Author Archives: deanadelaide

Ticket of Leave #15: The Death Knells, Released!

We’re excited today to be announcing the release of Convicts & Cthulhu Ticket of Leave #15: The Death Knells. This is a release jointly written by yours truly (scenario bits) and Geoff Gillan (the sourcebook bits). The PDF of this substantial (27-page) supplement of dark convict doings and Mythos machinations, is available right now FREE here on the Cthulhu Reborn blog. This version includes stats for Call of Cthulhu 7th Edition.

The genesis for this supplement came about when I had some extended-time off earlier this year and started thinking about all the different angles we have already covered for the Convicts & Cthulhu penal colony setting. We’ve had ghostly apparitions, horrors hidden buried inside the walls of buildings, spooky abandoned whaling ships, creepy 17th Century medical experiments, fallen meteorites, enormous cicadas eating Five Dock, quicklime zombies, and more. Surely we’ve covered everything? … And then it came to me: we have never done anything about musical performance in the colony. So I thought it might be a fun topic to explore, and wrote asking Geoff if he had any relevant historical resources — of course he had a bunch, and then also went off and did some extensive research. He’s superhumanly committed that way; he’s really the heart and soul of the Convicts & Cthulhu game. And also an endless fount of new ideas — in response to the request to chase up my idea, he identified a bundle of other great ideas for future topics we could cove as well!

Music is not something that immediately springs to mind when you think about the penal colonies of early Australia, but in reality it was something that was integral to several different aspects of colonial life. The British military has a long tradition of regimental bands, and even the bottom-of-the-barrel NSW Corps had its own band — not to mention the drummers and fifers that were assigned to various companies. These musicians (usually part-time) were responsible for performing the stirring tunes accompanying government-run events, as well as playing at military ceremonies … such as when an errant soldier was literally “drummed out” of their regiment. Leaving aside the military, music also played a part in the life of the more well-off free settlers. Those who could afford to have a pianoforte shipped out from England certainly used it regularly as a source of evening entertainment (lacking any other medium). Convicts who knew how to play the fiddle or pennywhistle could also earn money by performing tunes at parties thrown by the toffs, or just busking on the streets of Sydney Town or Parramatta. For all these reasons, the notion of a “professional” musician as a C&C investigator is not as far-fetched as it sounds (and we include a profession template in the PDF to cover just this mode of play).

Quite separate to the music of Europeans in New South Wales, the musical traditions of the Indigenous owners of the country were also a major part of daily life. For Aboriginal peoples, the concept of musical performance in ceremony was (and indeed still is today) a very important aspect of spiritual life, and the Songlines taught verbally from generation-to-generation also served as an important practical tool for daily life. Some, especially, served as a kind of musical “map” which allowed for a traveller to navigate unknown terrain safely without fear of becoming lost.

The springboard for the scenario in Ticket of Leave #15 is a relatively-obscure Cthulhu Mythos story of extra-dimensional horror. (I’ll happily send a free copy of the printed C&C core book to the first person to guess the author and title in comments below). The scenario begins when investigators are asked to find out who was responsible for a horrible night of carnage that has seen the murders of three members of Sydney’s Night Watch (see ToL#1). Not only were these three men strangled silently in the night, but whoever committed the foul crime also quizzically left a large hand-axe, apparently of French origin, embedded in the brass of the large bell which stands adjacent to the Government Wharf. Both the Night Watch and the Colonial Government want the perpetrator caught and tried immediately … but, as usual, it turns out not to be anywhere near as simple as that.

Ticket of Leave #15 is available right now, via the link below. It will soon also be up on DTRPG as a Pay-What-You-Want title (if you’d like to generously flick us some money to help keep the C&C line thriving!).

Ticket of Leave #15: The Death Knells (STATTED version) [27 pages; 5.0MB]

As always with material published here on Cthulhu Reborn, this file is released under a Creative Commons License, which means you’re free to do whatever (non-commercial) things you’d like to do. If you do something cool with this scenario, say make an Actual Play recording of your C&C group running through the adventure — let us know and we’ll mention it here on the blog!

