The Twisted Love of A Jealous Man v02

Contact the author, who retains copyrights for all original content, at: xycho.mantis@gmail.
com
This is a derivative work based on CJ Carellas WitchCraft and Unisystem, copyright CJ Carella
It is not meant to infringe upon any of their exclusive rights.
THE TWISTED LOVE OF A JEALOUS MAN

This story is meant to be used in a city environment. It is written to challenge the group of six characters
provided in Thom Marrions WitchCraft Demo Kit. The story contains violent content and moral dilemmas. It is not
intended for immature audiences. Further, it is meant to be a modern supernatural horror story and takes horror
seriously in that it is not meant to provide a few scares but to cleave to the tenets of helplessness, despair, and
violation. However, because it is also a game for enjoyment triumph over adversity and choice are major factors.
Above all, despite the supernatural nature of the story, plausibility is very important and clever players should be
allowed to explore their options and move along the plot at whatever pace they set.
It is possible to replace the characters from the Demo Kit with more customized characters but the challenges
are designed to cater to the Demo Kit and the Chronicler may need to adjust the challenges to meet the abilities and
options available to a different Cast. The Cast already included may or may not be included as Supporting Cast.
Some of them would likely be willing to directly assist a customized Cast in their endeavors.
STORY IN ABSTRACT
A man of wealth has summoned a supernatural monster out of misplaced jealousy. The monster is targeting
police or similar authority figures. The police are not prepared to deal with the threat they face, so it is necessary that
someone with the right knowledge address the story. A foil is introduced that is capable of solving the problem
himself, but his methods can be considered unethical which places moral superiority in the hands of the Cast.
Through investigation, the Cast can discover the truth behind the summoned monster and how to stop it. The
specifics of the challenges and choices involved are explained later and form the crux of the horror aspect of the
story. Careful consideration should be given to changing the final moments of the story.
If you are a player that is going to play through this story, you need to stop reading this. Horror needs the
element of unknown and desperation and if you sabotage it by continuing on, you risk ruining the fun for yourself
and everyone else in your group.
Descriptions for several things are provided in the story for the Chronicler. However, none of them are stylized
in any way. It is up the Chronicler to familiarize herself with and then paraphrase the descriptions so that she can
maintain or create the appropriate atmosphere for her players.
CAST
Kurt Chandler Kurt is an angular white man in his late 40s and a wealthy collector of historical artifacts and
objet dart. His personal wealth comes from import and export business. His wife, Mary Chandler, died roughly two
years prior to the events of this story. He has a daughter, Serena, for whom he is insanely jealous. Because of the
events surrounding Marys death, Kurt resents police and jealously guards his daughter from exposure to them. This
misplaced jealousy provokes Kurts actions against the authorities.
Mary Chandler Mary died during a police action as collateral damage two years before the events of the story.
She was assistant director of a local museum and was instrumental in figuring out how Kurt could summon the
monster. She was not gifted in any sense and has not lingered on Malkuth.
Serena Chandler Serena is a cute, 13 year old, white girl. She is almost too average, despite her wealth. She
cares deeply for her father after the loss of her mother, trying to fill the role in supporting her father. She refers to
Kurt as Daddy and Mary as Mommy (or another culturally appropriate term of parental endearment). Unlike Kurt,
Serena does not resent the police and after a few years of therapy has come to understand what happened much
better than her father. However, she is involved in the horror story because of her father.
Voracious Devourer This monster was summoned by Kurt Chandler in order to protect his family and
eliminate any threat that presents itself. It is an ancient, primordial spirit of hunger. The spirit is technically
categorized as a fiend. Like most spirits, its manifestation is informed by its summoner, and in this case appears as a
monstrously large humanoid with claws, eyes, teeth, and a few other supernaturally frightening features explored
later. The creature has no known name, and devours the essence of the living by eating their internal organs.
Darren Yuhas Darren is a South African man of mixed descent that dresses in practical clothing and is always
armed with at least a knife. He has a South African Dutch accent. He is actually a talented but mostly self taught
psychic that actively hunts down supernatural predators. He could be recruited by the Sentinels or Cabal of the
Psyche, but he has a dark streak that leads him to take unethical approaches to hunting his targets. Though it should
1
The Twisted Love of a Jealous Man, v10; 20110311; Demo Kit available at http://www.edenstudios.net/support.html
Go to http://rpg.drivethrustuff.com/product_info.php?products_id=692&it=1 to download a corebook containing the original Unisystem rules.
