,andthosethatareunknown,incompletelyknown,ornot
understoodbythecharacters.Thisdistinctionisveryimportantforgamescenariobased
horror.
TheKnown
Eventhough,asIwilldiscussbelow,theunknownistheprimaryelementthatgenerates
horror,itneedsbitsofknowninformationtobeitscatalystinordertoallowfeartoformin
theplayers.Terrorandrevulsion,asdiscussedabove,areexamplesofknowninformation.
Somethingjumpedoutandscaredyou,oryoufoundthepoolsofbloodinthecellar.Bitsof
informationlikethisarewhatallowparticipantstodetectandbeinvolvedintheplot.
Youmustbewareoftoomuchfallingintotheknowncategoryinahorrorstory,however.
Whentheplayersknowtoomuchaboutwhatsgoingon,andtheyknowwhatsthreatening
themanditscapabilities,andtheygenerallyhaveenoughinformationthattheyfeelincontrol
ofthesituation,horrorisalostcause.Knowninformationmustsimplybeusedinmoderation.
TaketheexampleofthePCsbeingstalkedbyamonster.Oncetheplayercharactersknow
exactlywhatthethreattheyarefacingconsistsof,itceasestobecomescaryandinstead
becomesatacticalexercise.GenerallyspookymonstersinRPGstendtofallintotheknown
categorybecausemanyplayershavetheirstatisticsmemorizedandsothecreatures,nomatter
howgruesome,becomeknownquantitiesdangerous,butpredictable;avampirebecomes
likearabidwolverine,justmorepowerful.Inreallifeandinmorevisualmedialikethe
movies,thethreatoftheknowncanbemorekeenlyfelt,butingamesandfictionyoutendto
havetorelyontheunknownforhorrorseffect.
DirectthreatstothecharactersarelikewisenottremendouslyeffectiveinanRPG.Thereis
onlysomuchfearyoucangeneratebydirectlythreateningthecharacterswithdeathorother

physicalpunishment.Thedivisionbetweenplayerandcharacterkicksinsharply,andthough
thecharactermaybesquealinginpaintheplayerissittingtherethinking,"Iwonderifthe
clericwillbeabletohealthis?"MostRPGcampaignshaveahighdegreeofbodilythreatto
theircharactersasanongoingtheme.Asaresult,characterstendtonotbeasafraidofthreats
totheirlifeasplayersareintherealworld,andthismeansthathorrorbasedsimplyonthose
kindsofdirectthreatsisquitedifficulttogenerate.
Aninterestingfacetofthegamingmediumisthatit(usually)lacksanaudience.Inmost
mediabooks,film,playstheaudiencecanbeshownthingsthatheightentheirhorror
withouttheprotagonistsseeingitthemselveslikethenumerousscenesofMichaelMyers
stalkingJamieLeeCurtischaracterinHalloween.Thisallowstheaudiencetohaveabitmore
knowninformationtoenhancetheiranticipationwhilekeepingtheprotagonistsinthedark
tokeeptheplotontrack.YoucantdothatinanRPGtheprotagonistsaretheaudience.So
youhavetotrytoshowthecharactersthesethings,butindirectlyenoughthattheydont
immediatelyfindoutwhatsgoingon.Youcanshowthemclues(likefootprintsoutsidetheir
windows)anduseNPCstoconveyinformationaboutwhattheysaw,asiftheywerethevirtual
audience(Heyman,Isawsomecreepydudenearyourcaryesterday).
Informationshouldbecarefullyparceledouttotheplayersinawaythatincreasestheir
suspenseandkeepstheminthedarkaboutthereallyfundamentalquestionsaboutwhatis
goingon.
TheUnknown
Thethingthatdiscomfitsplayersthemostistheunknown.Games,evenmoresothanreal
life,havedefinedrulesandstandardconventions.Thingsoutsidetheseconventionscause
stressandfearintheplayers.Wheneverplayersdonotknowwhatevilforcesareatwork,
theyfearthemandtheirimaginationsconjureupspectersoftheunimaginableforyou.
