Wednesday, July 8, 2026

The Arrangement

 

Nottsuo

Agent Delfino leaves the car at the end of the driveway, right in front of the rusted gate and its corroded “DANGER - NO TRESPASSING” sign. He steps out of the car, opens the trunk, and hoists the lifeless body of Agent Wallace over his shoulders in a fireman’s carry.

The overgrown gravel path is dimly lit by Delfino’s red-filtered flashlight. Twin rows of pine trees block out all but a thin strip black sky. It can’t take more than a minute, minute and a half, to reach the house. The adrenaline cedes ground to hazy, sluggish exhaustion.

It would have been a nice house, eighty years ago when the mill in town was still open and the GI Bill meant you could own a home on a single income. Economic entropy bears down on its shoulders with decades of repair jobs put off till money’s less tight; what’s left of the overgrown lawn fights a losing battle against encroaching undergrowth. There’s no porch light, no light at all from inside. All the windows are boarded up, blackout curtains drawn.

Delfino presses the doorbell button, hears nothing; he presses it again, and it fires off a harsh electric buzz.

He waits, idly sucking at his lip.

Dead bolt slides, chains rattle, door swings inward.

The pale woman standing there could be anywhere between 24 and 49. Long black hair, lank and unwashed, falls down to her waist. Dark circles highlighting grey eyes. Faded blue pajama pants, no socks, a Frazetta pastiche t-shirt where an eight-breasted, phallus-tailed monstrosity holds a uselessly branched sword towards the unreadable broken-stick-and-burn-scar name above its head.

“What.” It’s a command, not a question. Delfino swallows, and says what he was trained to say.

“Excuse me, ma’am, would you be able to spare a moment for our Lord and Savior Jesus Christ?”

Asset FENNEC gives him a joyless smile of crooked, nicotine-yellow teeth.

“You can try, but I take my eucharist tartar.” Her voice is bad whiskey, each syllable weighed down with vocal fry and rolling waves of gothic apathy. An intrusive memory mutters in Delfino’s head:

 Azarath, metrion, zinthos…

The woman’s eyes linger on Wallace’s corpse for a moment.

“Sure hope you’ve got something to pay with this time, I’m done taking credit from you fuckos.”

Delfino digs in his pocket and removes two small copper coins, their faces worn down to indistinguishable nubs. These he offers to the woman in an open palm: she plucks them out of his hand, gives them a sniff, and nods in slight approval. 

“Aw, you’re learning. Ain’t that cute.”

“Plus the body,” Delfino says, though he wishes he could say anything else. Fewer loose ends this way. An unsolved missing persons report is less trouble, on the whole. They’ll do a brief search, find some planted evidence, and conclude that he wandered off and committed suicide somewhere he couldn’t be found.

The woman nods.

“Bring it round back, I’ll meet you at the garage.”

She shuts the door, and there’s the rattle of chain and the shunk of the deadbolt falling back into place.

**


Fennec sticks the two aes of  Zul-Bha-Sair into the pocket of her bathrobe and shuffles back through the dark house. She pokes her head into the living room where BB, washed in silvery-blue light from the glowing TV, takes up most of the sagging couch. A half-built Unit-00 model lies in pieces on a standing tray. Fennec leans over the couch arm and gives him a kiss on the cheek, and wants nothing more in that moment than to say fuck the Arrangement and return to her couch and cuddle up next to her man and let the green triangle idiots shoot themselves in the balls like they always do. But the Arrangement is the Arrangement, and it is bound with greater ties than words and paper.

“Pause it for me, love. Shitshow to deal with.”

BB grabs the remote, and Paul Hollywood’s face freezes mid-sentence.

“What do they want?”

“The usual. Begging for help as soon as they need to get some dead asshole’s passwords. So much for knowledge is death.”

BB throws up his hands in mock despair.

“Help, help, I can’t look at a fucking book without going craaaaaAAAAAAzy.”

Fennec mock-swoons like a Harlequin cover heroine.

“My god, I'm all the way up to my ankles in the black seas of infinity; guess I’ll just die.”

“How dare those nasty nasty fish men exist; they’re almost as bad as the Welsh!”

Fennec snrks, shakes her head, fishes a joint out of her breast pocket. “Yog, what a fuckin’ joke.” 

BB wordlessly hands her a lighter.

“Want me to keep an eye on them?”

“Yeah. Just one tonight, doesn’t look stupid enough to cause trouble but better safe.” 

BB nods, and then waves a hand at the TV. The lighter click-click-clicks behind his words.

“Can you believe this guy?” 

Fennec takes a long drag and blows a cloud through her pursed lips.

“Right? Who wants a fucking ganache for a s’more? Is nothing sacred?”

**


In the kitchen cupboard to the left of the sink, a spider passes by two inexpertly-spun ceramic mugs belonging to DOPEY SHITHEAD and FUCKASS THUNDERCUNT.

**


The garage door rattles up; Fennec looks no more amused than before, despite the joint now dangling from her lip. She waves a hand at a work table covered in a blue plastic tarp.

Delfino lays Wallace out on the table. Three hours ago, he was complaining about his sciatic nerve and munching his way through a bag of banana chips. Now he’s just empty lungs.

Fennec paces around the body, prodding at it occasionally with a finger (nails painted black, goetic sigils in silver; Paimon, Astaroth, Stolas, Decarabia, Buer) then leaning in for a sniff.

“Egh. Lipitor always gives me the shits. What do you want and how far back?”

Delfino weighs his words like a Scrooge & Marley balance sheet.

“The last fifteen minutes,” he says at last. “Everything after he went into the barn. We need to know what he saw, what was in the book, and what killed him.”

Fennec narrows her eyes, and the hint of a smirk crosses her lips.

“Oh, you really fucked this one, didn’t you?”

Delfino doesn’t take the bait. Grenadine says nothing.

“We need to know.”

Seemingly satisfied, Fennec pulls a switchblade from her bathrobe pocket and starts cutting open Wallace’s shirt along the seams. She flicks her eyes up at Delfino.

“Watching costs extra. If that’s your bag, I've got a cousin out in Ann Arbor who gets real slutty with it.” She jerks her head towards the garage door. “Wait out there. I’ll get you when I’m done.”

**


On the wall in the den, a framed photograph depicts a skinny woman in an enormous sunhat and a very fat man in a Hawaiian shirt standing po-faced and rigid in their best American Gothic in front of the Salem Museum of Witchcraft.

**


Delfino wanders off a few steps and waits, his flashlight illuminating a circle of grassy driveway at his feet. A thousand generations of homo erectus tense their shoulders in the shadows of his mind.

There are noises from the garage: smacks, gurgles, slurps, wet coughs, sharp cracks, crunching and grinding and gulping. Delfino imagines a pair of speakers propped up on top of the garbage, playing a recording; Fennec just stands there, pulling on her joint with self-satisfied smugness. Wallace is simply gone from Delfino’s vision, vanished from the table by trap door or some similar stage magic contraption. That’s all.

The bushes rustle nearby. Delfino catches a pungent whiff of pond-scum and fish-rot, jerks his flashlight up and on to catch a glimpse of something large and bluish and shimmering through the underbrush; an enormous silvery eye contracts its pupil and blinks its nictitating membrane before Delfino instinctively dips the flashlight back to his feet.

“You planning on being a Keystone Cop tonight?” The voice from the dark brush is deep and slightly slurred, as if spoken through novocaine.

Delfino has enough wherewithal to answer “No, not tonight.”

“Then we don’t have a problem. Pretend I’m not here.”

There’s no more voice and no more rustling; just Delfino desperately trying to not think about the pink elephant crouched less than twenty feet away.

**

By-The-Blood-of-Our-Most-Precious-Savior Brown was fourteen when his father was hung as a witch. By that point BB had already buried three of his step-siblings and he had no tears left to shed, though his father deserved none of them in any case: For-the-Glory-of-God-Alone Brown was the sort of a man who only needed an excuse.

For the next twenty years BB lingered in the decaying cabin, living off of what remained of the family fortune and what odd jobs a reclusive man of letters might find. The sickness that had gripped him since childhood progressed unimpeded: his hair fell out, his body bloated to thrice the size of a normal man, his skin grew pale and blueish, his eyes bulged in their sockets.

Shortly after turning 35, he received an unexpected caller. A woman with an isopod tongue claiming to be a cousin from his mother’s side of the family, carrying an invitation. It would all make sense in a few days more, as soon as they reached Y’ha-nthlei.

**


The memories of Agent Wallace swirl around Fennec’s inner eye. Mostly garbage: eat enough brains and the scope of human experience turns into a muddy brown slush even before factoring in screen time. She flushes out the childhood traumas, parents’ divorce, FBI academy, social security number, middle-class ennui, passwords, code phrases and clandestine meetings and brushes with the supposedly unnatural. The green triangle folks - whatever the hell they were calling themselves nowadays - kept plenty of secrets. Their half of the Arrangement held provisions for brutal retaliatory violence should any of those secrets be breached, but in nearly 50 years Fennec hadn’t seen anything worth sharing. It’d be like spilling the beans on a 1st-grader’s hide-and-seek spot.

Fennec winnows down the record of a man’s life to the last fifteen minutes, holding onto the briefest whiff on context. Something about a crooked man with a crooked book using a bit of crooked religion in the new old-fashioned way  to collect a crooked harem blah blah blah dark triad banalities. Fucking wizards. Hand a wizard the barest scrap of actual power and the creativity just vacates his skull. Treasure hunting or sex crimes, no other options.

Wallace-Fennec throws open the barn door, bringing their gun up to aim at a haggard, grey-haired man in dirty underwear with age-crinkled tattoos spattering his arms and neck. They squeeze the trigger and put three bullets in the target’s center of mass before he can get a single syllable out and he collapses to the dirt floor next to the altar he made of fruit-crates.

Wait Wallace-Fennec thinks. He was talking to something.

Wallace-Fennec whips their head around, checking corners. Six bullets left. Nothing moves. Delfino will have heard the gunshots, he’ll be here soon.