Ticket of Leave #15 Coming Soon

It’s been a while since we’ve provided an update on the various projects that are being written, edited, and typeset here at Cthulhu Reborn. One thing that is hopefully not too far away from being ready is our next Ticket of Leave supplement for the Convicts & Cthulhu setting.

This new Ticket of Leave — our fifteenth supplement in that line, and our 19th Convicts release overall — will be based around the subject of music in the early penal colonies of Australia. Titled “The Death Knells” it will feature a scenario which ties in with the general music-related theme.

As always, Reuben Dodd (of Sorrowking Studios) has done a sterling job at drawing a nifty new illustration to go along with the macabre scenario. He truly is a national treasure.

Ticket of Leave #15: The Death Knells should be an October release, here and on DriveThruRPG (fingers-crossed).

Open Cthulhu: “Satan” or “Saviour”?

Or, An Investigation into the Provenance of the “Open Cthulhu SRD”

One of the most controversial things to happen this year in the world of Lovecraftian tabletop RPGs has been the (non-)release of the Open Cthulhu SRD and the subsequent debate about its alleged Intellectual Property infringements.

I don’t think there’s any value in rehashing the lengthy (and generally insightful) debate that transpired on the Yog-Sothoth Forum (you must sign-up for free forum membership to see this content). But as a brief capsule summary anyway:

  1. A group of (AFAIK) unknown game designers created a d100 game of Lovecraftian horror which they aimed to release under the OGL; they posted links to their file on YSDC and other forums.
  2. Moon Design (Chaosium) promptly contacted both the creators AND the sites which hosted this link and bluntly asserted this material was in breech of their Intellectual Property and also that of various Cthulhu Mythos fiction authors. Moon also asserted that Open Cthulhu’s use of material from Mongoose Publishing’s OGL version of Runequest was also illegal since that latter work’s OGL was no longer valid.
  3. The Open Cthulhu group re-worked their SRD and claimed to have removed all the references to Mythos creations by any authors other than Lovecraft (whose solo works are now indisputably in the Public Domain) and replaced all content drawn from the Mongoose Renaissance OGL with material from the Legend RPG (which is 100% OGL).
  4. Lively debate followed about trademarks, the nature of the OGL, and other topics concerning Intellectual Property; Moon Design also asserted that they had re-assessed the revised Open Cthulhu SRD and found it to still be in breach of their IP (without citing specifics).

One of the things that I have observed about the online debate about Open Cthulhu is that most of the comments made about it’s use of the OGL are, to some extent, hypothetical (including my own).There are plenty of opinions which are qualified along the lines of “If Open Cthulhu’s claims are true about it being derived from valid OGL content then …” or “If Open Cthulhu has copy/pasted text from Chaosium publications then …” The reason these are hypothetical is because nobody has (to my knowledge) gone through the Open Cthulhu SRD with a fine-toothed comb to try to unpick its provenance. That is, to unravel the DNA of this controversial newborn? (stillborn?) beast.

So, I decided I would sit down and do just that — opening up the latest Open Cthulhu SRD side-by-side with all of the OGL documents it claims as its ancestors AND copies of multiple editions of Chaosium’s Call of Cthulhu rules (specifically 4th, 5th, and 6th editions).

The analysis took me a LOT longer than I thought — several days of concerted effort — but at the end of it I have gained a fair degree of understanding of what this beast is, and where it’s various parts seem to have come from. In this post I’ll summarize some of those findings.

Quick Summary (or TL;DR)