Tohaveafearoftheunknown,charactersandplayersalikemustatleastknowthatthereisan
"unknown"tofear.Themostcompellinghorrorstoriesintroducetheideathatsomethingisnot
quiterightveryslowly.ThefirstdutyoftheGMistodecidewhatinthestoryisgoingtobe
unknownandthereforeabletogeneratehorrorinthecharacters.Itcanbesomethingbasic,
likebeinghuntedbyacreaturetoopowerfultoovercome,withunknowncapabilitiesand
weaknessesinthiscasetheburdenofgeneratinghorrorratherthanatacticalexerciseby
usingmoodandsettingfallsupontheGM.Itcanbesomethingmuchmoreesotericimagine
thatoneoftheplayersdiscoversthattheirfamily,orthegodtheyworship,oreventhey
themselvesaresomethingmonstrousandinhuman.Inanyevent,theGMshouldplanoutthe
unknownfactorsandconstructthesequenceofrevelationsinordertoheightentheplayers
feareachnewrevelationshouldmaketheplayersfeellikethingsaregettingworse,not
better.Charactersshouldbeshownonlyhintsofwhatisgoingon,justenoughtobuildup
theirfeelingofdread,andnofarther.Ofcourse,additionalinformationshouldbedivulged
overtimeortheplayerswillhavenosenseofprogress.Butwhattheydiscovershouldbe
increasinglyunnaturalanddisturbing.
Howdowegeneratefearoftheunknown,alsoknownas"dread,"inaRPG?Itseemstome
thatonethingthatcontributestoourfearoftheunknownisthatoursensoryinput,ability,
andknowledgeislimited.InthemovieTheBlairWitchProject,unexplainedandthreatening
phenomena(therockpiles,thenoises,thehangingeffigies)appearwithoutanyknowncause
oragent.Thecharacterssufferfromaninabilitytoseeorconfrontpossibleattacker(s)andthe
inabilitytoescape.Theydonotknowwheretheyare,howtogetaway,whoorwhatis
harassingthem,whattheharassersagendais,wheretheyare,orwhattheywilldonext.
Theyalsodontknowiftheycantrusttheirfellows.Thisplacedthem(andus,ontheirbehalf)
intoanextremelyexcitable,suggestivestateextremelyconducivetohorror.
Itwouldhavebeenmoredifficulttomakethesamemovieaboutthreeexperienced
woodsmen.Charactersinroleplayinggamesareoftenhighlycompetentheroicpersonalities,
withmagicortechnologyattheirfingertipsreadytodealwithsuchproblems.Forhorrorto
workthegamemasterhastocomeupwithwaystomakethingsstillunknowableand

mysteriousdespitethecharactersbodyofabilities.Inhighpoweredgames(fantasyorscience
fictionespecially)itcanbedifficulttokeeptheanswerstocertainquestionsfromthe
characters.Iftheplayerscandetectwhethersomethingismagical/supernaturalornot,can
speakwithdeadvictims,andcanconsulttheirgodonwherethebadguysarehidingout,
thenitisabitmoreofachallengetogeneratehorrorbutnotimpossible.Thekeyisto
concentrateonquestionsthePCscantanswer.
Thestoryshould,atsomepoint,comeafterthePCsspecifically.Theresonlysolongthatthey
caninvestigateorotherwisemesswiththeunknownforcesattheheartofthestorywithout
beingnoticedbythoseforces.Forcingtheplayersintoareactivemode,andforcingthemto
defendthemselvesinsteadofbeingontheoffensive,willhelpthrowthemoffbalanceand
makethemworrymore.