The book is open on the altar, the pages a snarl of asemic pseudoglyphs layered like a magic-eye puzzle. Wallace's gaze flits to the page and Fennec doesn’t recognize its contents at first glance. Something clicks in Wallace's head and he sees it, and Fennec sees it too.

She sees [JABBERWOCKY] hanging in the air above the altar, [AND THE MOME RATHS OUTGRABE], and her brain attempts to identify [THE JAWS THAT BITE, THE CLAWS THAT CATCH] through process of negation but before it can go further than the first [IT IS NOT] her reflexive defenses slam the emergency eject button and she violently sprays a chunky bile-brown slurry across the concrete floor. The memory cuts out like a yanked power cord and is devoured by a suicide-rush of specialized phagocytes.

**


Fennec doesn’t remember the name her parents gave her. She doesn’t remember their names, either: she was six when smallpox swept up the valley and her world was obliterated. Memory holds on to the faceless shapes of parents, friends, all her extended family, the village and its neighbors - all gone because of 186 kilobase pairs of DNA.

Maybe she could have made it to a village on the other side of the mountain. Maybe she could have lived for a while off of what she knew about good plants and bad; maybe she could have. But she was six years old and everyone she had ever known was dead, and the terrified thoughts clutching her numbed heart told her that she was sick, too.

She stayed in the village, too scared to leave and not knowing what to do even if she could. She scared off wild animals from the bodies for as long as she could: shouting, throwing stones, waving a stick around. Days passed. She didn’t get sick.

She got very, very hungry.

**


The garage door rattles up, gravel crunches underfoot.

“The fuck did you do? What the fuck?”

Delfino can’t help a moment of deer in the headlights as Fennec storms out into the driveway. The dimmed red flashlight can’t fully hide the ashen tinge of her face or the blood around her mouth; Delfino’s pattern-seeking brain, oblivious to context, compares it to a toddler’s first spaghetti dinner.

The pink elephant moves behind him. The h. erectus chorus screams RUN, and to their terror Delfino’s feet remain frozen.

“Fuck! Hold it!” she shouts to the form in the undergrowth before turning her eyes back to Delfino. “What the fuck were you two doing?”

“I don’t know! They just told us he had the book, they never told us what it was!”

“Yog fucking- are they trying to get people killed?”

Delfino makes some gesture between a shrug and throwing his hands up in despair.

“It sure fucking feels like it sometimes. Were you able to get anything?”

“Nothing, not a fucking thing. Did you burn it?”

“Yeah. It’s gone.”

“Good.”

Delfino makes a spur-of-the-moment choice that will have consequences, but not immediate ones.

“They wanted us to bring it in.”

Fennec snorts.

“Of course they did. Of course they fucking did.” She pauses for a beat before making a similarly consequential choice. “Jesus fucking Christ. Never let them tell you it's secrets man was never supposed to know. Bullshit. Knowing about fission isn’t dangerous; trying to build a breeder reactor in your back yard is, and the world is filled with fuckheads all trying to be Evan Hahn.”

**


The Arrangement: Without warning or announcement, one or more human bodies will be delivered. Information stored within their protein-based processing cores will require extraction and transmission, as dictated; the remainder will require disposal. Payment will be rendered on delivery. Secrecy will be maintained. Violations will be met with lethal force.

**


The car pulls out of the driveway and its engine fades down the road. BB emerges from the brush, his size reduced from hippopotamus to human once more.

“You alright?” he asks.

Fennec takes a deep breath and combs her memories: there’s a sharp, instantaneous cut between cracking Wallace’s skull open between her teeth and standing, hunched over and gasping and tear-blinded, bracing against the table with a splatter of vomit on the floor.

“Yeah. It’s out. Universe heard us talking shit and decided to knock me down a few pegs.”

BB shakes a fist at the dark sky and hisses. 

“Zeusss…” 

That gets a weak laugh out of her, followed by a twinge of stomach pain and a hand pressed to her side.

“Ow. How dare I be punished for my excellence in hubris.”

“Second only to your mastery in humility.” The brief humor drains out of BB’s face “Should we put out a notice?”

Fennec nods, wipes her mouth on the back of her hand.

“Yeah. Not fucking up twice on this one.”

“Mm. You go let everyone know, I’ll clean up the mess.”

“Do we have room in the freezer?”

“If I thaw out the salmon my cousin sent us, yeah.”

“Good, wrap it up and stick it in there. I’ll figure out what to do with it tomorrow.”

Pre-dawn is upon them by the time they finish up and shuffle to bed. The mystery of the ganache will wait for another night.
 

**

Using Fennec and BB in a Game

  • Fennec & BB provide a solution to a couple problems that agents are liable to run into (needing information from a corpse, trying to get rid of a corpse), so a couple minor inconveniences are built in to avoid them fully negating those stressors:
    • They take payment primarily in the currency of Zothique (or other assorted preternatural-adjacent valuables. Junk from Green Boxes, basically, but it's got to be the special junk.)
    • The Arrangement started in the Cowboy Years, and the Program proper doesn't actually know about them, and neither do the Outlaws. The PCs will find themselves with an Asset that will put a target on their backs if they aren't careful.
    • They'll help as far as the Arrangement dictates and anything beyond that is up to whim.
    • They have friends in low places in case the PCs try to double-cross them.
  • They work better in higher-pulp games, naturally, though you could easily tone them down for something more serious. They're also best for downtime between sessions, since that way you can slow-burn the reveal of who they are and what their deal is, and maybe weave in a shotgun scenario for when you have missing players. 
  • They've been together for 187 years and they've made it work. Lean into that. 
  • The actual origin of the Arrangement still lives in undefined narrative convenience land, because it doesn't really matter. They're the weird NPCs who "help" because it's less of a hassle that way, and because they know they'll be around long after the last green triangle is gone.
  • I actually wrote these two up as part of a "Dan writes a romantasy" post, under the auspices of "I want to write about an extremely stable and healthy long-term romantic relationship where the two leads are, by most human standards, visually repulsive". We didn't get to see much of that side of them in this story, but I still have the old draft so expect more in the future.
  • Why not, here's here's their original descriptions:
Fennec - Ghoul. Professional wizard hunter. Skin pale grey-brown and heavily calloused. Disconcertingly thin. Terrible posture. Hair stringy and long, limited to mane on neck. Large eyes that reflect light like a cat. Enormous Dorito shaped ears. Head somewhere between a jackal, a horse and daeodon, thin-skinned and skullish. Yellow teeth fit for tearing meat and crushing bone. Band T-shirt (Divine Tumor Ultradeath Corpse-Magus 2019 US Tour). Olive cargo shorts. Fluorescent pink-blue Crocs (only footwear wide enough to accommodate her weird cloven feet). Laughs like a strangled hyena. Smells like rotten meat and some unidentifiable oily musk.


By-The-Blood-of-Our-Most-Precious-Savior “BB” “Bubbles” Brown - Deep One hybrid. IT specialist, web developer, open-source enthusiast, veteran Wikipedia editor. Approximately the size and shape of a hippopotamus. Soft cephalopodic body pulses with chromatophores and luminescent dots underneath plates of crustacean armor. Towards the front, where most of the tentacles are, the exoskeleton forms a sort of clamshell hinge surrounding his primary mouth and the remains of his body

Despite being a New England Puritan by birth, BB is not part of the [Dagon-Hydra] clan - his lineage originates with the [Scylla-Cetus] dyad, who were forced out of the territory by Dagon-Hydra in the early 1800s.

Like all Deep Ones, BB is a sequential hermaphrodite - male throughout most of the year, then transitioning to female for the summer mating season (as is typical in an environment with few or no females)


**

These posts are fun, and I've still got several in the tank. The Mythos Kick continues. 

 

 


 

 

Friday, July 3, 2026

A response to Dead Letters' review of Unicorn Meat

"The Unicorn in Captivity" from the Rochefoucould Unicorn Tapestries

Sam Sorensen (plus Misha and Walid) did a review of Unicorn Meat over on the Dead Letters podcast earlier this week and I think it touched on some important points and quite a few bits worthy of response, so I’m breaking the prime directive and writing up a response.

(And just to defuse any worries that any beef is involved here, Sam directly encouraged me to write the response up like this instead of just letting it go as DMs.)

This will, of course, make very little sense if you haven’t read Unicorn Meat or listened to the episode, since I’ll be responding to specific critiques in the latter with stuff from the former. 

**

Re: Bullet Points
Sorry, Sam; you’ll have to pry them from the cold and vicelike grip of my mummified corpse.

Joke aside, I do have a reason for why I gravitate towards that style of information presentation: that’s how I take my notes, and that’s what I convert an adventure into before I run it. Writing the adventure in bullet points saves me from having to translate it into full prose for the book and it saves me from having to translate it out when I want to run it. Practicality and convenience carries the day.

 

Re: UM feels like it never had an outline
It technically did, but only in as much as what chapters came after which. Practically speaking it didn't have an outline, because I generally treat outlines and first drafts as synonymous.


Re: Best adventure ever
Aw shucks, Misha, appreciate it!

 

Re: Formatting and Layout
I've grown rather fond of how rough and ugly UM is, but Dead Letters is correct in calling out the weird placements of things like the page of legends and the list of things that aren’t in the module: those were added to fill space so that each chapter would start with the header and art on the left-hand page. In retrospect I should have just added more stuff to the preceding chapter, but so it goes.

 

Re: The scenario hooks
Those definitely needed more polish, no disagreement there. Depending on your game you could probably run the opening of God’s Teeth as-is and then segue towards the farm.

(Fun fact: I didn’t listen to that AP until a couple years after UM was published) 

 

Re: Information Pacing & Spacing
This is another point where I know that I could definitely have done it cleaner, but I do have a reason for why the book is structured the way it is: I wanted the module to converge on the inevitable from the outside inwards.

Chapter 1 is the outer corona: scenario hooks, timeline, guidance, and White-Eyes; it sets the  stage with the most general and gamey layer of the onion. 