  1. Open Cthulhu’s claim that it contains no references to non-Lovecraft Mythos elements is basically justified
  2. The OGL ancestry of Open Cthulhu, as stated in its own OGL License seems legitimate
    • Open Cthulhu draws in text from the Delta Green Agent’s Handbook (approx 16% of the Open Cthulhu wordcount), the Legend RPG (2% of the OC wordcount), Eldritch Tales and the Cthulhoid Bestiary for OSR (together 6% of the OC wordcount). Plus it has a smattering of text drawn from the Delta Green Quickstart
  3. While a significant part of the Open Cthulhu text comes from pre-existing OGL rules, two-thirds of its text is apparently new content.
  4. Some of the apparently new content represents rules/content that have no relationship at all with Call of Cthulhu (or any other Chaosium book I’m familiar with); however other pieces look like they are clearly intended to be “retro-clones” of pieces of older Call of Cthulhu editions.
    • In terms of wordcount, about 31% of Open Cthulhu SRD appears to have a “Chaosium influence,” versus 35% of the SRD text which is new content but not inspired by Chaosium’s rules (as far as I can tell)
  5. Looking very closely at the Chaosium-influenced parts of the Open Cthulhu there is no evidence I could find of a direct “copy/paste” anywhere but plenty of examples where similar rules have been re-written using different words


In order to analyze the provenance of different pieces of the Open Cthulhu SRD I decided to create a version of the OC text in a form that allowed me to “colour-code” different sections of text based on provenance. That is, whether it was directly (or almost-directly) copied from an OGL source, whether it was a wholly-original creation, or whether it was new wording attempting to reverse-engineer parallel text from Call of Cthulhu.

In the end my categorization scheme grew to recognize:

  • Five OGL “flavours”: Delta Green Agent’s Handbook, Delta Green Quickstart, Adaptations of Delta Green rules, Legend RPG, and Miscellaneous OGL material (covering Eldritch Tales and the Cthulhoid Bestiary)
  • Two Categories of original material: Entirely Original, Chaosium-influenced
  • Two Miscellaneous categories: H.P. Lovecraft Quotations, OGL License Text

Categorizing (colour-coding) the different sections of the Open Cthulhu SRD was undertaken by comparing the relevant rules/resources text side-by-side with each of the relevant OGL sources and then against the different editions of the Call of Cthulhu rules. Where no source had any clear resemblance to any of those sources I assumed it to be original to Open Cthulhu.

Once each word of the Open Cthulhu SRD had been allocated into one of the categories, statistics were gathered of the total number of words that had been assigned to each category and the proportion they represent of the total Open Cthulhu wordcount.

For a full table of raw data in PDF form, click here.

The Structure of the Open Cthulhu SRD

The Open Cthulhu SRD is structured as shown in the diagram below, being split into two main sections — a Rules Section (aka the Player section) and a Keeper Section.

Overall the Open Cthulhu SRD consists of 61,014 words.

In terms of wordcount, the rules make up about 40% of the total file, with the Keeper section making up the bulk of the rest. There’s a small amount of intro and outro material at the front and back of the file respectively; the outro is made up of the OGL license text.

Overall Observations and Analyses

Looking at the Open Cthulhu SRD in its entirety, the breakdown of words assigned into each of the nine categories is as follows:

OGL Categories

Content from Delta Green Agent’s Handbook: 9,520 words (15.6%)
Content from Delta Green Quickstart: 270 words (0.4%)
Content extrapolated/adapted from Delta Green Agent’s Handbook: 2,978 words (4.9%)


Content from Legend RPG: 1,368 words (2.2%)
Content from Miscellaneous OGL sources: 3,837 words (6.3%)

Original Content Catgories

Entirely Original Content: 21299 words (34.9%)
Chaosium-inspired Content: 19052 words (31.2%)

Miscellaneous Categories

H.P. Lovecraft Quotations: 1736 words (2.8%)
OGL License Text: 954 words (1.6%)

Use of OGL Material

It is clear that large sections of the Open Cthulhu rules section — especially the combat and sanity rules — are copied directly from OGL content in Delta Green. In some cases this material has been edited down to simplify rules or to omit particular parts altogether. For example, Open Cthulhu does not make use of the Character Bonds mechanic at all and all references to it have been edited out. Similarly, the combat rules in Open Cthulhu simplify some of the ways in which high-tech weaponry and/or militaristic weapons are represented.

On the other hand, there are places in Open Cthulhu where the core concepts introduced in Delta Green have been adapted or extrapolated. These are mostly minor, for example the renaming of DG’s “combat turn” to OC’s “combat round” or the expanded set of descriptions for how Lethal Damage affects different types of Mythos creatures.