Letssaythatyouhaveastorylineinwhichanevilwizardiskidnappingpeopleandusingthem
tocreatetwistedcloneservantsforhimself.Thisstorylinecouldbehandledinthetraditional
D&DwaythePCsquicklyfindcluesleadingthemtothewizardskeep;theysweepandclear
thedungeonandkillthewizard.Butthesamestorylinecanbeusedtogenerateavery
convincinghorrorscenarioifplayeddifferently.Peoplebegintodisappear,andthePCscant
stopitfromhappening.Buttheydisappeargradually,whilethePCsareinvolvedinother
plots.Atfirst,unknownpeopledisappear,butthenthevictimsgrowcloserandclosertothe
PCs.First,itsthatclericthattheyboughthealingfromlastmonth.Next,itsthebarwench
theyalwaysflirtwith.Suddenlythisisntarandomadventurehook,butitssomethingthat
theplayersfeelpersonallyinvestedin.Theyinvestigate,andyouletthemgetcloseronly
gradually.Theycomeuponahouserightafterakidnapping;theplaceistrashedandtheres
bloodallaround.Maybethecorpseofoneofthevictimsshowsupanditsclearlybeen
professionallydissected.Unknowntotheparty,itsnotreallythevictimscorpse,butthatofa
testclone;itwasdissectedbecausethewizardwantedtomakesureitwasagoodcopy.Speak
withDeadthereforerevealsonlysomewhatbizarreinformation.Eventually,avictimshows
upatthePCsdoorstepandsays,Oh,Iescapedfromthishorribleplace!Comesee!When
thePCsarriveatthewizardsmansion,itturnsoutthatthevictimluredthemtheretobe
trappedThiscanbedoneinsuchawaythatDetectMagic,Evil,orLierevealsnothing
wrong.DowhatyoucantomakethePCsfeelliketheydontknowwhatisgoingon,thatthe
darkforcesatworkarealwaysastepaheadofthem,andthattheyareatriskofdoingthe
wrongthingthemselves.Inthisparticularscenario,itsdifficulttoknowwhotokillthe
wizardmightCharmtherealvictimsandsendthemafterthePCsalongwithclones,thePCs
mightkillthevictimstheyhopetosaveofcourse,theyfindouttoolatewhatisgoingon...
Separatethepartywhenpossible.TakePCsasideandtalktothemprivately.Bringthegroup
backtogether.AreanyofthePCsclonesnow?Keepasmuchunknownaspossible.IfthePCs
knowtheyareheadingouttokillanevilclonemakingwizard,itshardertomakethe
experiencehorrifying.If,however,thePCsdontknowtheresawizardbehindit,dontknow
iftheyaredealingwithdoppelgangersornecromancyoraconspiracyorwhat,anddontknow
whotheycantrustthenyourecooking.
Relatedtothisthemeoflimitedknowledgeistheuseoffamiliar,safethingswhicharethen
somehowcorruptedintoinstrumentsofhorrorthisisaspecialcaseoflimitedknowledge,
wheretheplayersthinkthey"know"somethingbutaresadlymistaken.Horrorstories
involvingchildren,clowns,thefamilyhouse,etc.usethisparticulartactic.StephenKing
makesuseofcommonitemsandfeelingstogeneratehorrorinmanyofhisnovelsfor
example,thefamilypetinCujoandPetSematary,orcommonhumanexperienceslike
inabilitytosleeporadolescenceinInsomniaandCarrie.
Onceyouhaveastrongsenseoftheunknowninplay,andhavesetanappropriatemood,the
charactersimaginationsbegintoworkinyourfavor.ImaginationisthehallmarkofRPG
playersingeneral,andisausefultoolinthehandsofahorrorGM.Playersbegintryingtoput
togetherreasonswhythisishappening.Theywilldevelopanumberofoptionsontheir
own,andwithsomepromptingthoseoptionscanbeprettyterrifying(sometimesmore
terrifyingthantheoriginalstorycallsfor).

GamingAnecdote
InthesamelongrunningD&Dhorrorcampaign,oneofthePCs(Mikhailthe
warrior)washiredbyalocalnotabletogofindhislonglostyoungerbrother.
Thewholesetupwasverysuspicious,astheboysmotherhadfledwiththe
babymanyyearsago,forreasonsthatthemanwasunwillingorunableto
divulge.Mikhailsoughtaftertheboy,eventuallytrackingthetwentyyearold
trailnorthtoasmallvillagehishomevillage,thathehadleftlongagoand,
accordingtohischaractersbackgroundwriteup,wasntevensureexactly
whereitwaslocated.Hefoundoutthatindeed,hisparentshadtakenhimin
fromtheterrifiedwoman,whodiedsoonafter.