Chapter 2 is an overview of the carvergirls and the tables for generating them. It draws the players in, gives them opportunities to build out their characters and their characters’ connections. What does that memory mean? What did White-Eyes or her Buchas do that made you go “she needs to die”? Does your name mean anything?

The remaining chapters go Farm, Swamp, Factory, Caves. It’s a descent. I wanted the gravitational pull of the factory and the caves below to extend into the text. You can bum around in town or muck through the swamp for a while, but eventually, you need to descend. Bethlehem ain't gonna slouch towards itself.

White-Eyes’ character writeup is 70 pages before she shows up in person because I wanted her to be present in the GM’s mind (and through them, the players) from the beginning.

Re: The Tower’s split description
The Tower gets written up 10 pages after it’s introduced because it’s inaccessible when players first encounter it: you have to force your way into it, and players probably aren't going to do that without exploring the rest of the town. But it’s impossible to explore the town without seeing the tower, so you get the external description first and then the internal one later.

Re: The Dorms not being on the map
Whoever said they’re on the map & just not labeled is correct, that is the case. Same with the factory. A minor hiccup that got lost in the mess of putting it together.

Fun fact: the description I gave Gus was that the maps looks like the shitty coloring page on the back of a children’s menu from a rural diner (I think he did a great job)

Re: None of the named NPCs are are given age grades or have locations listed
Both of these I thought were easy enough to glean from context: as faction leaders and other noteworthies they’re going to be old and experienced enough that no one else has taken the position, so I didn’t feel like it was worth enumerating.

As for locations this critique confuses me; everyone but Pugs and Birdie are opposite their location on the same spread (and Pugs and Birdie next to each other so no location gets in the way).

If I can make something a 2 page spread, it’s gonna be a 2 page spread.


Re: Termagant Street Dumpling Company
Not a Warhammer reference, actually: I was referencing the thing the tyranid unit is named after, which is the vaguely-defined entity dreamt up for The Song of Roland as a “pagan god” worshiped by Muslims (Baphomet is actually the same deal); less than ideal as a street name in that light, but streets can get named after all sorts of things.

If people don’t recognize it, it’s just a cromulent word; if people do recognize it, if they’re a freakazoid like me maybe they’ll think “huh, I wonder if this street was unflatteringly named after the people who lived here? And why’s there a dumpling company there now?” There can be, if one wants, an entire implied little history of an ethnic neighborhood in some corner of the Commonwealth extrapolated from a logo on a shirt.

I do think it’s odd that this was the reference that got time devoted to it, when you can get a 666 HOT SOUP tattoo from Stitches; if I was going to make a Warhammer reference it’d probably be something about enemies hiding in metal boxes (The cowards! The fools!!).


Re: Disconnect between art and textual descriptions

The discrepancy is there, but it's there because I wasn’t terribly fussed about exacting accuracy: I gave Rowan a loose description for each piece and left the rest in his hands, because I knew he’d get the vibes right.



Re: The Machine 
The physical description of the machine itself is obtuse, but the hosts treat it like the passage to the caves isn’t signposted at all and that’s objectively not true:

  • The vibes are especially rancid and given the first bullet point = “yes, this is important”
  • There are footprints leading to one of the hatches =  “someone went inside the Machine”
  • There are no footprints leading out of the Machine = “they didn’t come out of the Machine”
  • There are teeth on the inside of the chamber = “it can probably bite” 
  • There’s fresh blood around the hatch with the footprints =  “whoever went inside did so recently, and they fed the Machine to do it”
  • White-Eyes was previously in the factory and is no longer there = “White-Eyes is the one who went into the Machine.”

If all those signposts still aren’t enough, there are four Buchas in the back who worked on the killing floor (that’s why they’re the Buchas, after all) who can tell the PCs whatever clue they’re not picking up (ex: Bucha 1: “I saw it take Scrungle’s arm off last summer.” Bucha 2: “Yeah because she reached in to grab her bracelet when it was still hungry.”)

Not to mention that the players, if they’re carvergirls could just ask the GM “what do I know about the Machine?”

Also, Sam describes entering the Machine as if losing a limb is a guarantee. Quote the book:

“Entering a chamber without damaging the flesh within first (via fire, tanning fluid, cleaning supplies, etc.) or providing a sizable meal (6 units of meat or a person) triggers a chewing reflex. Save vs DEX to escape with a mangled limb or die.”

I should have added some kind of sound effect to indicate hungry vs satiated states, but the rest is a straightforward trap. Don’t go into the giant mouth without fucking it up first.

 

Re: The swamp
Yeah, probably should have added something about being able to find a guide to a specific location, but that’s not a particularly difficult thing to implement in the moment.



Re: The load bearing clue (and a lot else) is something players can miss

Unicorn Meat is designed around not having a full picture and not being able to get everything. All the locks have a key and some clues out there in the world, but they’re not going to be handed out to the players willy-nilly. Happenstance and random chance can and will drastically shift how a run through it will shake out, and yes, it is on the GM to go “all right, they’re hanging out around the Big House a lot, I’ll give them a nudge towards the kirin-horn sword via Birdie” or “well, Noodle doesn’t have a clue written down for this part, but I’ll give them one anyway. I can’t plot and prep for every single possibility; what I can do is spread the clues out enough that the players will find at least one of them, or be in circumstances where they can be directed towards one.

 

Re: The Noodle doll should be given to the players earlier
Yeah, it would be cool to do as suggested and hand it off early and give each location and character a description. This is also an extremely easy fix: if you think it should go earlier, put it earlier.



Re: Random things that have no payoff
The random details with no payoff are there because that’s how reality works and that’s how stories I like work: Bilbo finds a talking wallet in a troll’s pocket. Jonas tells Severian a story about magic beans that he never gets to finish. Ripley hails Antarctic Traffic Control. There was an age before the Elden Ring. SCP-173 was moved to Site-19 in 1993. Luke Skywalker asks “You fought in the Clone Wars?”.

The page of legends is another interstitial buffer page in the wrong place, but it is what it says on the tin: they’re stories carvers tell each other. If the reader wants to make them deliver a payoff they’re free to do so, or they can ignore them, or they can just enjoy thinking about them for a minute or two. The part of Unicorn Meat that needs to deliver is White-Eyes’ story and the carver’s ultimate fate.

One of the hosts says “Don’t tantalize me with good ideas” - if I don’t give the reader stuff to inspire them to engage with their own imagination beyond what I’ve written, I consider that a failure. It is my job to tantalize with good ideas.

Now in fairness to the critique, there are a good number of things that weren’t connected as well as they should have been: the Nightwatch Tree, several of the swamp special locations, some of the signposts for things like the Kirin-horn sword and the like. That all needed a second pass for better connectivity.



Re: Worthwhile additions of things not featured in this module
Page 66 really got the hosts’ collective goat, in a way that I thought was both kind of inexplicable in general and inexplicably venomous. The placement is wonky (it’s one of those buffer pages padding for left hand chapter starts) no pushback from me on that part, but the level of offense they take to it is weird. And I, in principle, agree with them on the point of “games that introduce things that could be interesting and then do nothing with them are lame”

The criticism that the cool ideas on the list would make the module better if they were meaningfully included, that’s fair; several of them could have easily been added without bloating and could have replaced or buffed up lackluster elements that did make it in. But the stuff on that page isn’t in the module because it isn’t in the module, and I said so right in the header. I wasn’t leading anyone on by promising something and not delivering. Nothing on that page existed in my version of Unicorn Meat at the time I was writing it - maybe it should have, but it wasn’t - but everything listed there could exist in someone else’s version of Unicorn Meat and maybe they didn’t know it until they got a push in that direction. 

Eclipse Phase is my go-to example for the principle Sam is getting at: there are multiple major parts of EP’s setting (the Factors, the Iktomi, the ETI being the 3 most prominent) that are set up as major mysteries that matter a whole lot to the setting as the whole, but are given 0 material or meaningful answers. You could cut them and lose nothing but an annoyance. It’s worse even than Call of Cthulhu’s handwavy and vague monster writeups. 

The difference between EP and Unicorn Meat, though, is that I explicitly don’t try to pin anything in the adventure to the stuff on page 66. It doesn’t exist in the module as-written. It's all non-canon… but I also think canon is a suggestion that doesn’t go any further than what’s on the page. If someone says “man it’d be cool if like, Rochefoucauld was selling unicorn meat to the moon beasts, what if a galleon of Leng shows up at the end”, I say “Fuck yeah that’s cool! You should do that!”

That doesn’t mean I’m going to include Leng-men showing up in a flying boat as part of the adventure, even if I might use it at the table when I run it. That’s not really that onerous of an edit to make, and it’s a fair sight easier to throw in some unexplained lights in the sky when the PCs get to sleep, or to replace an encounter with Brother Bones and imply that he’s Satan. 

All this is just a really good display of a fundamental disconnect between how Sam and I play and conceive of games, and something that I think needs addressed with how Dead Letters approaches critique. I’m going to call it Gundam Style vs Lego Style.

Gundam Style = You have your model, you have your directions, and while there’s some room to modify the model there are pretty firm limits to what you can do unless you really want to roll up your sleeves and get deep into kitbashing. You’re going to end up with something cool, but it is by and large going to be what the maker intended.

Lego Style = You have your model, you have your directions, and you are beholden to neither. You can dump all those pieces in a big old bin, toss out the booklet, and just throw stuff together according to your own foppery and whim. You’re going to end up with something cool, but even if you follow the directions at first eventually you’re going to make something that the creator didn’t intend, and they wanted you to do that. 
Now, I’m not going to try and persuade Sam that Lego Style is better, because I don’t think either of them is. He’s entitled to his own artistic preferences, and I like a nice Gundam from time to time. But I am going to say that when the other hosts asked “Are we hypocrites?”, my answer is “yeah, you kinda are.”

This is fine. Everyone’s a hypocrite about something, usually several things, I’m no exception there. A little hypocrisy about things that don’t matter is part and parcel for the human experience. The hosts have strong opinions about design and they’re “advocating for a certain way of doing things”, and I certainly have the same; but that can reach a point where it’s no longer productive and flips over into bad faith, and I think this section of the review hit that point. 