Leaving aside Delta Green, it is clear that Open Cthulhu’s use of other OGL sources is more slight than might otherwise be assumed. In particular its direct inheritance from the Legend RPG is really very small and is mostly concerning game stats and character creation. The material which is sourced from Eldritch Tales is mostly short descriptions of different Great Old Ones, Mythos Creatures, and Eldritch Artifacts. Open Cthulhu’s borrowing from the Cthuloid Bestiary for OSR is similar, albeit on a much smaller scale — it draws upon descriptions of several Mythos monsters that are not mentioned in Eldritch Tales.

Original vs Chaosium-Inspired

As noted above despite its reliance on OGL sources for the bulk of its rules, more than two-thirds of the words in the Open Cthulhu SRD would seem to be new content (i.e., not derived from an OGL source). One of the more difficult aspects of this analysis was trying to separate out which parts of these non-OGL-derived sections represent entirely original ideas and which are intended to be similar-but-not-identical versions of rules from Chaosium’s Call of Cthulhu game.

It is very clear that both types of text appear in the Open Cthulhu SRD.

As evidence of entirely original content, I would point at things like Open Cthulhu’s rather intriguing new take on game stats for Great Old Ones (which it terms “Mythos Powers”). Rather than giving these entities full game stats, as Call of Cthulhu does, OC characterizes them more by the perils of mental contact and the raw Lethality of their physical forms (as a single game stat). Another idea that is (to the best of my knowledge) original to Open Cthulhu is the concept of Investigators needing to make a roll to become “immersed” in a Mythos Tome (i.e., truly believe it isn’t gobbledygook) before they can research its contents.

On the other hand, it is equally clear that there are many cases where Open Cthulhu has introduced rules which are obviously inspired by Call of Cthulhu. Examples which come to mind include the specific skills breakdown in Open Cthulhu which, while not a complete copy of the skills list in early Call of Cthulhu, preserves some of the quirkiness of those editions’ characterization of Investigator knowledge. Another clear example is the inclusion of a brief set of game rules for running Dreamlands adventures which seems closely analogous to rules in Chaosium’s H.P. Lovecrafts Dreamlands (and latter editions of the CoC rules).

A Breach of Copyright?

One thing that is very clear upon a close reading of the Open Cthulhu SRD is that it definitely *is* aiming to be a “retro clone” of pre-7th Edition Call of Cthulhu, in the sense that its rules are similar enough that they could be used to play supplements released for those editions. Arguably, given the slow and slight way in which rules change between different editions of Call of Cthulhu, this also means one could (without too much work) use the Open Cthulhu SRD rules to run more recently-published scenarios as well (which would make it a not-so-retro clone, as others have pointed out).

The big question to be answered when it comes to these “Chaosium inspired” sections is … whether or not they are breaches of the copyrights held by Moon Design? While I searched long and hard for a “smoking gun” which would show there had been literal copy/pasting of sections out of Call of Cthulhu (the most unambiguous form of breach), I didn’t really find anything that absolutely qualifies as such. Yes, there are stat blocks for monsters and for Lovecraft NPCs that use the same set of numbers against the same characteristics, but I’m not sure that qualifies as breach of copyright (since arguably the numbers and the names of the characteristics are both pieces of game rules … or at least that’s how they’ve been interpreted in the cases of other “retro-clones”).

In terms of narrative text in Open Cthulhu that is a literal copy of Chaosium text … I couldn’t find any examples. Of course there are *plenty* of examples where the Open Cthulhu SRD uses different words to describe effectively the same game mechanic found in Call of Cthulhu, but once again I don’t know that this is a copyright breach since rules themselves cannot be copyrighted only their textual expression. As an example of the use of different language to describe similar rules, here is the parallel text describing how Investigators gain percentiles in the Cthulhu Mythos skill when they suffer insanity:

Call of Cthulhu 6th Edition

(© Chaosium, quoted here under fair use)

Open Cthulhu

(© Open Cthulhu, used under OGL)

Insanity and the Cthulhu Mythos

Insanity stemming from non-Mythos causes yields no Cthulhu Mythos knowledge. But each time an investigator reels from Mythos-induced trauma, he or she learns more of the Mythos, and this is reflected in the arcane Cthulhu Mythos skill.

