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Chaosium Digest Volume 12 Number 08
Chaosium Digest Volume 12, Number 8
Date: Sunday, January 7, 1996
Number: 1 of 2
Contents:
Prophecy, Part 1 (Simon Lee) CALL OF CTHULHU
Editor's Note:
Welcome to the first 1996 issue of the Chaosium Digest. This time
around, an interesting CTHULHU BY GASLIGHT adventure, courtesy of
Simon Lee.
NEW RELEASES:
* Nephilim - _Serpent Moon_ (Chaosium, 128 pg., $19.95) is the first
book of Nephilim adventures. It contains a set of four linked
scenerios, new secret societies, new spells, new creatures and more.
RECENT BOOKS OF NOTE:
* Elric! - _Blood: A Southern Fantasy_ (Avon Books, ISBN
0-688-14362-8, $22.00) is Michael Moorcock's newest work. Although
not a Young Kingdoms book, _Blood_ does pick up the threads of the
Eternal Champion cycle, weaving them into a tale of an alternate
South's encounter with the unknown.
NEW ELECTRONIC RESOURCES:
TSOU Archives
ftp://ftp.csua.berkeley.edu/pub/cthulhu/tsou
The Shadow Over Usenet is a discussion group that regularly talks on
alt.horror.cthulhu. They have been slowly moving through all of
Lovecraft's fiction, examining each story in turn. The TSOU archives
on ftp.csua contain all of the archives of the TSOU discussion thus
far.
--------------------
From: simon.lee@digitec.co.za (SIMON LEE)
Subject: Prophecy, Part 1
System: Cthulhu By Gaslight
PROPHECY
An Adventure for Cthulhu by Gaslight
Author's Note:
"Prophecy" was originally written for the South African role-playing
convention ICON 1995. It was designed as a tournament scenario with a
three hour maximum duration. The following pre-generated investigators
were made available to each team:
Walter Halloway, professor of classics at Oxford
Rose Vanburgh, ambitious actress
Arthur Scarsdale, wealthy young aristocrat
Hugh Vincent, respected Shakespearean actor
Detailed background information for these investigators is provided in
the "statistics" section below. These four characters are fairly
integral to the plot of the scenario. Keepers who wish to substitute
other investigators will have to make appropriate adjustments to the
text of "Prophecy". If other investigators are used, it is strongly
suggested that at least two be involved as actors in the first
production of Salome.
Part 1: The Play is the Thing
"Prophecy" is a role-playing adaptation of a classic theatrical
premise: the play-within-a-play. It could, perhaps, be termed a "play
within a role-play". The play in question is Oscar Wilde's Salome, a
disturbing and little understood piece of decadence literature dating
from the mid-1890s. Artists of the decadence period, among whom Wilde
was prominent, were concerned with freeing all creative expression
from the restrictive confines of Victorian morality and traditional
artistic forms. As Wilde wrote in the famous preface to his novel The
Picture of Dorian Gray: "There is no such thing as a moral or an
immoral book. Books are well-written, or badly written. That is all."
Oscar Wilde wrote Salome while he was strongly under the artistic
influence of French Symbolist poets such as Baudelaire and Rimbaud.
The play echoes these poets' search for heightened understanding
through altered perception and extravagant verbal description. Salome
was originally written in French and later translated into English,
first by Alfred Douglas (Wilde's homosexual companion, affectionately
known as Bosie), and later by Wilde himself.
Prophecy begins from the premise that Oscar Wilde, desperate to escape
his decaying relationship with Bosie and searching for inspiration to
complete his symbolist play, unwittingly contacted a greater source of
decadence than even he could imagine. While reading little-known poems
and plays of the previous century, Wilde stumbled upon a copy of the
King in Yellow, an incomprehensible narrative stamped with the
mind-warping image of the Yellow Sign. The King in Yellow serves as an
artistic conduit to Hastur the Unspeakable, a Great Old One of the
Cthulhu mythos. Wilde unwisely read the play (there are no immoral
books, after all...) and was infused with the spirit of the King in
Yellow.