Contact the author, who retains copyrights for all original content, at: xycho.mantis@gmail.com
be unclear about whether he acts in the interest of the greater good, he is actually a sociopath that has become
fixated on killing and luckily targets supernatural killers rather than any other class of being.
Penny Woodville Penny is a bookish Rosicrucian that has a breadth of occult knowledge but very little field
experience. She is actually a point in the network of one of the included Cast Members and may not personally be
able to provide a great deal of support but she does have access to her Rosicrucian network and can take action in
that manner. However, due to the rivalry between the Rosicrucians and Wicce, it is unlikely that direct support will
be forthcoming. For the sake of the story, the Rosicrucians will be slow in providing their assistance, giving the Cast
enough time to resolve the story on their own. If Penny was contacted, the Rosies can be used to bail out the Cast
if the Chronicler wishes it. They can also be used as an example of what happens when someone tries to directly
oppose the monster and fails.
Tim Shinozaki Tim is a Japanese psychologist in the city. He is not a primary participant in the events; instead
he is a point of contact to one of the provided Cast Members and serves as a network node to provide further
assistance if it becomes necessary for the Cast or Chronicler to introduce some form of intervention. Tim is a riskand confrontation-averse person, so he will not actually take much action for the Cast and will likely flee if attacked.
He, however, was Serenas psychologist and was instrumental in helping her adjust to her life after the loss of her
mother.
OBJECTS OF IMPORT
The Knife (Etruscan silver dagger) This knife is of ancient Etruscan design (pre-Roman; it looks a lot like
older Roman daggers, but is very well crafted and decorated) and is used to summon a primordial spirit referenced
only very occasionally in particularly old grimoires as a Voracious Devourer. Kurt purchased the knife in an estate
auction. His wife, Mary, researched the knife and found the rites in archaic Latin involved in using it for its intended
purpose. She did not believe in these rituals and merely identified the knife as a ritual sacrifice tool.
Etruscan silver dagger: D4*Strength, stabbing. This is the vessel of the monster when it is not attached to a
person. It is in an ancient ritual to bind the monster to a host being whom it will later obey. The monster can be
entrapped in the knife again if the host spirit is killed with the knife. The physical knife can be destroyed but doing
does not ruin the magic that binds the monster, instead the person responsible for destroying it will be the next
target until they are devoured and the dagger thusly recreated. Lastly, the monster instantly knows where the knife
is and who is in possession of it, even if it is behind a ward or otherwise concealed.
Black Blood Machete This cursed machete was created by a South African blood shaman. It drinks the life of
those it injures. However, it curses the user to crave the life force that they taste when they use the machete. Darren
acquired it when he first had to fight a supernatural predator. The exposure started the curse and led him to his
current life. The machete itself looks like a blood stained but otherwise well used and maintained tool.
Black Blood Machete; (D8+2)*Strength, Slashing. When it injures a living being, any blood spilt or sprayed is
sucked back onto the blade and absorbed. Damage from this weapon also injures the (Vital) Essence Pools of
supernatural beings and it can be used against incorporeal beings. The user gains 1 Essence for every 4 LP or
Essence damage (not both) inflicted by the weapon. The machete curses the user to develop an Addiction to the
essence of the first type of being killed. In Darrens case, it was a spirit.
Etruscan Ritual Grimoire The grimoire containing the translated Latin ritual of summoning and binding the
Voracious Devourer was found by Mary Chandler several years prior to the events of the story. It has been in the
possession of the Chandler family since then but was only used in any bit of seriousness recently when Kurt used it.
LOCALES
Chandler Estate The Chandler Estate is in an upper class neighborhood in or near the city in question. It
should be reachable within a half hour from Hibou Books. It is a large house with several valuable objet dart, guest
rooms, and trophy rooms where Kurt has placed his collection. Of note is a secret area of occult significance that
must be discovered to successfully resolve the story. The secret area is under the protection of a ward.
Hibou Books and Esoterica This is the bookstore owned by Melusine Girodet. As presented in the original
WitchCraft Demo Kit, the store specializes in mysticism and the occult. To the layman, Hibou is nothing but a New
Age store designed to cater to a specific niche market with books and props of purported metaphysical relevance.
However, the bookstore is also a repository of several very real and valuable tomes in varied languages. While
Melusine can provide some genuine mystic services to patrons that know how to ask, she is keenly aware that all
metaphysical activity must be discreet and so maintains a very powerful ward in her personal library.
