Do you actually have a reason this bothers you, or do you just wanna ruin an actual 10 year old's tabletop experience? Do you typically play more realistic, low fantasy settings? Is it because it's a really obvious not that hidden rip off of Hellsing?
What is the issue here, I'm genuinely wondering. What kind of prank call did you have that you're reacting this way. Are you okay, man? I realize this is two years late but did you show that fourth grader up or not. Go to Comment
I never really watched Buffy the Vampire Slayer TV show, but I had friends that did, and I asked them the same question about Buffy's High School and they told me flat out that it is located on a Hell Mouth. I didn't ask what a Hell Mouth was or why that meant there were a lot of vampires and demons there, but it shut me up. Your explaintation for the same question regarding your 1640's Ireland is "A trans dimensional war machine is taking a nap there."
I haven't heard that one before: kudos.
I have two specific observations.
1) Writing style:
This a full-tilt stream of consciousness rant, that jumps around in perspective and tone. Your stated goal in this article is to present an explanation for your players as to why Ireland can produce so many monsters of the week. You state a series of "facts" about the realm but your writing in your own voice. The voice of a starcraft super fan. So these facts aren't really facts. They are choices you, as an author and GM, made. I would find this more interesting if you discussed why you made these choices, and how that will aide you story telling. Those would be the "Juicy details" at least in the way it is written now as a personal stream of consciousness essay about GMing or writing for your world.
I feel like everything you are trying to communicate is not making it on to the page. Example, you say travel to Earth is difficult for a demon. Difficult could mean a lot of things. It could mean small chance of success "Half Court Shots are difficult. It could mean time consuming and painful. "Divorce is difficult." I think you have a clear idea of what is going on here, but it is just not coming through. This goes on through out the post.
I also have a couple of esoteric dork questions, because unlike the Hell Mouth explanation from Buffy, your Ireland back story is a little less intuitive.
1) So is Metos a physical being in Ireland? Like if I am digging for pot gold in a shamrock field will I hit Meto's knee cap?
2) Why are they called Angels and Demons...was there some historic event on earth in which they filled this niche of vocabulary.?
I second Muro, I was wholly unexpected for the actual content of this sub. I'm a non-gamer but this sub seems to me to be campaign-specific (or so I deduced from the opening paragraph) so maybe some indication of this in the summary as well? Go to Comment
I love vampires, and while the source material isn't new, I like the alternate take on D, with his time in Romania/Transylvania having been relatively recent in his life, rather than his distant beginning. Go to Comment
A nice take on an old legend. However some parts were a little too vague for me seeing as there was more than enough specific information regarding everything else.
How did he "acquire" his Immunity to Sunlight? That seems like a very important (to me anyway) aspect as it is commonly unusual a thing for any vampire to be Immune to Sunlight.
The Supernatural Evil that he had a feud with that eventually tore him apart. Who or what was it? How did they begin to feud and why? Is that being still alive? If so, interesting plot information on how it could be used against him. As a GM I would love to know that. Seeing how impossible it seems like mere mortals could kill him. The enemy of my enemy is my friend.
I'm assuming Marcus is a player. How did he find Dracula/ wake him up (bring him back to life - kinda vague to me) and what did he learn from him? And what was "done" to him?
I realize a lot of this could be up to interpretation but like I said with so much specific detail I'm just wishing for a bit more. Go to Comment
A infamous villain of the ages, often times presented in a ho-hum fashion by most published settings that feature such famed foes, I read this one with equal amounts of anticipation and reservation given the familiarity of the big D in horror games and entertainment in general.
I especially love how this take on Dracula humanizes him, by giving him a better sense of history and reasoning behind personal goals and motivations without staying too far from his established roots.
The run down of strengths and weakness was especially welcome, since it lets any GM quickly get a feel for the threat level at a glance and offers some interesting weaknesses a clever group of PC's can exploit to overcome these otherwise nigh invulnerable foe.
Over all an enjoyable read and a excellent main villain for most any Victorian era supernatural campaigns and equally usable in other genres with a little modification.
I would enjoy seeing a plot hooks area with some ideas on how to include him in ones campaign, but even without this the piece stands out as a fun take on an otherwise over used villain and reminds why I love the creativity of our Strolenati. Go to Comment
This tome looks like a haphazard collection of random notes on different types of paper stitched together and bound within a wooden cover. The pages describe all of the 300,000 gods of the world, each in the language of the people who worship them. The book is stored high in the mountains, kept safe by an order of monks. Reading the entire book confers a deep understanding on the nature of the cosmos and access to incredible power. This only works, however, if it is read without translation, meaning that the reader must master each language contained within. The various monks know these languages but there is typically only one alive at a time who knows them all. This monk would be an excellent source of information and/or magic. IF the PCs learn about it; IF they can find the monastery; IF they can convince the monks to help them; AND if they can understand the convoluted riddle given as an answer.