In the 24 hours that followed, Wilde wrote Salome, unaware that he was
strengthening his connection to the King in Yellow. He presented his
play to Bosie and asked him to make the English translation.
Unsatisfied with the result, Wilde spurned Bosie and translated the
play himself. Driven by a inexplicable compulsion to stage Salome as
soon as possible, Wilde travelled to London and made arrangements to
premiere the play at the St James's Theatre in the West End. Here he
was met by up-and-coming young director Jonathan Ogilvie, who agreed
to take charge of the production of Salome. Unknown to Wilde, Jonathan
Ogilvie is a servant of the King in Yellow and is intent on using the
first performance of Salome as a ritual of sufficient artistic
depravity to summon his god's presence. The audience at the opening
night performance, as well as some of the performers themselves, will
serve as convenient sacrifices to satisfy the hunger of the Great Old
One. The characters' ultimate goal is to thwart Jonathan Ogilvie and
his inhuman master, and to restore sanity to one of Ireland's greatest
playwrights.
The characters begin the scenario in two discreet groups. The guests
(Halloway and Scarsdale) have received invitations to the opening
night, provided to them by no less a person than Lord Alfred Douglas
himself. The invitations were accompanied by handwritten requests for
them to meet Lord Douglas (Bosie) at a private club, three days before
the opening night performance. The actors (Rose Vanburgh and Hugh
Vincent) are rehearsing Salome at the St James's theatre. Hugh will
perform as Herod, while Rose takes the role of Salome herself. The
first two scenes of the scenario involve each of these groups in turn,
and provide all four characters with compelling reasons to take a
personal interest in the first production of Salome. The Keeper should
be at pains to ensure that the two players who are not directly
participating in a scene are kept busy and interested. Suggestions as
to what these players can do are provided at the beginning of each
scene.
The condensed copy of Salome provided with this scenario is integral
to the success of Prophecy as a Cthulhu adventure. The use of a script
strengthens the theatrical feel of the action and provides players
with "guidelines" within which to structure their actions. The script
also adds a great deal of authenticity and atmosphere to the scenario.
This is not to say that investigators shouldn't be allowed to
improvise - on the contrary, their very lives may depend on their
ability to break free of the script at critical junctures. As Keeper
you should study the script carefully and familiarise yourself with
the central characters and their lines. You should consider how the
actions (staging) of the play will best be described in theatrical
terms. Note that the copy of the script provided with the scenario
contains event "markers" that the Keeper will use to direct actions
during the final performance. These markers should be removed from any
copy of the script that is given to the players.
You must also make it clear to players (especially those who are cast
as the actors) that they are expected to read their script lines as if
they were actually participating in a production of Salome. If the
players' performances are flat, the scenario will be even flatter. It
is also important to note that because of the inherently melodramatic
nature of Salome, players need not be good actors to achieve the
desired artistic effect. Encourage your players to abandon caution and
enter into the spirit of the performance. Everything else should
follow. Prophecy, like Salome, is three quarters atmosphere, one
quarter content. It is up to the Keeper to ensure that the play is
given the melodic, decadent and erotic expression that Oscar Wilde
intended it to have.
Part 2: A Drink with Bosie
(Note: while Walter and Arthur are role-playing this scene, the
players responsible for the actors should each be given a copy of the
Salome script. This will give them time to read their lines before the
dress rehearsal. Make sure that the Keeper's event markers have been
removed from the copies of the script that the players receive!)
Walter Halloway and Arthur Scarsdale have both received handwritten
invitations to meet Lord Alfred Douglas for dinner at a well-known
West End gentleman's club, Pilkington's, on Wednesday 21 April. The
notes mentioned that Lord Douglas would like to discuss the
deteriorating health of his good friend, Mr Oscar Wilde. The notes go
on to mention that Lord Douglas thought it prudent to confide in men
who were familiar with Oscar's eccentricities, and who better than his
Oxford tutor (Halloway) and a close personal friend of the Wilde
family (Scarsdale)?