AsthecampaignprogressedandthePCswentdeeperintotheUnderdark,
fightingkuotoaandotheraquaticcreatures,Mikhailstartedtoexhibitsome
oddtraitsandhavedisturbingdreamsaboutswimmingwithfishmeninthe
depths.Hehidthisfromtherestoftheparty,suspectingthatitwasacurseor
asideeffectofsomeofthemagictheywereusingbutthenhediscovered,
muchtohishorror,thatthetransformationwasperfectlynaturalgivenhis
heritage
TheotherPCscertainlydidnttrusthimmuchoncetheyfoundout,andhe
hadreasontomistrusthimselfhewasamonster,afterall,withincreasingly
strangeurges.TheplayerinquestionhadreadLovecraftsTheShadowover
Innsmouthandshouldhaveknownwhatwascoming,butitwasintroduced
sograduallythathedidntmaketheconnectionuntilitwastoolate.This
experienceturnedintoaverystronghorrorelementinthecampaign,which
affectedalltheplayers,givingthemthedesiredsenseofuneaseandhorror.

Pacing
Asthegameprogresses,whetheritisaoneshotscenariooramultiyearcampaign,thereisa
criticalneedforgooddramatictiming.Thesenseoffearshouldbeheightened,thenreleased
buteachtimeonlyapartialrelease,buildingintomorehorror.Thenitshouldbeheightened
toafeverpitch,broughttosomekindofdirectconflict,andthenandonlythenreleased.The
generalrulesofdramatictensionandthesametoolsthatcreatesuspenseinanygenreapply
here,althoughunexpectedplottwistsanddeviationsfromstandardplottimingsarealso
importanttomaintainthesenseofuneaseintheplayercharacters.Therearenohardandfast
rulestofollowtodevelopgoodtiming.YouasaGMhaveanadvantagethatnoauthor,
playwright,ordirectordoes,howeveryouareexperiencingdirectfeedbackfromyour
participantsastheplotunfolds.Thisisyourmostvaluabletool.Youcanseewhentheyare
scaredandwantmore,orwhentheyareoverloadedandneedarespite,orwhentheyaretruly
uncomfortableandhorrified.Luckily,theplotisneverfixeduntilithappensyouarefreeto
adaptanythingyouwantinordertomaintainthemood.Speedup,slowdown,cutout,add
toasneeded.Dontadheremindlesslytoyourplan.
GamingAnecdote
Inonesessionearlyinmyexamplecampaign,wehadanentirevery
successfulhorrorepisodethatwasconductedentirelyoffthecuff.Witha
carefuleyeontheplayers,appropriatetimingwasnotthathardtocreate.
ThePCswerewanderinginterminablythroughsomeabandonedfarmland,
searchingforcluesgermanetotheplotathand.Iwasjustthrowinglocal
colorandwanderingmonstersatthem,gettingthemintothemoodand
lettingthemroleplaywitheachother.Thegrouptookcoverinanabandoned
barnduringathunderstormandbeganpokingaround,asboredadventurers
arewonttodo.Oneofthemwasrootingaroundinthestalestrawcovering
thefloor,andfoundahumanskull,andthentherestoftheskeleton.Ijust
threwitintheretoseehowtheydreact.Well,themoodwasright,andall

theplayersperkedup.Forwhateverreason,ithadgiventhemabriefchill.
Afteraninvestigation,theydeterminedthatwhoeveritwasmusthavehung
himselfonthemainrafterlongago.Whentheyleftthebarn,theyhada
telltaleairofuneaseaboutthemthatsignaledtomethattheywerereadyfor
somehorror.ButevenIwasntsurewhatfromyet.
Next,theypassedbyanoldabandonedhouse,whichwithoutthinkingI
describedasbeingatwostoryplantationstylehouse.OneofthePCstook
note,andsaid,Hey,thatsweird,atwostoryhouseisforrichpeople,allthe
farmershouseswevefoundoutheresofarareonestorythreebayhovels.
Sotheparty,suddenlyinterested,decidedtoinvestigatethathouse.They
werefullyincharacter,andinvestedinwhatwasgoingon(asyoullrecall,
twoofthebuildingblocksthatenablehorrortoreallyworkinagame).
Ineedednofurtherprompting,andduringabrieffoodandbathroombreakI
threwtogetheraquickiehousefloorplanandsomeideasastowhatcould
happen.