The first instance of Mythos-related insanity always adds 5 points to Cthulhu Mythos. Further episodes of Mythos-induced insanity each add 1 point to the skill.

Understanding the Cthulhu Mythos

Whenever an Investigator goes Temporarily Insane or develops a Disorder due to an encounter with the Cthulhu Mythos, he or she also gains some deeper understanding of the true nature of reality. On the first such occasion, the Investigator gains 5 percentiles in the Cthulhu Mythos skill; each subsequent occasion grants a further 1 percentile. This increase also serves to reduce the Investigator’s maximum SAN (and if current SAN is higher than this value, also causes it to drop to the new maximum).

Provenance of Rules vs Provenance of Keeper-Resources

One thing that is quite clear when looking closely at the Open Cthulhu SRD is that there is a sharp difference between the way in which it derives its “rules” content versus its material for Keeper Resources (Mythos Entities, Creatures, Spells etc).

The Rules section borrows very heavily from existing OGL rulesets — most notably Delta Green. If taken in isolation, the rules section of Open Cthulhu has about 47% of its text derived from Delta Green with another 6% from Legend. That leaves 45% of the rules-section text which doesn’t come from any OGL source. This is mostly made up of skills descriptions, rules for skills improvement, sample weapons table, and examples of rules being used. While the example text used to illustrate and clarify rules is entirely original, most of the other areas identified above are a mix of Chaosium-influenced rules and entirely original rules.

Things are quite different when it comes to Keeper Resources, largely because the primary two OGL sources — Delta Green and Legend RPG — have no OGL content for Mythos entities. In the case of Legend it’s not a Mythos game, so that isn’t surprising. In the case of Delta Green, its own OGL makes it clear that those parts of the Agent’s Handbook are off-limits when it comes to OGL re-use. This seems to have forced the Open Cthulhu writers to (a) create more “new” text, and (b) seek out some alternative OSR rulesets which have small fragments of descriptive text about Mythos creations.

The provenance of the Keeper’s section of Open Cthulhu is broken down as shown below.

The small amount of “Delta Green Adapted” material shown here represents the text supplied for each Mythos creature which describes how it should be considered in terms of the Lethality combat mechanic borrowed from Delta Green. As can be seen, when it comes to Keeper resources, there seems to be a lot which is consciously inspired by Chaosium material, although it must also be said that there is a lot of really interesting material which seems quite distinct from how Call of Cthulhu handles situations (e.g., a different take on Great Old Ones, a more restrained approach to magic, and a set of nifty guidelines for making a brand new setting for Lovecraftian gaming and adapting the Open Cthulhu rules to work with it).

One thing for which Moon Design (and others) chastised the Open Cthulhu crew upon their first SRD release was the inclusion of Mythos elements which derive from works still under copyright (e.g., those of Brian Lumley, Ramsay Campbell, etc.). The Open Cthulhu team claimed to expunge all such mentions in their second SRD … so the question is, did they succeed? In general I would have to say that they did — there are no mentions by name of non-Lovecraft Great Old Ones, Mythos creatures, or Tomes. In fact the list of Mythos entities looks surprisingly similar to that published online for the German-language FHTAGN game (which probably isn’t surprising, since that game was held up during the YSDC discussions as an example of good practice in this area). The only qualifier I would place on my observations in this regard is that Open Cthulhu — like many other games — has rolled in several unnamed or generic Mythos creature categories (e.g., “Winged Servants” or “Hounds of Time”) which seem, to a greater or lesser extent, to be allusions to specific Mythos creations without actually claiming a direct relationship to those creations. It’s another “grey area” from an IP perspective I suppose.


The point of this exercise was to look at the Open Cthulhu SRD in detail to see whether its claims of OGL provenance check out, whether Chaosium’s claims of IP violation are backed up by examples, and whether Open Cthulhu was intended as a true “retro-clone” of older Call of Cthulhu editions.