It’d be silly to criticize Jackson Pollock for not being photorealistic, in the same way that it’d be silly to criticize a toddler for not being Jackson Pollock. Criteria by which art is judged are situation-dependent, and the critic has to be able to give some amount of leeway to that. I might get frustrated by all the worldbuilding gaffes and iffy relationship dynamics and very narrow view of what fantasy can be in the romantasy books my partner reads, and I can drum up convincing arguments for why those things are bad, but I gotta step back and go “well, I don’t like it, but it’s also not operating in a space where my complaints are fully relevant”. Because if I don’t step back and let it be on its own terms, I’m just being an insufferable jackass and my partner has been entirely in the right to call me out on that when it happens.

One of the first things I say in Unicorn Meat is:

“Change or remove whatever you need to in order for people to be comfortable at the table and enjoy their time playing.” 

That doesn’t stop just with the content warning, that applies to everything. If the reader doesn’t like something, I want them to change it. If they want to add something that’s not there, I want them to add it. If they don’t care about this that or the other thing, I want them to ignore it. I don’t give a shit about how it’s played; the fact that it’s played at all and people are having a good time is enough. I brought my toys to the sandbox for other people to play with and I wouldn’t be here blogging if I hadn’t found a community of people who just made shit up for games and didn’t worry over making everything fit perfectly. 

So I think Dead Letters lasering in on this single page as Unicorn Meat’s greatest sin is aimed, in the name of “advocating for a certain way of doing things”, directly towards insufferable jackass territory. The hosts went and stuck to their criteria in a situation where it was less relevant or even not relevant at all, and calling Lego Style deficient because it’s not Gundam Style isn’t useful critique. It’s just dogmatism, and it makes the show really hard to get through: I don’t think I’m going to listen to another episode, independent of the hosts’ opinions of UM. The value of the critique - which was quite high when it was pointing out the problems with UM compared to other Lego style works - was only worth the cost of the rest of the experience because I had skin in the game. I don't really want to listen to them tear into someone else's work.



Re: “It’s like Appendix N but worse”
The list on page 66 is not a curated list of inspirational material, so it's not really an Appendix N; secondly, this statement completely misses the purpose of Appendix N. It’s not homework. Running and enjoying a game without being intimately familiar with its inspirational antecedents is the default experience. Providing a curated list is an option available to readers if they want a glimpse into the headspace that made the sausage.

(I don’t know, would Sam also take issue with the existence of Appendix M-DAN?)

Prime example, I’m fairly certain none of the Dead Letters guys have played LISA the Painful/Joyful, because someone would have brought it up given that it’s the ur-text for Unicorn Meat and the module wouldn’t exist without it. That 666 HOT SOUP tattoo is a reference to a song that plays when you’re fighting a guy named “Gary the Hot Soup” and that part doesn’t matter; the chaotic-manic aggressively grating off-kilter fuckery elicited by the song is what matters, but it only matters in as much as “this is what Dan had going through his head when he was writing the book.” And this post for that matter.

(Honestly, I should dig up that UM playlist I wrote up a while back and never finished.)

(The final confrontation with White-Eyes, in my head, gets you the one-two whammy of “The End is Nigh” and a specific remix of “All American Badass”.) 



Re: Caves and traversal time

The caves are supposed to be flux space (“Progress is slow: 1d4 hours moving between points”), the room writeups are the sections worth noting. Should have been more clear on that.



Re: Stitches and White-Eyes’ relationship
Yep, gay. The main clue is for eagle-eyed players to catch that there are sci-fi paperbacks in the med hut and White-Eyes’ room, but nowhere else on the farm. Players with a decent eye for such things can also be able pick it up from Stitches’ appearance in the final confrontation (White-Eyes and Stitches being the carvers alienated furthest from the rest of the farm; putting them together when they’ve been isolated otherwise should trip some bells), but if the players don’t pick up on that they’ll at least be able to figure out that they’re collaborators. 



Re: Theotokos
Sam calls this an obsession of mine, which I think is unfair. One blogpost and an adventure module is a preoccupation: it’s what I’m about to write that upgrades it to obsession.

Herod the Great dies in 4 BC., splitting the kingdom of Judea into the Herodian Tetrarchy. Taking advantage of the upheaval, a bandit named Judas son of Ezekias raids the town of Sepphoris, making off with loot and weapons from its treasury and garrison and kicking off one of the endless little brushfire rebellions of the time and place. He’s a thorn in the Tetrarchy’s side until 6 AD, when Herod Archelaus is expelled from power and the Tetrachy’s territory is converted into the Roman province of Judea, now under the jurisdiction of the newly-appointed legate of Syria, Publius Sulpicius Quirinius.

Quirinius orders a census, as one does when there are taxes to collect. Judas and his men continue their banditry/revolt with renewed vigor, striking again at Sepphoris and the surrounding countryside. Quirinius sends troops to stamp out the revolt, and they do so. First death, then taxes: the Roman way.

For purposes of narrative pacing, this is the part where I mention that Judas son of Ezekias is better known to history as Judas of Galilee. Sepphoris sits less than 4 miles from Nazareth, and in at least a few apocryphal traditions it’s considered the birthplace and hometown of Mary.

You can see where I’m going with this.

To make it abundantly clear, I’m not planting my flag on this particular hill because I want to pull a Behold the Man. The reverse of that, actually. If Jesus’ biological father was a Roman soldier (or one of Judas’ bandits) - whether by direct violence, coercion, or Mary acting in self-preservation - think about what that means for the rest of the narrative.  If Jesus was sired by assault, what does that say about Mary and Joseph? Strip out all the miracles and reduce it to if > then: Mary didn’t seek out an abortion. Joseph didn’t divorce her and raised the child as his own. Jesus ended up a wandering apocalyptic preacher, yes, but one whose ethical teachings are preoccupied with the treatment of the poor and marginalized.

And if you’re me, someone who grew up Catholic (not tradcath, but definitely above-average cath levels) and left because (among many other things) the only thing the Catholic Church loves more than Mary is denying that she was a human being who lived and existed within time and space (let the woman buy a jar of wine and have a nice night in with her husband, for fuck’s sake), this radical restructuring of a foundational text into something that subverts two millennia of accumulated dogmatic bullshit and is extremely relevant to the current social climate and is relevant to my own lived experience (as I’ve said before, I spent six months living in the woods where the bulk of my human contact was with a dozen or so sex offenders every work day)... that’s the sort of thing that easily becomes a creative axis mundi. Strip out all the miracles and all the dogma and remove God from the equation and you are still left with a story that has happened to real people somewhere in time and space. If not these particular people, it has happened to others. Making a myth of it, and returning to that well over and over again to explore the questions it offers, is a way for me to square what it means to exist in a world where this shit happens. Rome comes with death and then with taxes, and we’ve been trapped in that world since we began. Gods don’t exist, and that’s what makes them useful: They give faces and names to the things that have none, playing out a story we can use as a mirror to the world.

Anyway, bringing it all back around to Unicorn Meat: White-Eyes is 100% using her son as an instrument of her revenge, but she still loves him. The PCs arrive at the Bottom of the Pit just in time to see her holding him, drawing out the moment because it will be the last and only time she will ever be able to. That’s why there’s the time-displacement effect there: it’s a contrivance so that the PCs will always arrive just at the critical moment. Her assaulter is never named, and appears only as a skull at the bottom of a chamberpot: he gets what he’s owed, and he doesn’t matter in this equation.

(Also you should watch Justin Sledge's video on this topic, he does a much better job than I at laying out the context.)



Re: Disappointment that the bottomless pit has a bottom

Quote the description of the Bottom of the Pit:

“An awe-inspiring Brobdignagian form stirs underneath, obscured by placental tissue.”

Whenever you think you’re at the bottom of the barrel, there’s always another barrel just below it.



Re: The Theocarnequs
Reverse-EVA was not intended (or at least, I don’t remember intending it), but it is on-point and a generally accurate description. If Shinji had been marinating in a cocktail of unicorn blood for months as the preliminary spiritual refinement needed for apotheosis.



Re: Dark Unicorn Trinitarianism 
Can’t remember if it was intentional or not, but it’s certainly applicable. 



Re: No lore for the Beast Below
With the space I had available, there’s nothing I could have written that would have added any value. It is very old, very powerful, very far away, and very bad news. Anything further would be overdoing it. That may indeed be a cliche, but I’d rather evoke that cliche than the dreaded sin of Lovecraft pastriches and overdo it while still saying nothing.

 

Re: “It’s almost cool but it isn’t actually. It’s gesturing towards such cool ideas but, like, does not actually connect them”


I kid, I kid. But I really do talk with my hands a lot, my friends poke fun of me for it.

I don’t connect the elements explicitly in many place, because I think implicit connections are fun. That's part of the game of me. I’ve written how many thousands of words of unhinged Elden Ring theoryposting? Valeria called UM “VaatiVidya bait” and that's the one of the best compliments I’ve ever gotten about anything.  I like giving readers that moment of “holy shit is this evil unicorn trinitarianism!?”, because even if it isn’t, I at least got them engaged.



Re: The Finale

Sam’s critique of the finale glosses over a critical part of the encounter: the first thing White-Eyes does is give the PCs the option to just turn around and leave. It’s meant to be a choice players struggle through. If I’ve done my job right, it should be something that the PCs (or better yet, the players) have to struggle through. By the end of the adventure they should have seen and experienced enough horrors that they’ll at least consider taking White-Eyes’ offer and letting the world burn.

(I remember getting tagged by a woman on Twitter (can’t remember her name or dig up the post, now, apologies) who said that her players were divided so strongly on this point that they actually argued it out at the table.)


In its unmodified form, there’s nothing remotely close to a happy ending in Unicorn Meat unless the players manage to dumb-luck their way into finding one specific chunk of rock in the swamp and get it to the right person. That’s the point I’ve been hammering home the entire module: there is nothing good at Sunny Smiles Unicorn Farm. 