Thepartybegantoinvestigatethehouse.Atfirst,itwasjustamoderately
creepyabandonedhouse,withpatchesofmildewandlayersofdustonevery
availablesurface.Butthensomesmallodditiesappeared.Onecharacter
heardadrippingsoundinoneroomandwasunabletolocateitssource.
Anothersawsomethingoddinamirror,justforasecondJustenoughto
elevatetheirleveloftension,butstillverysubtle,notprovidinganyproofthat
therewasanythingreallyoddgoingon.Andthentheygotintoalockedroom
onthefirstfloorthatwascompletelypaintedblackanddeckedoutwitha
largerituallyinscribedsummoningcircle.Oneparticularlybraveparty
membersteppedintothecircle,andclearlyheardthedrippingsoundbutno
oneoutsidethecirclecouldhearit.Needlesstosay,thisdiscoverywasof
greatconcerntothemandtheymovedintohighgearininvestigating.They
startedtosplitup,muchtomydelightitwasasmallhouse,andthey
werentoutofearshotofeachother,sotheyfeltitwassafe.Igavealotof
informationtothesubgroupsintheformofnotes,sothattheotherPCs
wouldntknowwhatwasgoingoninotherpartsofthehouse.Therewas
somescratchinginthewalls,asiffromratsmovingabout.Theyfoundsome
otherspookyclues,likeanabandonedgirlsroomwithanotepadthathadall
thewritingtornout;arubbingofthefirstblankpagerevealedsomestrange
rantingaboutritualsfromtheseeminglyinnocentbutwillingwriter.Anda
masterbedroomthathadaseriesofportraitpaintingsinitthathadbeen
slashedanddeliberatelymadecompletelyunrecognizable.Someoftheparty
foundaroomonthesecondfloorthatwascovered,wallsceilingandfloor,
withchalklinesinstrangegeometricpatterns.Theytookcarenottobreak
anyofthelines,andfoundatrapdoorintheceilingandopenedit.The
personbeinglifteduptoclimbupintotheattichadanastyshockasthey
foundadeadbodylyingrighttherenexttothetrapdoor.Itwasinan
advancedstateofdecay,butoddlyhadnotbeenchewedonbytherats(the
PCcouldhearsomeratsskitteringaboutinthedarkrecessesoftheattic).
Meanwhile,aliquidstartedtoslowlyforminthebottomofthesummoning
circleanddripupwardstotheceiling.ThePCsdownstairstooknoticeand
lookedonwithsomeconcern.Atthispointeveryonewasreally,really
nervous.Theyhaddiscoveredmorethanenoughclearlyunnaturalbut
completelyinexplicablethings,andwhatwiththedrippingandthedeadbody
andall,theyhadreachedaveryhighleveloftensionandhadseenmost(but
notall)ofthehouseandthusIchosemyopportunitytostrike.
ThePCintheatticwaslookingabout,andcomingaroundthechimneywas
confrontedwithIdidnttellhimwhat.HemadeaSanitycheckandfailed.
Itoldthecharacterswaitingbelowthetrapdoorthattheyheardahorrible
scream,andthenextthingtheyknewthePCcametumblingoutofthetrap
doortothegroundbelow,breakingthechalklinesonthefloor(and
immediatelyscramblingtohisfeetandfleeingasquicklyashecould).

Atthatinstant,theliquiddrippingupwardsinthesummoningcircle
downstairs(immediatelybelowtheroomwiththechalklines)becamea
torrent.ThePCsdownstairsstartedtoscreamtowarnthePCsupstairs.All
hellbrokeloose,asthechalklinesstartedtoooze,thengushliquid,turning
intoafloodwashingtheupstairsPCsdownthehallwayandthendownthe
stairs.Theratscrabblinginthewallsimmediatelyrecommenced,veryloudly
andseeminglythroughoutthehouse.
