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>> No.27283386 [View]
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>> No.26904956 [View]
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>>26904883
>It's like the OP is psychic
Welcome, friend.
And btw, we have this thread every other day.

>> No.26431103 [View]
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>>26429893
>a secure depository in the middle of nowhere has become damaged and the players (the closest available, by no means the best) are given a checklist, have to head to the facility and make sure all those green boxes are as they should be.
That does not yet sound very original, more like a bread-and-butter Warehouse 13 adventure.

>> No.26417422 [View]
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>>26417279

>> No.26255702 [View]
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>>26255263
Easily solved: Slowly but surely they become the bad guys.

First people don't want to talk to or be seen with them. Minor inconvenience,, they must all be conspiring.

Then they become openly scared of the PCs. How unrealistic, just because I beat his friend unconscious he ran away?

Then the law becomes interested. Asking questions about the PCs, following them around more menacingly than covertly, collecting statements and jumping in as soon as violence ensues.

Then they arrest the PCs, lock them up waiting for a prejudiced quick public opinion trial. But they get a chance to escape.

Now they're either on trial and soon to be locked in an asylum (where they can again escape), or already on the run known as dangerous and possibly insane criminals.

It will blow your adventure to pieces. But that doesn't matter. Maybe you can revive it on a whole new level after this interlude. Just make sure you don't outright kill a PC unless he is positively and repeatedly (in ONE SCENE) asking for it.

Make sure you roleplay it all and don't just explain that it happened.

>> No.26188102 [View]
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26188102

Use language to convey disorientation, anachronistic vocabulary, ambiguous formulations, foreshadowing with out of place adjectives, ...

Explain the world in the dimensions of the characters' senses. Use temperature, humidity, light, fog, wind, the moon, create plasticity. Never narrate foregone conclusions unless your players get distracted by details too much.

For CoC I prefer music that plays in the scene because a detached soundtrack breaks immersion for the sake of atmosphere, and it's a cheap shot. That means having a lot of radios and phonographs in the background, and maintaining a collection of period appropriate recordings and sound effects on careful playlists.

Indirect gloomy light at the table and no snacks because they make players docile and tired. Sugary caffeinated drinks are good.

Keep your horrors hidden. Creatures and old ones get no stage time. Investigators only find their traces and the havoc they wreak. The creature shop only comes out in the last scene, when everybody goes mad or dies. Before that it's just slime trails and cultists.

Don't avoid surrealism. You won't need a dungeon map. If the players go lulwot?! it's a good thing. Just avoid player misunderstandings. But if the players set out in the morning, travel an hour, and arrive at night, don't worry about it. Just don't try to explain anything. In D&D you'd need an unseen Lich working a spell, in CoC it's just the world being weird for a bit.

>> No.25571079 [View]
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25571079

Make it cheesy. It's okay. Just make sure your players enjoy it. CoC is a suicide mission mostly. Lovecraft fans can enjoy the subtle language and Gothic themes, but others need a good fight every session. Don't be disappointed when nobody gets goosebumps, games are social and not well suited to actual horror. Horror games tend to be tropy hijinks in dreadland rather than genuinely scary. Don't fight it. Find a way to make it enjoyable.

That said: Atmo (or score), dimmed light, cracked window and a low room temperature, play at night, no food at the table.

Then there's narrative techniques.
>You enter the mansion at sundown. The storm outside is picking up, but inside everything is dusty and muffled. Dusty chandeliers, dusty carpets, dusty pictures in eloquent frames, bloody knife, dusty wood panelings with intricate designs, and creaking dusty doors made of heavy dark wood.
You have to do it subtly and it doesn't always work. But if you manage to convince each player with your tone and demeanor that they misheard they will forget about the bloody knife immediately but remain unsettled. And if you say 'something small and bloody' in the next 30 minutes they will immediately think 'knife!'.
A more subtle way is to substitute descriptions that seem off without your context. In keeping with the knife:
>Moonlight cuts through the mist. The blank steel surface of the lake shows not a stir. A gutted truck in the razor grass...

Manage the social aspects as well as you can, it can be impossibly hard. You need tension to build atmosphere. Players will defuse tension with out-of-play jokes. Punish that socially. Don't laugh. Make it clear that that is a distraction. Ask them if they would rather play something more lighthearted. Look sternly at anybody who laughs. But now you have to provide comic relief when it suits your plot, because otherwise the tension will be uncomfortable. Just make sure it remains pitiful and comes at a breather in the story. Put in breathers.



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