But by that same token, if someone wants to change that ending I encourage them to do it: friend of the blog Michael Kennedy was one of my playtest DMs, and he included an entire subsection of the adventure where the PCs went into White-Eyes’ subconscious dreamscape and were able to get Stitches to break through to her that way. It fit in with the tone and vibe of that campaign better than the ending I wrote in the module, and that’s cool!

**

And there we have it. I still technically have twenty-some minutes left in the episode, but like I said up above it's gotten pretty hard to listen to and the returns have diminished. I think the hosts made a lot of good points about nuts and bolts (stuff that will definitely make it in to future adventures should I ever write another), but fell off sharply when they moved beyond that. Still, I'm glad they did the episode and hope the show does well. No harm no foul.

 

Update: Sam left a response to the response over on bluesky, in case you want to read that as well

Saturday, June 27, 2026

Quick, where's this NPC from?

This started as list of replacement mission control nationalities for 60 Years in Space, which is why the distribution is uneven. Roll 1d6, then again as directed.

1
Atlantis

2
Carcosa

3 (1d6)
1-2: Mu
3-4: Thuria
5: K!n-Yan
6: Tsan-Chan

4 (1d6)
1: Y’ha-nthlei
2: Atvatabar
3: Pegana
4: R’lyeh
5: Barsoom
6: Pnakotus

5 (2d6)
2: Caspak
3: Satanazes
4: Opar
5: Averoigne
6: Xebico
7: Zothique
8: Dylath-leen
9: Oriab
10: Oz
11: Tsalal
12: Kadath

6 (3d6)
3: Sannikov Land
4: Xuchotl
5: Ulthar
6: al-Waqwaq
7: Onigashima
8: Lyonesse
9: Laputa
10: Celephais
11: Erewhon
12: Kitezh
13: Brob Ding Nag
14: Libertalia
15: Ooth-Nargai
16: KwaKukuana
17: Patusan
18: Leng

Saturday, June 13, 2026

Language Dungeon Spitballing

I've had an idea floating around in my head for a puzzlebox dungeon (system and setting indeterminate) centered on decipherment of the dungeon-builder’s language, Chants of Sennar or Heaven’s Vault style. Pulled off right, it could be a really fun diegetic challenge for players; pulled off wrong, it’ll be a tedious pain in the ass. This post is me thinking aloud and seeing what sticks.


Need: Complementary Components  

The concept would naturally attract language enthusiasts, but I don’t want to limit the focus so that they’re the only people who would enjoy it - for that, I could just make a wickedly hard decipherment puzzle. Things like pronunciation and spelling would also need taken into account: it’s no fun for anyone if the DM is constantly stumbling over describing the puzzle.

Ideally, the language-puzzle should exist side-by-side with the dungeoncrawl without overwhelming it, serving as another tool players can use to navigate the environment and the hazards therein. 


Need: Onboarding Clues / Trailheads

Throwing players directly into the deep end with no leads would be a bad move if the goal is engagement, but I also don’t want to give them a complete key to the puzzle from the beginning.

 

Trailhead Option: Give players a document written by a known party.

Epitaph did this nicely by giving players the one Roman source mentioning this people has a few root words and the names of two kings, and that worked pretty well for that game. You just need to give the players some context clues so they can identify the dignitary or god or what have you:  if you had a king named “Ran the Tiger” and then there’s a statue of some imperious looking guy with a tiger pelt, you can make some guesses about which words on the inscription are what if you have “here’s how Ran is spelled in the ruin script” or another king nearby to compare inscriptions to (could get titles or numbers from that).


Trailhead Option: The script is still used in the modern day 

This would entail giving the players the key to the known version of the script (or just using the Latin alphabet) as one of the opening clues. Some of the symbols would be used for the same sounds, while others would be repurposed, left out, or used in nonstandard ways.


Trailhead Option: The children’s book

Hand someone a copy of One Fish, Two Fish, Red Fish, Blue Fish in a language they know nothing about, even if they can’t read the script, and within moments they’ll know five words, where adjectives are placed in relation to their nouns, and maybe even plurals. 

This option requires a bit of finagling for your typical generic vernacular fantasy setting, but it’d work excellently in Mothership or other sci-fi settings; stumbling across the classroom of an abandoned colony would be a treasure-trove in this sort of puzzle-dungeon.

Pulling on that thread a bit…


Trailhead Option: Use players’ existing knowledge as starting point

Making up an original text for the above scenario would be easy enough and a good clue; but you could also hand the players a book titled “Ozad Shungan Hluneitsan” with a little girl, a metal man, a scarecrow, and a lion on the front cover. Players will immediately clock that the words on the cover translate to "The Wonderful Wizard of Oz" and that’d be both a good clue and a way to encourage engagement because it’s something players already know.

Question: Script or no?

Script here meaning anything not the Latin alphabet; nearly all games of this sort involve translating glyphs directly into their semantic equivalents in English. This is a method that works (Heaven’s Vault, Chants of Sennar) but it's a method that bypasses phonetics and most grammar: relying on it is going to typically result in a logographic language, and those tend to have enormous glyph lists (hello, hanzi) to make up for the fact that you can't really just spell out a word as it's pronounced. So that's either a very truncated glyph library, or a load of extra work.

Using a different kind of script drastically decreases the number of symbols but introduces the new step of symbols no longer being directly connected to concepts. But that's not as big of an issue as it could be, because even if you don't know how the symbols are pronounced, Pattern-Seeking Brain will still be able to figure out that this string of glyphs means this or that with the right clues


Real-World Example: Koga's Koffing

So back when I was 8 or 9 or so, I was able to pick up that の meant possession in Japanese despite knowing absolutely nothing about the language, because I had some Japanese Pokemon cards (couldn't tell you how i got them) and when you've got cards you know are "Koga's Koffing", "Koga's Weedle", and "Misty's Starmie", you can process-of-elimination your way through it.

  • The strings of matching kana on the Koga cards must be his name, so the rest of those names must be Koffing and Weedle, respectively.
  • If I port the word order over, Misty and Starmie's names should follow the same pattern.
  • の is a shared element on the cards that isn't part of their names, so the only thing remaining is that it marks possession (or, as I understood it at the time, it's the Japanese version of apostrophe + s). 

**

 All right, I think I've got enough to work with here.

  • Mothership adventure set in abandoned colony previously inhabited by a group that kept to themselves (for whatever reason); colonists have their own language spoken nowhere else.
  • Computer systems are either down (so you can't just google-translate them) or locked behind figuring out passwords, program names, and executable commands.
  • If there are any survivors, they need to be encountered after the main language puzzle is solved. 
  • There's a classroom for the colony children with books printed on-site. Since this is a treasure trove for solving the puzzle, there needs to be some sort of obstacle between the players and getting in that can't just be forced. The reveal that it's a classroom could be really meaningful if the players don't know what's behind the blockage until they get in.
  • Signs, warnings, and maps are easy ways to get some clues and basic words in.
  • Assigning sounds to symbols will need some sort of video or audio component. There could be subtitles on a video, or you could cross-reference the A/V clue with another document (a work schedule, an attendance sheet, etc)
  • This is going to involve a LOT of handouts: these will need to be formatted for home printing & cutting out sections (numbered index cards?)
  • Add a horrible monster and some reason the PCs can't leave until they do something, and you've got a stew going.  

Solid start, I'll keep you posted if it goes anywhere. 

Saturday, May 30, 2026

How I Do It (feat. The Great Lady)

I mentioned at the end of She Sings At the End that I had a half-written essay about how I did it. This is the refurbished version of that essay, merged with a different essay I'd been working on as a follow-up to TLN asking me "How do you do it?" after I posted What Do People Know About the Mythos? Contrary to my usual status quo, I actually have a thought process stable and coherent enough to describe, so describe it I shall. 

This essay is also a sequel and slight update to “The Grand Art”, and as before the steps I list here do not neatly march in order in practice; this is ultimately a post hoc systemization that is meant as an analysis of my own thoughts, rather than a prescription of method.

As a refresher:

  • Text - the work as a whole, situated within the context of its creation and engagement. Star Wars is a Text.
  • Component - (Formerly Idea) Discrete elements of a Text, such as characters, events, places, themes, and other content. Luke Skywalker is a Component.
  • Trait - (Formerly Component) Details that make up a Component, operating as a second layer of  “Disaffected farm boy” is a Trait

Or: Traits are individual lego bricks, components are a lego construct that can be easily moved between sets, and a text is the entire lego set as a whole.

Adaptation entails moving components between texts through alteration of those components and their associated traits; change is inevitable and should be leaned into - the point is making your version. 

Since my breakdown of the Great Lady is quite long, I’m going to stick that in the back half for pacing purposes and just use lightweight examples for Part 1.

 

Part 1: Adaptation via the Grand Art

0. What am I trying to do and why, anyway? 
No need to overthink it. It’s helpful to have an idea of what you want to do with the component you’re translating, but “I want to make my own version of this” is perfectly serviceable to start.

Example: “What’s Luke Skywalker like in a hard-science Star Wars?”


1a. Identify the component’s name,  place, & time 
These traits come first because they provide the historical and social context that supports and shapes everything else in the translation. Not all components will have all three (lack of a name or a specific time being pretty common), and in those cases you’ll have to fill in the blanks with whatever you think is most appropriate. Places and Times are components in their own right, but they don’t need special treatment or a dedicated step.

Example:
  • Name - Luke Skywalker
  • Place - Tatooine
  • Time - Galactic Civil War

1b. Identify other relevant traits.
This list should contain everything else that you think is interesting, relevant, or distinctive about the component. You’re not aiming for completion here, so focus on the immediately available / recognizable traits and don’t get caught up in the weeds. you can always add more or expand what you have later. 

An important note here is that you should include traits you don’t like in this step along with the ones you do: figuring out what to do with those comes later in the process.