AsthehousewentintofullscaleAmityvilleHorrormode,thealreadycreeped
outpartyfreaked.ManyofthePCsonthefirstfloorfledthehouse
immediately.Withinshortorder,allthePCshaddecidedthattheyjust
wantedOUT.Onecharacter,inapanic,actuallythrewhimselfoutasecond
storywindowinordertoescape.ThesecondallthePCswereoutsidethe
housedisappeared,leavingablackenedmarkinthegrasswherethe
summoningcirclehadbeen.Outback,theyfoundasmallenclosurebuiltinto
theground,withaheavydoorandmanaclesinsideobviouslyusedtokeep
someoneprisoner.Andinthecell,water(fromthefrequentrain)was
drippingtoitsfloor,makingtheexactsoundtheyhadheardinthehouse.
Theplayershadanextremelyenjoyableboutofhorrorthatday.Theykept
pressingmetotellthemwhatwasupwiththathouse!(Irefused,ofcourse,
onlyaddingtotheirenjoymentofthestory.)Ithadstartedoutasa
throwawayscenario,andImademostofitupasIwentalong,butitbecame
oneofthegroupsmostmemorableexperiencesfromearlyinthecampaign.
Naturally,Ijusthadtobringthehousebacklaterinfact,theylikeditso
muchthatIdecidedtomakeitssecretaveryintegralpartofthecampaign.
BycueingoffwhatthePCswererespondingtoandenjoying,Imanagedto
evokeagreatdealofhorrorquicklyandwithoutanypreliminaryplanning.
Andifitsjustnotworkingtryagainlater.Youneedaspecificchemistrytoenableagroup
experienceofhorror,andyoucantforceitifitsnotgoingtohappen.Agoodsenseofpacing
includestheknowledgeofwhentodosomethingelseforagamesession.
Revelation
SomehorrorstoriesendwiththerealizationthatwhatwasunknownisnowallknownAh,
itwasOldManJenkinsallalong!Thisisalegitimatetactic.However,themorethatis
fundamentallyunknownaboutasituation,thegreaterthesenseofhorroryoucangenerate.
Eveniftheprimarythreatoftheadventureisdealtwith,iftheplayersareleftstillunsure
aboutwhatexactlywasgoingontheirimaginationcontinuestoworkforyou.Resisttheurge
toexplaineverything.Westoppedthetakeoverofthetownbutwestilldontknowwho
wasbehinditinthefirstplace!Ofcourse,havingtheplayersthinktheyknowwhat
happenedwhentheyreallydon'tisgreatifitcancomebacktohauntthemacrudeexample
ofthisisthefrequentlyexaggerateddemiseofJasonintheFridaythe13 thmovies.If,even
onceahorrorepisodeisover,yourefusetoexplainit(incharacterorout),thenthe
continuationoftheplayersnotknowingforsurecausestheepisodetoretainitsholdover
theirimaginations,andgivesthematakeawayfeelingofdreadthatisthehallmarkoftrue
horror.
Theonlythingwehavetofearisfearitselfnameless,unreasoning,
unjustifiedterrorwhichparalyzesneededeffortstoconvertretreatinto
advance.
FranklinD.Roosevelt,FirstInauguralAddress,Mar.
4,1933

FearandInsanity
InmyanalysisofAlien4:Resurrection,IdescribedRipleyashavingafearofherownself.
Thatfearcamefromnotknowingwhatshemightdoorwhethershewouldhavecontrolover
herownactions.Poetookthistypeof"fearoftheunknownpartoftheself"toitshighest
pitch.SeveralcharactersinPoe'swritingseemtograduallyrealizethecapacityforevilin
themselvesandeventuallygomadasaresultforexample,intheshortstoryTheTellTale
Heart.Interestinglyenough,madness(atleastinPoe'suniverse)istheultimateun
knowledgeofone'sselfacompletelossofcontrolandsenseofreality.Thecauseofourfear
oftheunknownwouldseemtobebasedonfearofourownphysical/mental/psychological
weaknessesplainoldhumanfallibility.Similarly,inLovecraft'swritings,insanityisoften
generatedbytherealizationofthevastnessofgreat,aliencosmicpowerandtheirrelevance
andimpotenceofallhumanityintheuniverse.