I think that the analysis I’ve presented above answers many of those questions, although the question about IP violation is obviously a multi-faceted thing. I can certainly see why Moon Design has not been forthcoming with a laundry list of claimed copyright “violations” — since such a thing would be open to argument on both sides, which likely isn’t how they would wish to pursue the matter.

Above all this, however, I would have to say that a close examination of the Open Cthulhu SRD has surprised me in a couple of ways. Firstly, it’s really apparent that the writers of this system have put a lot of effort into it — I was expecting a shoddily slapped-together affair with little consideration for gameplay, but in fact the current rules show a deft and experienced hand at work judiciously picking pieces from several sources and assembling them carefully. The second way that the SRD has surprised me is in its aim to be more setting-independent and all-purpose than the thing it seems to be trying to copy — if the goal was to provide a basic engine to power a broad range of Lovecraftian d100 games, then it substantially succeeds, although obviously would need extrapolation to meaningfully work outside its stated range of eras (early twentieth century to modern day).

It’s a real shame that Open Cthulhu has wound up in such troubled straits, since otherwise it’s just the sort of thing I would recommend to game designers looking for an adaptable d100/Lovecraft base from which to build their own creations. As it is, though, it would be a brave person that took on such an endeavour . . .


[Raw data for the statistical analysis available here; marked up version of the Open Cthulhu SRD for peer-review available on request]

NecronomiCon: An Acolyte’s View, part 3

In the first part of my (entirely-subjective) review of NecronomiCon Providence 2019, I tried to capture some of the overall impressions I had of Providence and the convention overall. One of the key observations in that overview was that in many ways NecronomiCon felt to me a lot more like multiple concurrent conventions — a literary/HPL conference, a game convention, a trade show, and a bunch of affiliated weird-fiction-y events and performances. In part two I talked a little about my impressions of the gaming aspects of the conference — in this final part I’ll focus on the literary angle, and the even more important topic of extracurricular social activities!

Once again I should emphasize that my account of NecronomiCon is necessarily idiosyncratic, based purely on what I was personally able to cram into my 4 days at the event. There was so much other material I wanted to see but couldn’t, and a vast number of other sessions and auxiliary events which happened in parallel with things I saw.

Literary and Biographical Panels

Somebody perusing the website for NecronomiCon Providence 2019 might be forgiven for coming to the conclusion that the event is a literary show first, and a more general appreciation of Lovecraft-inspired things second. Based on lurking around different parts of the conference/convention I would say this is a fair conclusion. There are certainly a great number of people who come to NecronomiCon to listen to fiction publishers, authors, Lovecraft scholars, and other folks who delve into weird literary criticism.

Pretty much all of the literary aspects of the convention take place as a jam-packed schedule of panel discussions and presentations (with a few author readings thrown in for good measure). While I say “literary,” it’s probably more accurate to say that there are a couple of different flavours of such sessions — some aim to be true literary discussions about weird fiction (either the fiction of a particular author, or fiction covering a theme or topic) while other sessions provide handy educational information about Lovecraft and the world he inhabited. I tried to sample a little of each type of session, but as a new visitor to Lovecraft’s hometown I especially wanted to make it to the sessions about HPL’s Providence.

Undoubtedly the absolutely most essential informational sessions presented at NecronomiCon 2019 (and I imagine at previous incarnations as well) were those run by Donovan Loucks, concerning Providence locations important to H.P. Lovecraft. Donovan is a national treasure of Lovecraft scholarship, having set himself up as the premiere authority on “Lovecraft Geography” — real world places that played a part in Lovecraft’s life, or upon which he based fictional locations in his tales. Donovan created the walking tour map/guide of Providence’s College Hill that appears for free in the NecronomiCon guidebook (also available online) and runs 3-hour guided walking tours during the conference. I had been told previously that the tours personally led by Donovan are wonderfully informative — but for the 2019 event only one of the walking tours was led by him personally, with the rest being run by other knowledgeable colleagues.