Example:
  • Trait: Disaffected youth
  • Trait: Longing for adventure
  • Occupation: Moisture farmer (struggling)
  • Connection: Biggs (friend)
  • Connection: Uncle Owen & Aunt Beru
  • Connection: Anakin Skywalker (father, presumed deceased)
  • Connection: Leia Organa (secret twin sister)


Don’t worry if the component you’re translating doesn’t have much in the way of distinctive features; boring components can still be useful thanks to Points of Interaction.



Sidebar: Points of Interaction
I don’t have a pithy definition for Points of Interaction, but it’s somewhere in the territory of “the conceptual space where traits of a component would naturally / logically interact with other components of the text, regardless of whether or not the interaction is present in the source text.”

There’s a quote from Grant Morrison that illustrates the principle in reverse:

“Kids understand that real crabs don't sing like the ones in The Little Mermaid. But you give an adult fiction, and the adult starts asking really fucking dumb questions like ‘how does Superman fly? How do those eyebeams work? Who pumps the Batmobile's tires?' it's a fucking made-up story, you idiot! Nobody pumps the tires!" 
Now, I understand where Morrison’s coming from here: I’d probably be just as irritated if I had to field questions from comics nerds all the time. But someone is going to eventually need to pump those tires; the error (as we see constantly in big franchises) is in thinking that the pumping the tires by itself is the important part.

The Batmobile is a souped-up hot rod (trait), so naturally it’s going to require pretty extensive maintenance to keep it in fighting shape (POI). But it’s also part of Batman’s secret arsenal (trait) so it can’t be maintained by just anyone (POI); Alfred could do it, but since Bruce built it I could give him a new “Car Guy” trait and that gives him a potential point of interaction with all manner of car guy-related things. What are his other cars like? Who does he buy parts from? Does he have a group of friends he only meets at car shows? Did he ever call in to Car Talk?

Points of Interaction are primarily there to provide texture and flavor, but they will often help influence plot and character dynamics: it’s easy to imagine Bruce and Clark spending a Saturday fixing up Clark’s car, or Batman struggling with the villain of the week because the Batmobile is in the shop for transmission repair.

Anyway, it’s always good to keep potential POIs in the back of your head, just in case they come in handy later.


2.Make the initial adjustments
Alter the name/place/time pyramid from 1a in order to fit the component into the destination text.

I tend to have a lot of fun with this step; since my preferred level of verisimilitude is generally higher than a lot of the material that I like adapting, the process often turns into a puzzle I need to entangle. If I’m translating Conan from the Hyborean Age to real-world history, do I stick him in the Iron Age Pontic Steppe with the real-world Cimmerians, or do I put him in medieval Ireland based on his name? Either one works, but they will result in radically different outcomes later on.
Example: Tatooine is swapped out for Mars (or a Mars analogue), the Galactic Civil War is compressed to just a single solar system. “Skywalker” is used as a bastard’s name and is a calque of an old word for astronaut.


3.  Assess and adapt remaining traits
This is usually going to be the longest stage in the process, but also the one where your vision really comes together. Toss out the stuff you don’t want, focus on what interests you, keep your eyes peeled for fruitful points of interaction.
Example: Luke grew up on Mars but wasn’t born there, so he’s missing a few common gene mods (skin pigmentation for UV protection, enhanced kidneys for water filtration, lungs and heart adapted to low-oxygen environments) and has to make do with workarounds.


4. Add new traits as desired
No real guidance here except “go where the muse takes you”.
Example: 
  • Luke’s reigning celebrity crush is Dejah Thoris.
  • Luke knows a bit of the Sand People trade language.
  • Luke has two somewhat-successful side-gigs: repair work (pays mostly in barter and favors), and selling weed he grows in an old hydroponics unit Uncle Owen trashed a couple years ago (less successful - his cultivar is absolute dogshit)

5. Additional Tips
Strategies and trains of thought I find useful, but which aren’t really suited to getting their own step in the schematic.

  • Start with a big ticket item; make one change at a time; build each change on top of the last.
  • When stumped, think about what would be the most likely case if all else hews to reality.
    • This is useful for filling in blanks, deciding what traits to cut, or generating Points of Interaction.
  • Alternatively, come up with an elaborate logical justification for how the trouble spot could work in the logic of the rest of the world.
  • Make them earn their adjectives
    • Very important when adapting old fiction; give that purple prose a fine-toothed comb and see what’s actually useful as a description. If the description contradicts the actual content, go with the content as your base.
  • If the description is vague, add some specific details with preference to those that provide Points of Interaction.
  • Treat all narrators, including omniscient ones, as unreliable
    • This is one of the most useful cheats out there and absolutely vital for doing any work in Lovecraftiana: act with the assumption that all narrators inherit their author’s biases and adjust components and traits accordingly.
    • You can use this as an excuse to get away with damn near everything.
    • But by that same token, you are not immune to it.
  • Bigotry in the text works like bigotry outside of the text.
    • This is where a lot of Lovecraftiana stumbles, because the authors take the bias inherent in the premise as an accurate description of the world those characters inhabit.
    • It doesn’t matter how many “HPL was a huge racist” notes you put in the beginning of the book if you just repeat the bullshit as-written.
  • In-universe bullshit can still be interesting
    • In-universe bullshit brings with it the complicating factors of “how / why did the bullshit get believed?”,  “what makes it bullshit?”, and “who profits from maintaining the bullshit?” 

Doubtlessly I could cook up more, but for a fast-and-loose guide this is a good place to get started. 


Part 2: How I Made the Great Lady

All right, finally ready to get to the meat of the essay.

0. What am I trying to do and why, anyway? 


“Can I write a better / more nuanced version of the Bloated Woman (ie. “a Mythos scenario with narrative justification for a hedonist cult devoted to an obese goddess in 1920s Shanghai”) while maintaining its core traits?”



1. Identify relevant names / places / times in the source text.

Using Masks of Nyarlathotep as the baseline:

  • Name - The Bloated Woman
  • Place - Shanghai
  • Time - 1925 


1b. Identify other relevant traits.

  • Visual Trait: Obesity
  • Thematic Association: Hunger, Consumption, Predation
  • Thematic Association: Sexuality, Seduction, Paraphilia
  • Trait: Disguised danger
  • Mythos Connection: Hedonist cult
  • Mythos Connection: Deep Ones
  • Mythos Connection: Avatar of Nyarlathotep


2. Make the initial adjustments

Name: The Bloated Woman
“The Bloated Woman” definitely doesn’t sound like something a cult would call their patroness, so I used “the Great Lady” instead and took advantage of the common semantic overlap between “great” and “big”. As a bonus, this also differentiates my interpretation from Masks.

In an older draft of her post I rendered her name as 參宿 的 大 貴 后, which if I did it right would come out as "Great Noble Queen of the Three Stars”. I was able to get a Mandarin pronunciation for it but not a Shanghainese one, and I'd need both to do it properly. (If I borked this, please let me know down in the comments.)

Place: Shanghai
Stick a pin in this.

Time: 1925

Stick a pin in this one too.



3. Assess and adapt remaining traits

Visual Trait: Obesity
To fulfill the challenge I gave myself, this part had to stay.  

I purposefully kept it variable whether or not a given manifestation of the Lady is obese: sometimes the description is explicit, but most of the time I don’t mention it directly and let the audience’s imagination pick up the slack.

I describe her as “enormous” in Tape #5, but I left it at that because the focus of the horror should be the fact that she’s eating people. Then I layered on top of that the discrepancies of her winking directly at the viewer (thus aware she’s being observed), and then running out of the room in a dead sprint complete with cartwheel (with the implication that she's coming after you).

(Importantly, she’s also depicted as eating people in untitled.mp4 and Tape #??, but isn’t explicitly obese in either of those to reinforce the focus on her eating people. Though since those tapes don’t end and she never stops eating, there’s an open space there.)
In Tape #9 I left this aspect as only a brief implication (the heavy footsteps from off-screen), and hung things mostly on the hook of the dichotomy between the corpse pile and the PLEASE STAND BY placard.

Besides those instances, most invocation of her size comes from outside depictions and evocations: the venus figurine, the priestess in the flashback, the figure in the mandala. 


Thematic Association: Hunger, Consumption, Predation
This trait is underplayed in Masks, only really emerging in conjunction with the disguise the Bloated Woman uses to lure in victims. You’d think high pulp would lean into it, but I digress.

Hunger poses an interesting conceptual contradiction: It encompasses greed and gluttony (always hungering for more despite already having more than enough), but also starvation and want (not having enough and never getting it). And you can often have the latter because of the former, which is a source of a lot of “obesity = monstrosity” motifs, so that’s something to keep in mind.
(I originally forgot to add (but have since added) a reference in the original post to a Japanese manifestation of the Lady that’s explicitly emaciated, to play into this further.)
I decided to go for portraying hunger as more of a social ill that the Lady embodies, via all those glimpses of the industrial death machine. I think the closest she gets to dropping “feed me, Seymour” is her interactions with Hill (which themselves remain mostly implied), and in that case she’s either deliberately playing with his attraction to her, or his attraction to her is generating that specific feedback (abyss = mirror, he sees in her things he hates himself for wanting.)



Thematic Association: Sexuality, Seduction, Paraphilia
Per the source:

"Assisted by the Black Fan, the Bloated Woman may seduce men, giving victims unearthly and degenerate pleasure before smothering them in flabby bulk."
Sorry to break it to you, brother; she doesn’t need the fan.

Standard Chaosium laziness on this one: it’s a cheap shot and it’s not doing anything beyond “non-normative sex is gross”. There’s a potential route to emphasize the mind control / “overwhelming divine influence overriding human behavior” route, but that’s a whole ‘nother can of worms and I’m already waist-deep in the bait bucket as it is.
(I’m actually a pretty big fan of the thing DG does sometimes where the unnatural is less cults worshipping gods and more “too close to radioactive materials”, but that’s a very different type of scenario and removes the character from the equation.) 
I already touched on this with Hill’s interactions with her (it’s more overt when I’ve run the scenario he’s from, where checking his hard drive would reveal a pornography stash begun prior to his purchase of the tape), and his narrative position as the self-loathing fetishist ties all the way back to the opening tape.  