Manyhorrorgames(CallofCthulhu,Ravenloft,UnknownArmies)haveagamemechanic
designedtomodelPCfear,insanity,orotherformofmentalimbalance.Theserulesareuseful
butwithoutadequateingamejustificationtheirusecanbeunconvincingandflat.Ihavehad
successusingdreams,voices,etc.withcharactersandusingthosetogenerateafeelingof
insanityorlossofmentalfaculty.Ingeneral,itsbesttohavetheplayerreallyfeelliketheir
charactermaybegoingmad,ratherthantojusttellthemyouregoingmad.However,
havingsuchamechanicarounddoesawakenplayerstothepossibilitythatPCsmightbe
actingerratically,whichhelpstogeneratethemoodofuneaseimportanttoahorrorscenario.
Youcangetalotofmileageoutofimplication.Forexample,youcandescribethemovement
ofapersontowardsacharacterinawaythatmakesitseemthreateningornonthreatening.
Insanityisallaboutdistortedperception,soifaPCwhosgettingparanoidisinagiven
situation,youcanalwaysdescribeitasbeingmorethreateningthatitistheymightseeA
manmovingtowardsyou,eyesfixedbalefullyonyouwithhatefulrecognitioninhiseyes.
AnothermoresanecharactermightseeAmanwanderingovertowardsyou,lookingatyou
hesitantlylikehewantstoaskyouaquestion.
Wheneveryouwantacharactertogoinsane,thebestwaytogoaboutitistodiscussitwith
theplayer.Theyagreetostartplayingthecharacteralittlecrazy.Youthentrytogivethe
characterplausibleinstoryreasonsforactingoddlythecombinationoftheplayer
understandingthattheircharacterisunstablecombinedwiththestimuliyouprovideshould
provideafairlyrealistic(totheotherplayers)pictureofsomeonesufferingmentalproblems.
Ofcourse,ifyouaredoingyourjobright,theplayersmightbewrongaboutwhoisgoing
crazyandwhoisgoingsaneinacrazyworld
GamingAnecdote
Inthesamecampaignfromtheotherexamples,therewasafemalecharacternamed
Damia.IwasusingtheCallofCthulhuSanitytrackingmechanicinthegame,but
triedtonotenforceitdirectly,buttoinsteadhavetheplayersfeelliketheircharacters
erraticactionswereanaturaloutgrowthoftheirsituation.Anyway,asbackground,
Damiawasanorphanandwasgenerallyunwantedasachild(ahalfelfwhogrewup
amongthegypsies,andthegypsiespawnedheroffontheplayercharactersatthefirst
opportunity).Shehadcomeintoconflictwithsomeoftheparty,astheytendedto
takethedestroyanythinginourpathapproachandDamiatookthedontkillifyou
canhelpit,andhugtreeswheneverpossibleapproach.Whilethepartywastraveling
throughtheUnderdark,Damiawaskidnappedfromthepartybyabunchofhideous
tentacledmonsters(grell,butasagoodhorrorGMIneverusedthattermwiththe
players).Therestofthepartywasleftbehind,paralyzed.Theytookhertoaplace
whereahuge,foul,tentacledcreatureoutofaLovecraftstory(adeepspawn)waited.
Accordingtothedice,shetookareallybigSanityhitaboutthistime.Thedeepspawn
telepathicallycontactedher,showingherhowitwantedtodevourherandthen
reproduceherasitschildren(allthegrellwerespawnaswell).Afterabrief
consultationwiththeplayer,Idecidedtocastthispsionicimageinalightasfavorable
tohermindaspossibleachancetobeapartofafamily,tobeonewith

someone/thingandtoproducechildrenofherown.Shedidntbuyittotally,butit
wasabenevolentenoughimagethatherlovecritters,dontkilltheminstinctswere
activated.
Sowhenthepartycametoherrescueandslewthething,shewasnotgrateful(as
theyexpected)butinsteadchidedthemandweptforthedeadmother.Theparty
thoughtthatshewascompletelyinsane.Shewasntwell,justalittle.AsDamia
sufferedfrommoresanityproblemslateron,shetendedtooverempathizewith
monstersandotherevilfolks,eventothepointoflettingthemattackherorcolluding
withtheenemy.Butherbehavior,fromtheplayerspointofview,wasalogical(ifa
littleskewed)consequenceofherexperiences.Fromtherestofthepartys
perspective,shewascrazyandadangertoherselfandothers.

WhatgamesystemshouldIuse?