Instead of booking into one of those, though, I dropped by the two back-to-back presentation sessions (each ~90 minutes) where Donovan took the audience on a photographic “sitting tour” through locations of significance. The first of the timeslots was devoted to locations around Providence, with the order or presentation linked to a chronological walk through HPL’s life. The second timeslot was a virtual tour of other New England locations of importance to Lovecraft — especially focussing on coastal Massachusetts places (e.g., Marblehead) that held especial fascination for him. Both of these sessions were fantastically informative, and I would definitely recommend any newcomer to Providence and NecronomiCon have them on their calendar.

Another biographical-type session I went to was a panel session on Sonia Greene, the remarkable woman who was Lovecraft’s wife for a few years and who enticed him to leave Providence and briefly move to New York City. This session was more of an information-dump than a true panel session, with one of the panelist (who I assume has done some detailed research on the topic) delivering a monologue recounting Greene’s life with other panelists chiming in occasionally with observations or personal impressions. While it was an enlightening session, the mode of presentation felt like it could have been a lot more dynamic.

Leaving aside the biographical sessions, I also dipped briefly into both the more “academic” parts of the NecronomiCon programming (the so-called Armitage Symposium) and the general literary sessions. The former I found a little light-weight (at least by the standards of true academic conferences), but that might have just been the specific session I attended. As a taster of the general literary panels, I sat in on a session entitled “Endarkenment: Nihilism as Liberation in Weird Fiction.” This was quite an intriguing if somewhat heavy session, which touched on philosophy, existential angst, the fiction and non-fiction of Thomas Ligotti, and darker more personal topics. This was probably the best of the panels (literary or gaming) that I attended.

The Unstoppable HPL Historical Society

The NecronomiCon “External Programming” schedule is quite a formidable beast in itself, being made up of all the events that aren’t organized by the Necro conference committee but take place at the same time, sometimes in locations in the main conference hotels. Of the many and varied things that are on this program, some of the most well-attended must surely be the performances by the H.P. Lovecraft Historical Society (HPLHS).

For the 2019 convention, the HPLHS had two scheduled slots for live performances of recent radio drama adaptations of Lovecraft tales — drawn from their incredibly well-done Dark Adventure Radio Theater range. The first of these was a live version of their recent CD rendition of “The Lurking Fear” while the second was a live version of their newest CD title “Mad Science” (which rolls in elements of 3 shorter HPL tales). Both of these live sessions were held in one of the large side ballrooms on Level 2 of the Graduate/Biltmore … and both were absolutely packed-to-the-rafters. Clearly the HPLHS performances — a staple at all recent NecronomiCons — have built up a dedicated following. I was only able to make it to half of “Lurking Fear” and none of “Mad Science” (because of clashes with gaming sessions I was scheduled to run) but from what I saw the live performances were top notch and the method of engaging the audience as a source of “special effects” was both fun and effective. I can certainly see why these live radio drama performances attract so many convention-goers … they are unmissable spectacles (which, sadly, I largely missed).

On Saturday night the HPLHS folks also put on another event, the “sea shanty singalong” in the basement of a nearby Irish Pub. I tried to get into this also, but had no luck — the basement was jam-packed with people well before I arrived. I heard later that the “sea shanty” singing was more than a little difficult with so many people packed into the venue that Sean and Andrew could scarce be heard. Such is the price of popularity I guess.

Tours of Lovecraft’s Providence

The opportunity to visit Lovecraft’s local haunts while in Providence is a tantalizing proposition. Thankfully, there are a few different ways of satisfying that urge while at NecronomiCon. Firstly, as noted above, there are 3-hour guided walking tours of College Hill. These sounded fantastic, but with the conference schedule being so crammed already, finding three hours (two panel slots, or most of a gaming session) free is pretty challenging. For this reason, I opted not to book into one of these walking tours instead hoping that I could use the map and information on Donovan’s website to trawl College Hill on a post-conference day when things are less hectic. This plan turned out to work quite well, although a long trawl up and down the streets of this part of Providence left me with pretty sore legs thanks to its many steep hilly roads.