That + Tape #12 covers how this trait collides with modernity (I added Hill’s violent misogyny and the environmental cost of AI there (and contrasted it with the generally-positive presentation of the fanart that made a terf quit twitter) so as to not just copy the original’s “ew gross a kink”), but the modern fetish ecosystem didn’t exist in 1925 and Lovecraftiana leans ancient.

Venus figurines are the natural historical link to draw on, but Venus figurines weren’t really a thing in stone-age China - you’re not really likely to find them further south than Anatolia or further east than the Pontic-Caspian Steppe. But gods are famously mobile, so all I needed to do is invent or imply some manner of migration across the continent (more on that in the next section.)
(Part of why I get so much creative mileage out of the Venus of Willendorf et al. is from how time has erased all but the barest hints of artistic intent from the work and left it an ideal projection surface / interpretive space; it could be a religious token, it could be pornography, it could be a self-portrait, it could be a combination of any of those or something else entirely and we’ll never be able to say for certain. If it was based on a real person, would she be skeeved out by having a nude depiction of herself known to people around the world, or would she go “Ha! Still got it!” If it was a depiction of a goddess, what was that goddess like? What were her stories? Were her myths an integral part of the community, or the private fantasies of the sculptor? On and on.)



Trait: Disguised danger
“Surprise! The hot lady was a monster!” is such a tired trope that I’d only really invoke it in the context of something like an evolutionary arms race between the mimic and the societies around it. While the idea of a monster that takes advantage of compulsory heteronormativity as part of its hunting strategy is funny to consider, that’s deep in the weeds and not really relevant for this experiment. Into the bin it goes.


Mythos Connection: Hedonist cult
Stick a pin in this one.


Mythos Connection: Deep Ones

For what possible reason? There’s no thematic correlation besides sex, and even then they’re a terrible pick: the K’n-yani are immortal polyamorous hedonists who can manipulate matter with their minds! They’re 110% capable of some Deviantart-tier chicanery wrt human physiology. If you’re going to insist on “non-normative sex is gross” at the very least pick the right minions for the job!

What are we even doing, Chaosium?

(I didn’t come up with the potential K’n-yan connection until writing this revised essay, mostly because I thought that giving the Lady more servants would dilute the narrative impact of the cult. Which is true, but if I want to do a follow-up they’re certainly on the table. Frankly there's overlap there with my long-running ideas re: the drow / lilu. Let it never be said that don't let thoughts ruminate.) 


Mythos Connection: Avatar of Nyarlathotep
I’m a big fan of aspects, avatars, manifestations and "what you're seeing is only a passing glimpse of a greater power", but in a horror story it's risky business to just come out and say "X is an aspect of Y". Especially in the expanded Mythos, which has by and large run most of its baddies into the ground. So I think it's much better to use shared symbols and traits to draw associations between forms and say nothing more of the matter. Let the audience pick up on connections, freeing yourself from sullying the unknowable with a name.

So I used a light hand here: a three-lobed pupil, a glimpse of Azathoth (not named but identifiable), a sardonic jab at how convenient it is to have the Black Pharaoh showing up to cause problems (despite that being mostly what’s happening), and let the rest remain unsaid.


4. Add new traits as desired

Addition - Prehistoric Origin
As something of a reversal of the “Disguised danger” trait, Tapes #20 and #26 lay out the shape of the Great Lady’s past; she was a human priestess from a people who lived somewhere in the north-eastern-ish Caucasus and became what she is now through contact with the unnatural. To heighten the pathos, I added glimpses of that humanity in some of the tapes (most prominently in #10 #12, #?? and #NaN)


Addition - Cross-Continent Migration
I needed a way to move the Lady from the Caucasus to China, and the easiest way to do that was to imply it via the interstitials. The only real criteria I had in choosing the places and times was that they had to be more recent the further east they were, and there had to be a religious tradition I could slip the Lady into to indicate how the people of that time and place interpreted her (this is fairly easy: every major religion either already has or has the space for a demonized sex-haver lady.)

Putting them in reverse chronological order was an easy way to emphasize that the actual destination isn’t Shanghai, but the cave where it all began (and the revelation of the Lady’s tenuous humanity).

(Surprising no one, the PIE in the 3581 BCE interstitial does actually mean stuff. 
  • Kuonikos son of Kuon Ghe => “Little Dog, son of Big Dog”. 
  • Hsulaʕwes => “Good Reward”. Bit of a spoiled son, that guy.
  • “Posti bhebhudhi!” => “Behind (you), be alert!”

"PH'NGLUIXR" is my attempt at Aklo, very simply just means "die" as an imperative.

Bonus gag: The cuneiform book review, if written out phonemically, is rendered “MA-AM DI-IS IS A WE-EN-DI-IS”.)

Addition - Mythos Connection: Tsan-Chan
Shadow Out of Time gives us a year, one scholar’s name, and a vague gesture at the Yellow Peril. That’s a geographic link I can pull on, but also a can of worms. But with 0 actual canon content, I can let 3000 years of sound change do its work, explain “Tsan” as a descendant of “Texan”, and go on ahead with my predominantly American cruel empire. *Waves hand at outside world*

There’s an entire Tsan-Chan post I have cooking, but the short version is that the US tried an invasion of China shortly before Cthulhu woke up and Tsan-Chan is a post-Tulu polity claiming legitimacy from both polities but not actually a direct descendant.

 

Part 3: The Pin 

I didn't just keep saying "hold onto that thought" for shits and giggles - this is the crux of the exercise that makes it all click. Buckle up.

(As I said in the commentary on the main post, a lot of what follows here started in theories I had about Tom Haan from The Magnus Archives, prior to him getting written out of the story.)
My starting place and time is Shanghai in 1925, and anyone with a cursory knowledge of Chinese history can tell you 1925 wasn’t a great time to be in China: the country was in the tail end of the Century of Humiliation, with the Republic struggling with warlord cliques that have kept things in a state of simmering violence since the death of Yuan Shikai and the end of his yearlong empire in 1916. The Nationalists and Chiang Kai-shek's Northern Expedition are three years out. The Qing Dynasty ended with the Xinhai Rebellion and the forced abdication of Puyi in 1912. Multiple treaties have carved up and handed out territory to Russia and Japan. The Boxer Rebellion of 1899-1901 saw eight Western powers invade and then demand exorbitant reparations from a government they weren't officially at war with. All excellent sources of historical context, but I don’t think there’s a strong enough conceptual link to the Lady’s traits: for that, I’m going back a few more decades to the Taiping Rebellion

The Taiping Rebellion took place from 1850-1864, and is the kind of catastrophic mass death that is more or less incomprehensible for human beings to wrap their head around. 20,000,000 casualties over 14 years of violence, famine, and disease is the low estimate. Apocalyptic religious violence ushering in the age of warfare-as-industry fits very nicely with both the endless hunger theme and the fascist future I wanted to hint at with Tsan-Chan, but the actual reason I settled on the Rebellion was because of just how common accounts of cannibalism were during the conflict (common enough that there's a Qing general commenting in his journals about how the price of human flesh has gone up since the last time he saw it). There’s our ticket in.

At the center of the Rebellion was Hong Huoxiu, a man who suffered a major mental break after failing the imperial examinations for the third time, complete with visions of the heavens and accompanying divine revelations. He took the name Hong Xiuquan and declared that he was the younger brother of Jesus Christ, who you might be familiar with that name as the central figure of a major world religion that practices communion with the divine through symbolic cannibalism, and also has some rather strong opinions on sin and some sizable hangups about sex.
(Now, in full fairness to history, the Christian elements of the God Worshiping Society came from Protestant missionaries, not Catholic ones, so I’ll invoke artistic license for thematic purposes and conveniently not specifying what the exact Christian influences were on the leader of the Great Lady Society.)
Xiuquan starts up a band of followers and it spirals out into the formation of the Tianping Heavenly Kingdom and the beginning of a war that kills tens of millions of people. The capital of the Heavenly Kingdom was in Nianjing (Tianjing at the time)...which is about 300 km upriver from Shanghai. Practically next door.

1925 then puts us ~60-75 years after the war, which means that the door is open to a cult leader who lived through the Rebellion. They'd be in their 80s or 90s and potentially pushing 100 if they're still alive, and all together the details that Masks provides for time and place fit perfectly into a historical context that emphasizes the themes I want to focus on.

Let's consider a survivor of the Taiping Rebellion: the inhabitant of one of countless rural villages stricken with famine and caught in the middle of a war zone. This survivor managed to survive extremely dire circumstances through cannibalism. And let's say that they know a little of Christianity through contact with missionaries - they converted and were baptized, but practiced a pretty heterodox vision of it.

This survivor, wracked with trauma and guilt, tries to make sense of the horrors through the means he has available. We can start freely syncretizing and remixing elements: the image of Guanyin, bodhisattva of compassion & goddess of mercy (a figure occasionally syncretized with Miryam of Nazareth); the substitutionary atonement of Christ taking on the sins of mankind; echoes of Celtic sin-eaters; propitiation of the gods through sacrifice of food; cannibalism as conduit to the divine; the insatiable appetite of industrial society; the Christian obsession with sin and guilt. And all of this is filtered through the nihilism that comes from experiencing a total failure of religious belief. It’d be perfectly reasonable for someone who’s survived what he’s survived to come to the conclusion that the world and its people are so irredeemably fucked that achieving enlightenment or acting in alignment with the Dao or being saved by the grace of God has become impossible. There’s no escape anymore. Nirvana is out of reach. No amount of good karma can get you out of this. Jesus isn't coming to save you. Confucian ethics won't do a damn. You are trapped here and then you die, forever. 

But he’s had a spiritual experience that's convinced him that he made some contact with the divine. He brushed against a greater power, he knows that there's something out there behind the world. And with every avenue of escape blocked off and every veil torn away, it's an easy thing to respond to the devouring Power (oh hey there Red Law) with subservience in the hopes that you can benefit from its leftovers and avoid destruction through servitude and sacrifice. And since you’re already fucked, you may as well throw yourself into Slaaneshi excess and eat, drink and be merry into oblivion. Not just for your own pleasures, but because the Great Lady takes on the sins of her followers as sustenance. They're all an offering made in exchange for her favor.