Velvet Lounge This is a typical lounge, with a small seating area and compact stage. Naturally, it is easily
customized to the setting. The interior can comfortably seat around one hundred people; the stage is big enough to
2
have six performers on stage at the same time. Of note is the design of the lounge conveys a very intimate feeling,
which is half of why Morrigan works there.
Other Both of these locations can be dropped into nearly any city and region and even year (though certain
eras will not be as tenable as others). Naturally, the names can also be changed to fit the local culture. The other
details regarding the locale are left in the hands of the Chronicler. A valuable resource to provide real-world
references and locations is Google Maps.
BACKGROUND
Kurt Chandler has always been a jealous man regarding possessions, whether they were people like his wife and
daughter, or objects like his collection and wealth. Despite his slightly unhinged nature, he did get a very intelligent
woman for a wife and a clever daughter to love him. However, two years prior to the start of the story, his wife,
Mary, was killed as collateral damage in a police action. As she served as a counterbalance to Kurt, he was unable to
recover from her loss and merely repressed it, focusing his hatred on the police. His daughter, however, did undergo
psychological treatment with Tim Shinozaki and came to terms with the event.
When Mary was still alive, Kurt bought an ancient Etruscan ritual dagger from an auction. Mary found out that
the knife was supposedly used to summon or banish a monster. Her research into ancient occult tomes revealed the
process, and she did some of that research at Hibou Books. However, as a person that did not believe in the occult,
she merely bought one of the tomes as a semi-reliable reference material. Once she found out the story, she wrote up
a little label for Kurt to use to show off his latest treasure and put the knife on display and put the book away. It was
not until Serena made friends with a group of police officers that Kurt had the idea to try to use the knife.
Using the knife and further research, he summoned the Voracious Devourer. He did not initially understand
what was happening, but following the rituals he discovered allowed him to bind the monstrous spirit to his
daughter. Now, he already expressed his desire to make the police feel the loss in their souls the same as the loss in
his when his beloved died at their hands. Naturally, the irony spells out the drive of the monster. However, without
specific direction, it will merely target anyone that identifies themselves according to that key thought, police. He
has, however, already taken action and ordered several police officers executed by the monster. This knowledge has
not been made public because of the particularly gruesome nature of the deaths.
Darren has been trying to find the knife after he failed his last attempt at bringing it under his control in
Singapore. Due to a series of events that he could not directly influence and therefore had precious little prescient
warning of, he lost the knife several years ago and has been on the lookout for it ever since. He didnt know about
Kurt purchasing the knife until he was visiting with another precog and they detected its use in the future. He came
to the local area to investigate, but because of the uncertainties of prescient viewings, he was already too late for the
first attacks. He actually does want to use the knife for his own hunting purposes, but will kill the Kurt and Serena.
A SWEET DAY TURNS SOUR

This is the first scene where the players get control of their characters. Ideally, they should be given several
minutes (upwards of half an hour) of time getting some practice with roleplaying and forming attachments to one
another. After that period of socializing, a car crash outside becomes the focal point of the scene. After a period of
activity before the situation will seemingly be resolved, the monster attacks. The scene ends when the monster
finishes killing its targets and departs. The players can be given some time to interact afterwards, but that is
otherwise the ending point. There are several potential endings to this scene and accommodations are provided.
The story opens in the evening at Hibou Books and Esoterica with Medea, Melusine, and Morrigan working a
little overtime to stock the shelves with a recent shipment of new products. Since the bookstore is not closed at the
time, Clarissa is looking for a book on tapping ones psychic potential; she may even decide to try to ask Melusine
for pointers at some point since the various books mean very little to her untrained eye. Carter is also doing some
research, but he is specifically looking for information on predatory spirits. Adahy has offered to help with the
delivery in exchange for a certain trinket Melusine has in stock and after getting cleaned up, he is providing some
muscle to help move things around. As a reward for helping her out, Melusine has ordered a dinner delivery and
fully intends to share with Adahy, Carter, and Clarissa.
Carter knows that there have been two incidents of police murder in the past month. The first was a solitary
officer that was attacked while responding to a domestic disturbance. He never reached the couple he was supposed
to investigate and his body was found eviscerated and partially exsanguinated. The police responded by doubling
patrols in the area, so the second attack came as a surprise because it was in another part of town. Two officers
were attacked in their patrol car, the first was ripped out of the drivers seat, eviscerated, and the second officer is
still missing and presumed dead. In both deaths, the organs were never recovered.