When the characters meet Lord Douglas (Bosie), he is nervously smoking
a cigarette in a corner of the club. Four empty whiskey glasses are
arranged on the table in front of him. It is clear from his demeanour
that he is in a great deal of distress. When the characters approach
he introduces himself and thanks them profusely for responding to his
request at such short notice. He orders drinks and then immediately
begins an account of his concerns regarding Oscar Wilde's health.
Apparently, ever since production began on the new play Salome, Oscar
has been anything but his jovial and gregarious self. In fact, for the
past week he has refused to see anyone except Jonathan Ogilvie, the
director of the play. He has lost weight (very unusual for Oscar) and
on the rare occasions that Bosie has seen him in public, he has
appeared listless and devoid of any emotion. Bosie's attempts to call
at his residence have all been rebuffed, and correspondence has been
unanswered; until two days ago, when he received a short,
badly-written note from Oscar. Bosie is willing to read the note to
the characters (see end of this section). Both the contents and the
manner of the letter suggest that Oscar Wilde is suffering some form
of mental anguish. Unfortunately the characters have no direct means
of confirming this assumption, as Wilde is not receiving callers.
Bosie is hoping that Oscar will respond favourably to old academic and
family friends, and that the characters will be able to determine the
cause of his malady. Bosie suggests that the characters may be able to
speak to Oscar if they approach him at the theatre: he sometimes
visits St James's to oversee the production of Salome.
Bosie is prepared to discuss with the characters any other issues that
may be of relevance to the present situation. If asked about his
relationship to Oscar Wilde, he will say that they are good friends.
If pressured on this point he will remain silent and refuse to speak
on the matter any further. He will never be so crass as to mention
that his relationship with Oscar might be anything other than
friendship, but the characters should be able to deduce this without
direct, embarrassing questions. Bosie will further suggest that if the
characters have no success in speaking to Oscar at the theatre, they
would be best advised to attend the opening night performance of
Salome. It would be very difficult for Oscar to avoid them completely
at a social event of this kind. In anticipation of such an
eventuality, Bosie managed to secure the two tickets that he forwarded
to the characters.
The characters are now free to discuss other matters with Bosie. They
should be thorough: even the smallest piece of information may be of
use in their subsequent investigations. If Bosie is questioned about
the play itself, a brief look of distaste crosses his face. He admits
that he has never liked the subject matter, and that he found the
language and imagery of Salome to be garish, provocative and
disturbing. He further mentions that Oscar had asked him to translate
the play from French, but that his inherent dislike of the material
prevented him from completing the project. He is not sure of where
Oscar received his inspiration for the play, but he does remember that
the text sprang in to being "almost overnight" - the entire play was
written in under 24 hours. His own opinion is that Oscar condensed the
works of numerous French poets to produce Salome.
If asked about the impending production, Bosie indicates that he was
surprised that Oscar managed to secure the services of so many
respected actors to perform in Salome. He suggests that it may have
something to do with the brilliant young Jonathan Ogilvie directing
the piece. Ogilvie has risen to prominence in theatre circles over the
past months for his daring and often iconoclastic interpretations of
traditional dramatic works. Ogilvie seemed very keen to undertake the
project - in fact, he approached Oscar Wilde personally and asked to
be placed in charge of the production. Once word got around that
Ogilvie was directing, actors became far more interested in taking up
parts in the play. As soon as conversation slows Bosie will excuse
himself, saying that he is not feeling too well and would like to
retire early. He will again thank the characters and urge them to call
on Oscar as soon as possible. He will provide them with an address
where he may be contacted, and will suggest that they meet him again
at the St James's theatre on the opening night of Salome.
------------------------------------------------------------------------
Oscar Wilde's letter:
My dear Bosie,
A thousand sincere apologies for my gross neglect of you over the past
fortnight. I have been consumed with worry about the play, and have
had little time for any other pursuits, or any of my friends.
I have been out-of-sorts recently, as you are no doubt aware, and I
fear that my health begins to desert me when I most need strength and
fortitude. The physicians tell me that it is nervous tension, but I am
not so sure. As the days pass I feel overcome by a pervasive sense of
dread, such as I have never experienced before. I find myself drawn
to, yet at the same time repulsed by, the work of art that is nearing
completion in the St James's theatre. Ogilvie is by all accounts
directing superbly, but I cannot escape the worm of disquiet that
gnaws on my sensibilities.