The survivor makes his way down the river to Shanghai in the years following the war, and there you have it - a sufficient-for-game-purposes historical / social justification for why there's a sex cult active in 1920s Shanghai whose central figure is an obese woman. Everything else is gravy.




Friday, May 29, 2026

Slushpile 19

Slushpile Index

Almost enough to do a random table of these.

  1. Qlm Hogii - Random pocket-text and fantastic name for a Star Wars OC
  2. Xeno’s Arrow: near-light speed ramming maneuver
  3. Graffiti: "FREE CUDDLES" - headless squat humanoid, torso dominated by fanged vertical mouth. arms outstretched
  4. God wiping sweat from His brow looking with pride at a whiteboard labeled "companion for Adam" that just has a bunch of crossed out scribbles surrounding a circled and underlined "big-bazonga goth gf" in the center
  5. Gemstones are the crystallized residue of the spirits of the dead that form as they descend into the underworld
  6. You know what would be a really easy way to get celebrated war hero Anakin Skywalker in your pocket? Promise him that once the Separatists are done, the Republic will turn its sights on the Hutts. Offer him the chance to lead the charge that destroys the galactic slave trade. 
  7. Summoning “demons” actually querying uploaded minds stuck in bot-controlled hellscape cyberspace
  8. “There never was a fucking squid. That would be too great a mercy.”
  9. Found inside a corpse: 16 marbles
  10. Found inside a corpse: Sandwich baggie of liao
  11. Found inside a corpse: Bright blue stomach tumor
  12. Seas of anoxic acid
  13. Dream: I go back to my elementary school music classroom, where all my old classmates and teacher are already there practicing the choral parts of Lawrence’s boss theme from Bloodborne. Someone, not sure who, points out the ghost of a nun exiting via the door to outside. She disappears from view for a moment then returns to view and gives us a friendly wave. Short, kinda fat, glasses, round face. Weather is very nice outside, but that also might be part of the apparition, it looked somewhat painted.
  14. The spirits of the dead are angry because they, unlike the living, have both perspective and solidarity. With all divisions stripped away, the dead are keenly aware that history is a millstone grinding down the struggling masses of humanity beneath the endless violent whims of innumerable petty tyrants: of course they’re angry. 
  15. Media that Doesn't Exist: Anime movie about a bunch of convenience store workers plotting and carrying out the murder of the main character’s neighbor 
  16. Using Identify spell to jumpstart germ theory by tagging diseases according to origin.
  17. The cosmos is but a dream of MANA YOOD SUSHAI; at the center of the cosmos is AZATHOTH, the shadow of the dreamer, the roiling subconscious chaos from which the dream is made; walking the countless worlds one finds the Speaker in its million masks, messenger and nightmare.
  18. “You would think either he’d run out of fingers or we’d run out of pies.”
  19. “Most of the world’s suffering, statistically speaking, is generated by a pair of dangling nodules and crippling anxiety regarding them.”
  20. “We could have stopped this. Inevitability would be too great a mercy, and I refuse to believe that the universe would leave a single avenue of human agony unplumbed.”
  21. A rocket bound for Ganymede launches from the South China Sea, carrying six hibernating benthoi, seven thousand fertilized roe, and a shoggoth constructor ganglia.
  22. MoSh idea: nationalized online casinos for tax collection
  23. Solo game about going to an anime convention - deciding where to go, what to do (get # ribbons?) while juggling energy (reduced by going without food or having too much junk or negative encounters or doing too much)
  24. Of all the dead peoples in the universe, the ability to Dream with such clarity is rare. One in millions.
  25. Essay for another time: monsters don’t need HP
  26. Real-world inspiration: the Running Madonna of Sulmona
  27. Alternate Roswell Incident: A downed Soviet spy plane, hastily papered over by the dissemination and subsequent retraction of a story about a crashed flying saucer.
  28. The drug liao, which grants its users visions beyond the time and space that they know, breaks onto the world stage in the late 60s. Then come the Hounds, those things that live in the angles beyond the world, ever-pacing and ever-hungry.
  29. Dream: I am visiting a fancy manor; there’s extremely good pizza and beer, and also one of those not-necessarily run-and-jump-away-from-something sequences. Very floaty jump, moving forward fast but falling slow. First person. Also there’s a woman wearing something like a plastic skin suit of another woman, though I don’t think she was related to any of the above.
  30. Adventuring parties as a combination of seasonal workers / traveling circuses / monster hunters.
  31. Indo-European language with click consonants
  32. Story idea: A pulp author’s litigious estate makes it impossible for the protagonists to get a hold of the book he wrote that describes how to banish the monster.
  33. Thelemic Babalon, except it’s the Red Queen Hypothesis instead of an excuse for Crowley to get laid.
  34. There are a considerable number of predynastic pharaohs known from a single inscription and nothing else.
  35. Idea: Fantasy world with only American wildlife. Pleistocene megafauna is in, of course, we gotta have the sloths.
  36. Endoparasitic echinoderms = facehuggers
  37. If anything is emblematic of Star Trek’s fading relevance, it's the lack of  even a lackluster attempt to capitalize on Big Lady Mania with a Klingon. It’s free real estate, people would go absolutely feral.
  38. Idea: culture where coming of age entails undergoing a pale blue dot moment via astral projection
  39. “March of progress” painting but modern man has turned around and is tearfully embracing his ancestors
  40. Star Trek Hard-Sci Reboot: Vulcans now methane-breathing ice-shelled land squids. Klingons are Alex Ries style alien hippos. Ferengi are collectives of centipedes wearing skin suits that talk like crypto-bros. Centrifugal gravity, delta-V budgets, interspecies cooperation in the death void 
  41. “Everyone fantasizes about being able to stare right into the abyss and say ‘you didn’t win’, but I’ve yet to hear of someone pulling it off.”
  42. Dream: I am reading a Delta Green supplement titled FREENDSHIP, which claims on the back to detail 10 species of alien parasites. There’s a conspiracy web of NPC mugshots, and multiple art pieces of women in burgundy kimonos; they have stone blocks with kanji on them for heads.
  43. Overheard on a walk: “I don’t think you have room for a gazebo.”
  44. “I am a daughter of the bear, a follower of the path of dogs, and servant of the queen of night; why would I fear any blade held by men?”
  45. Paleolithic names: Doqu, Hlunggua, Chirwan, Ngo, Tamo, Tatang, Yavuu
  46. Artificial solar system with black hole + stable red dwarves (or k-stars), with planets arranged in resonant orbits with each other to prevent full total locking. 
  47. Christian rock band thrown out of their music circle with the release of their 18 track death metal power ballad about the harrowing of Hell.
  48. In the hierarchy of harmful spirits, a spirit of hunger is more immediately dangerous than a spirit of gluttony.  
  49. Yithians from opabinia, rather than tullymonstrum 
  50. I like when DG scenarios play into the "people dragged into the orbit of the greater powers and irrevocably changed by it" aspect. 
  51. After the dissolution of the soul into its component parts on death, the shadow is particularly vulnerable to outside influence. Accumulated sin and trauma, in sufficient quantities and unreleased by premortem catharsis, will transform shadows into demons, who then feed on and reproduce via further negative emotions.
  52. “This is an ember of the flame imperishable, stolen from the heavens by the Watchers of old when they saw that mankind was cold and afraid: it is the very last of it on earth.” 
  53. Prospero’s Dream, █509 - The AI mascot of a vat-meat barbecue joint, no matter how many times it is reset, keeps switching to the 'heavyset' appearance preset and flirting with and/or unsettling patrons.
  54. How to identify a Mythos tome as the real deal? Look for how little sense it makes when compared to normal occult traditions; magical circles in a grimoire that works are actually renders of a hypersphere 
     

**


Spam from “Florence”: 

WARNING: DON'T FALL FOR THE ELON MUSK CRYPTO SCAM THAT ALMOST BROKE ME
I'm still reeling from the shock of losing a staggering $64,000 to a fake Tesla investment platform that used realistic deepfake videos of Elon Musk to lure me into a trap….
I don't know, I appreciate the madlibs of an old-school spam comment. This format was around long before genAI and it will endure long past the collapse of the thinking machines.

**


The benthoi clans of the [NESSIE-BESSIE] spawning dyad, reeling from catastrophic defeat in their wars with the [DAGON-HYDRA] and [ABAIA-JUTURNA] kin-groups, can see the writing on the wall. Earth is no longer safe for them; Tulu is stirring in the deeps and they fell out of its worship long, long ago. The least-bad of their options is escape from Earth entirely, but benthoi are not a species or civilization given to space-faring. They will need help…

**

Your people have lived in these mountains since the Great Winter. Alone among all the tribes, you survived when the ice retreated and the herds were no more. You learned of planting and tending from your neighbors among the valley people, and by those teachings you have endured.

But now the age might grow too great to bear. For many years now, each summer has seen the Sky-King’s riders strike closer and closer to your home: now they are at your door.

They wield weapons of bronze, have made the wild horse tame. Where they ride, they slaughter, rape, enslave, bring sickness in their wake. They tear down the sacred places and put the elders to the axe; they kill both god and language, destroying history itself.

The wise folk of your people have gathered together, to see what may be done. Each in turn enters their trance, and one eye in the spirit world each in turn says that there is nothing that may be done. All omens point to death; there will be no escape. To fight will invite slaughter, to flee will merely delay it. The spirits are weakened from the destruction of their holy places; many have handed themselves over, fearful of the riders’ great bloody-handed god.

But the last of the wise says differently, and tells all gathered there of her vision of a great signal fire on a distant peak. Our prayers have reached the land of the gods, she says. They hear us and send their aid. Endure but a little longer, make ready for their arrival.

The elders grumble among themselves and say that she is too young and bull-headed, that she sees what she wishes to see and says what the people wish to hear. She says the same of them, that it is easier to accept death than the pain of hope.

There is no telling who saw the truth until the horsemen come.