Thereareanumberofgamesorgamesupplementsouttherethatarespecificallydirected
towardshorror,andoftencontaingoodinformationonhowtoconducthorrorroleplaying
CallofCthulhu,Ravenloft,Deadlands,DarkConspiracy,Chill,WhisperingVault,Unknown
Armies,Kult,Don'tLookBack,LittleFears,theWhiteWolfgamesIhopethisessay
demonstrates,however,thathorrorcanbeworkedintoanygameregardlessofgenre.Ioften
findthathorrorcanbeactuallyinhibitedbyplayingapure"horrorgame"inCallofCthulhu
tournamentscenarios,forexample,everyoneknowswhattoexpect,andthequestionbecomes
simplyatacticaloneof"Howdowekill/escapefromthezombies/aliens/sorcerers/GreatOld
Ones?"Playingagameinthisfashion,evenanallegedlyhorrororientedgamesystem,isself
defeatingbecauseitgoesagainsttheprimaryfearoftheunknownthatisinstrumentalin
generatinghorror.
Inaroleplayingcontextyouhavetwoprimaryoptionsastoformatyoucanrunasingle
horrorscenario,orusehorrorasacampaigntheme.Inasinglescenario,likeinahorror
movie,youarerequiredtodevelopthehorrorquitequicklyandattimesviolently.Realand
immediatethreattothecharactersisusuallyrequired,andthisisdangerousinalongterm
gamewithestablishedcharacters.Ofcourse,thebenefitofthisisthatyoucantreatcharacters
asbadlyasyouwishinasinglescenario,andtheplayersdontsuspectthatyouwillhesitateto
killallofthemoff.Acampaign,likeaTVshow,requiresalighterhandthecastofcharacters
cantalldieoffeveryepisodeortheseriessuffers.Inthislongerformat,youcanmakeuseof
foreshadowingandprefigurehorrificeventstocome,anddevelopthethemesofthecampaign
andknowledgethatthereisanunknowntofearquitegradually.Thisgradualdevelopment
allowsforamoredeeplyaffectinghorrorexperience.
Iliketorunpurehorrorgamesystemsasoneshotadventures,butforcampaignsItendtouse
more"valueneutral"gameslikeD&D,andtheninsertthehorrorgraduallythisviolationof
conventionandturningslowlyfromtheknowntotheunknownismoreeffectiveingenerating
truehorrorinthelongrun.

Bibliography/OtherResources
HerearesomehorrorgamingresourcesthatIpersonallyhavefoundtobehelpful.
NightmaresofMineisa171pageRPGsourcebookfromI.C.E./Chaosiumabouthorrorinrole
playinginparticular.Includesextensivebibliographiesonhorrorfilms,books,RPGs,etc.Itis
availablefromhttp://www.ironcrown.com/(seetheTheStandardSystemarea).
SupernaturalHorrorinLiterature,anessaybyH.P.Lovecraft,isatreasuretroveofinformation
onhorrorwritersandadiscussionofthefundamentalsofhorrorliterature.Itisavailablefrom
Amazonandotherbookvendors.

WritersDigestBookshasseverallinesoffactualresourcesdesignedforauthorsthatcangive
yousomevaluablerealismhelpbesidesabookonWritingHorror,theirHowdunit
serieshasentirebooksonforensics,poisons,investigativetechniques,andotherhelpfulthings,
andtheirEverydayLifeserieshasallkindsofgreatinfooneverydaylifeinanumberoftime
periodsandplaces.http://www.writersdigest.com/
RPG.nethasacolumndedicatedtohorrorgamingat
http://www.rpg.net/news+reviews/collists/phobia.htmlitsnotallthatgreat,butdoeshave
somethingstothinkabout.
DEMONGROUND:ReflectionsofaDarkerFuture(http://www.demonground.org/)isafanzine
dedicatedtosupportingthegenreofmodernhorrorinroleplayinggames.
Googleifyoujustwantabunchofhorrorgaminglinkstocheckout,try
http://directory.google.com/Top/Games/Roleplaying/Genres/Horror/.
Thistextwasdownloadedfrom
http://www.mindspring.com/~ernestm/horror/horror.html
in2014