I hope you understand why I cannot see you at present and why, indeed,
I cannot bring myself to see any person. I beg that you understand,
and forgive me.
Always yours,
Oscar.
------------------------------------------------------------------------
Part 3: Dress Rehearsal
(Note: For the first section of this scene, the players of Halloway
and Scarsdale should each be given a copy of the Salome script to read
over. Their characters will become involved later in the scene. Make
sure that the event markers have been erased from the scripts before
they are given to the players)
Following the meeting with Bosie, the events of the scenario shift
immediately to the following day (Thursday 22 April), at the St
James's theatre. All those involved with the production of Salome have
been rehearsing for the past 3 hours. The players (including Rose
Vanburgh and Hugh Vincent) are taking a short break between sections
of the play. The director, Jonathan Ogilvie, is earnestly discussing
an aspect of decor with the backstage team. The entire theatre has an
air of excitement that only occurs when a masterful dramatic piece is
nearing completion. Vanburgh and Vincent's players should be provided
with the following background information:
i) They have been rehearsing hard for the past four weeks. The play
will undoubtedly be one of the most impressive London has ever seen.
ii) Jonathan Ogilvie is obviously a perfectionist, but his numerous
demands are sometimes ridiculous, even for professional actors. He
seems driven to succeed at all costs.
iii) All the players have meshed perfectly with the production: it
sometimes seems as if they really are their Salome characters.
iv) None of the players have seen very much of Oscar Wilde. On the few
occasions that he has stopped by, he has spoken exclusively to
Ogilvie. He has never watched a rehearsal.
The Keeper, as Jonathan Ogilvie, should now run the players through a
short rehearsal of some portions of the play. Pick any section you
think is appropriate and have the players read their characters' lines
as they would in the real performance. You should "fill in" for the
other characters at this time. At some point during the rehearsal, the
players will see Oscar Wilde enter the theatre and take a seat near
the back of the hall. He will wait until the rehearsal is over and
will then approach Jonathan Ogilvie and draw him aside for
conversation. Wilde has a document with him that the players will
recognise as a recent draft of Salome. Ogilvie carries a black leather
notebook with a strange symbol on the cover. Whenever Wilde indicates
something in his text, Ogilvie seems to consult the notebook and then
shake his head. Although the players will not be able to hear what is
being said, they will notice that Wilde is extremely upset. He
gesticulates often and his entire stance speaks of barely suppressed
rage. Ogilvie, by contrast, seems relaxed and unconcerned. Suddenly
Wilde calms completely, turns and walks slowly towards the theatre
exit. Ogilvie returns to conclude the rehearsal, a smile briefly
flickering across his face.
The players have unknowingly witnessed the power of the Cthulhu
mythos. Wilde has made a last, desperate attempt to replace the
existing material in Salome with work that is more of his own
creation, and less derivative of The King in Yellow. Ogilvie's
notebook is, of course, a copy of said King in Yellow (French edition,
1875, if someone gets a chance to look at it). The cover is embossed
with an image of the dread Yellow Sign, which causes anyone who
observes it closely to become immediately disconsolate and lose 0/1d6
sanity points. If a character somehow manages to read the entire play
(this is not recommended) s/he loses 1d4/1d6+2 sanity points.
Ogilvie's intentions depend on keeping Wilde under control, so he has
used a Dominate spell to compel poor Oscar to return home and forget
about his visit to the theatre. The play will continue to be a homage
to the Unspeakable lord of Aldebarran.
As Oscar Wilde leaves the theatre, Halloway and Scarsdale arrive,
intent on speaking to him regarding his recent behaviour and his
letter to Bosie. Unfortunately, they will find him under the influence
of a mythos spell and quite incoherent. He will briefly lecture the
two on the cathartic properties of indulgence and the artifice of
poetry, before proclaiming ill health and staggering home. He will not
answer any more questions. If the characters remain at the theatre
they have an excellent opportunity to meet Rose Vanburgh, Hugh Vincent
and Jonathan Ogilvie. Allow the two actors to introduce themselves and
the players to initiate any conversation they feel is appropriate.