Lovecraft’s Grave

As a complement to the walking tours, the NecronomiCon extended schedule also included shorter (~90 minute) bus tours. These are a bit more geographically far-ranging, heading out past the locations on Angell Street where Lovecraft lived for most of his life, dropping by the Ladd Observatory, and making a stop at HPL’s grave in the Swan Point Cemetery. I booked into one of these tours early in the convention and found it a pretty handy way to get a quick overview of the College Hill area and some of the key sites of relevance to Lovecraft. The Ladd Observatory — still owned and run by Brown University — had made special arrangement to be open during the times when the bus tours were operating, which meant groups could go into the observatory and climb up to the telescopes where a young HPL had spent some of his formative teenage years staring out into the inky uncaring cosmos.

An FAQ on the NecronomiCon site answered the question as to whether the walking tour or the bus tour is “better,” by saying that both are quite different experiences and if given the opportunity convention-goers should do both. I would second that assessment!

Weirdly Social

While there was plenty of NecronomiCon things to do during the day (and, for the Gaming Hall, late into the night as well), quite a lot of additional socializing took place after things had wound up at the official venues. I am sure that different groups of conference goers convened at various different Providence drinking establishments; the gaming crew seemed to mostly gravitate to a pair of Irish Pubs — Blake’s and Murphy’s — a couple of blocks from the Biltmore. Most evenings there was lively discussion, drinking, and general stupidity of the kind you’d probably expect. It was quite a privilege to hang out and drink with some of the great writers of Lovecraftian RPG titles, as well as meet up with some of those who publish such games. Truly a joy …. even if it did lead to a kind of happy sleep-deprivation which only got worse as Necro went on.

On the Sunday morning, there was a separately-ticketed “Cthulhu Prayer Breakfast” which was quite an unusual event where convention-goers could grab some (marginally uninspiring) breakfast food, juice, and coffee and sit and watch while several “priests” of Cthulhu provided “sermons” and led the assembled hordes in some “hymns.” As tongue-in-cheek jokey things go it was kind of fun, but I don’t think I’d be in a hurry to wake up early to get to another one. NecronomiCon attendees who signed up for the special (Gold Key or Silver Key) limited levels had the “privilege” of dressing up in robes and being in the choir for this prayer breakfast.

On the very last night of NecronomiCon, a special event was held at an old movie theatre a mile or two from the convention hotels. This was the Dunwich Horror Picture Show, which was … rather a surreal affair. The basic idea was that convention-goers could go along to watch the (rather terrible) 1960s movie adaptation of The Dunwich Horror (the one with Dean Stockwell). To make this a more bearable experience, though, there was a live score played by a band perched below the silver screen. Audience-goers were also encouraged to call out amusing riffs or quips to offset the film’s general awfulness. The movie has some extended “trippy” sequences at various points throughout — and kindly the organizers had arranged for weird person-sized Lovecraftian puppet things to burst forth from the boxes to the left and right of the screen and cavort menacingly. It was … quite an experience.

The NecronomiCon-Vibe

One thing I wasn’t too sure about heading into NecronomiCon was what the general vibe would be like. I mean *some* of the folks who go to the event are serious scholars of Lovecraft who regularly write serious books on the subject. Would that mean that the event would be organized in a way which treated the Old Man of Providence in a “hagiographic” light? Well … turns out that is definitely *not* how NecronomiCon works. As an event it actually embraces a lot of different attitudes to Lovecraft and his work, and if anything is quick to bring out a lighter side to his horrific vision of the university whenever possible. I guess this is a good thing in that it allows a vastly diverse community of different people — all of whom are united by their enjoyment of weird fiction (even if they otherwise don’t have too much in common). In that sense I think that NecronomiCon does actually live up to its somewhat lofty goals of being an inclusive home for all kinds of weird.

The Wrap-Up: So … Would I Do It Again?

In the final analysis, my exercise in getting half-way around the world was a rather complex and costly thing … but the experience of being at NeconomiCon for 4 days of gaming, panels, tours, and events more than made up for that expense and hassle. The real icing on the cake, though, was the socializing and networking — just being able to spend some time chatting with so many key gaming industry types.

If the stars align again for me in 2021, I will definitely look forward to repeating the experience! Always assuming that the Great Old Ones haven’t devoured the world before then . . .


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