Ogilvie remains in the background as much as possible. If he is asked
about Oscar's condition, he says that Mr Wilde is nervous and overcome
by the stresses of a demanding schedule. He will then excuse himself
and leave the theatre.
The four characters now have an ideal opportunity to "compare notes"
and discuss Oscar Wilde and Salome. They should be allowed to pursue
whatever avenues they wish, within reason. The opening night
performance is in a day's time, enough opportunity to visit Bosie,
make preparations for meeting at the theatre, or whatever else they
feel is appropriate. Regardless of what they decide, they are unable
to see Oscar Wilde again. He remains in his residence and refuses to
accept callers. If any of the characters decide to follow Ogilvie they
will be disappointed. At this critical point in his schemes, he
maintains a scrupulously clean public and private life.
Part 4: Opening Night
Salome opens at the St James's theatre on Friday 23 April, 1895. A
light rain covers London, but seems unlikely to dampen enthusiasm for
Mr Oscar Wilde's latest dramatic masterpiece. The performance is
scheduled to commence at seven in the evening, and carriages begin to
arrive as early as five in the afternoon. The performers have been at
the theatre since early that morning.
Halloway and Scarsdale can arrive at whatever time suits them, but
early seating is advisable as the theatre is expected to be full to
capacity. Once they enter the foyer of the St James's and divest
themselves of their coats and umbrellas, they will be able to mingle
with the upper crust and avant garde of contemporary London society.
The Keeper can introduce whatever memorable (or forgettable)
theatre-going characters are deemed appropriate. A few suggestions
would be: the jaded society woman with her manicured poodle; the
retired officer unsure of whether he should be attending an obviously
"blasphemous and unpatriotic" piece of work by that "Irish scallywag";
the pretentious young artist holding forth on topics ranging from
symbolism to socialism; and many others. Great opportunities for
role-playing exist even before the performance begins. The only people
the characters will not be able to meet are Oscar Wilde and Bosie.
They are nowhere to be seen.
Backstage, the crew is putting the final touches to costumes and sets.
Actors are nervously reviewing lines and Jonathan Ogilvie moves from
one to the other with words of encouragement. He seems excited almost
to the point of hysteria, but the characters have no way of knowing
that this is more due to the impending appearance of the King in
Yellow than the performance of Salome. If a character pays particular
attention to Ogilvie (successful Spot Hidden roll) just before the
curtain goes up, he will be seen to remove a thin, dull-bladed knife
from his rehearsal bag and place it in his belt. This is an enchanted
blade that he will use to summon a dimensional shambler during the
performance. The characters will not know this, of course, although
there is bound to be speculation as to what Ogilvie would need a knife
for.
The curtains open and the performance begins at quarter past seven.
How exactly the play proceeds is left in the hands of the Keeper. It
is suggested that the participating characters read their own lines as
they arise, with the two players who are not directly involved reading
the parts of Jokanaan and Herodias. The Keeper should read the smaller
parts (the page of Herodias and the young Syrian). The Keeper must
also co-ordinate activities on stage and in the audience to match the
flow of the performance. The Keeper's copy of the Salome script is
marked with event numbers in square brackets. Events occur as the
dialogue they are linked to is spoken. Where necessary the Keeper
should briefly interrupt the reading of the play to describe what
characters may see or hear.
How do I get out of this play?
Once the play passes Event C, it becomes extremely difficult for
performers to divert from their rehearsed lines and actions. This is
an effect of the powerful summoning spell that Jonathan Ogilvie has
cast. In order to do or say something that is not part of Salome,
performers have to make a successful POW x 1 roll. If they fail, they
are compelled to continue playing out the script, as rehearsed, for at
least the next 2 minutes. Even if they do break free they have to
check again every minute. Failure means they return to the words and
actions set out in the play. Any external intrusion on the play
(shaking a character, breaking the scenery, etc.) immediately grants
performers a POW x 3 roll to break free of their rehearsed actions.
[continued in V12.9]
--------------------
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