3
Morrigan has free tickets for her friends to see her latest lead performance at the Velvet Lounge. She was given
five tickets to get a small audience for herself and those friends should also serve as word of mouth advertising. It is
imperative that she share these with the Cast because it helps the next scene.
Hibou Books and Esoterica is a three story building. The ground level is a normal bookstore that specializes in
history, the occult and mysticism, as well as other hard-to-get books and various occult paraphernalia. Melusine has
the place divided into historical and contemporary occult references, as well as historical, contemporary, and
fictitious novels, and also has several bits of Esoterica of varied occult legitimacy set about for sale and as decor.
Melusine has a tiny caf on the mezzanine over the historical section of the store that Morrigan handles in the
morning and Medea in the evening. The rest of the second story is open space to allow in lighting and give the
bookstore a more spacious feeling. The third floor is Morrigans apartment and the storage area. She keeps a private
library of her own as well as several of the true grimoires she has acquired over the years, this library is warded and
is also used by the coven for their meetings.
Melusines library is a round room protected by a Strength-15 Ward carved into the ground. The Focus Task of
any supernatural effect that seeks to look into or find something inside the protected space is resisted by the Wards
Simple Strength Test (D10+30). Any supernatural being trying to cross the edge of the Ward gets a Strength and
Willpower Test resisted by the Wards Simple Strength Test. Failure to cross inflicts severe pain that forces the
creature to recoil (4 to Tasks/Tests for about 10 seconds) and D4 points of Essence damage (Vital Essence damage
in the case of spirits).
NOTE: This is a safe zone for the Cast. If they manage to really attract the ire of the Voracious Devourer, they
should be reminded to run here.
Shortly after the Hibous official closing time and sunset, which can come as soon as the Chronicler is satisfied
with the roleplaying and her players are ready to move on, the evening goes sour. A vehicle incident occurs on the
corner just outside of the bookstore where a speeding sportscar smashes headlong into a speeding police car making
an illegal turn. Kurt and Serena Chandler are in the sportscar; Kurt is driving fast because he always drives fast,
Serena dropped a pencil at her feet and unbuckles herself to pick it up. Officers Hillary Defrancesco and Jules
Newingham are in the cruiser responding to a redundant nonemergency call; they took the turn faster than normal
because they were aggravated and thought the intersection was clear. Though the police officers and Kurt were
wearing their seatbelts, Serena was not because she was trying to pick up something she dropped on the floor.
Damage from vehicles is not in WitchCraft. The general guideline for a collision is both vehicles take D10
multiplied by the vehicles weight in tons and the relative speeds divided by 10. Both vehicles weigh roughly one ton,
so damage to each is D10*6(30). Passengers take half that damage, one-fifth if they were wearing seatbelts. Airbags
provide AV 20 to the passengers unless they are significantly smaller than the average human adult; smaller
passengers take an additional D6*2(6). All of this damage is blunt trauma.
Assume Kurts vehicle took maximum damage (60 damage); he takes 6 damage (0 with an airbag) and Serena
takes 30 (42 with an airbag)). The damage to the police car can be rolled, but both officers were buckled in so they
actually take 1/5th damage (less 20 if their vehicles have airbags). Kurts sports car is at risk of explosion (roll a
Toughness Test at D10+7, if it does not get a 9 or better, it will explode and inflict D8*10(40) to everyone within 3
yards, D8*8(32) to everyone within 8 yards, and D8*4(16) to everyone within 15 yards; make sure that the Serena
is removed before the explosion occurs.) Naturally, the Chronicler can decide whether or not this happens and can
use the high stress to force involvement from the Cast if they are otherwise hesitant. Remind them that the real
victim of this accident is an innocent.
It is recognized that no one in the existing Cast has the ability to use healing magicks. However, Adahy can
summon a tree spirit and bargain for healing service for Serena but Kurt will be uncooperative unless restrained,
given that Adahy is technically a vagrant. The story assumes that Serena remains injured and in bad condition.
This is the chance for the Cast to start getting involved in an actual high stress situation. The repercussions of
the Casts involvement are left in the hands of the Chronicler, but the actions of the police and Kurt are delineated
here. The operational assumption is that the Cast will not get involved.
NOTE: Adahy is prescient and can be afforded two Mindtime and Perception Tasks at 6 minutes and 60
seconds before the traumatic events actually happen. As a general guideline, use his Success Levels to gauge the
details he gets and make sure to give exceptionally disturbing, horrific, and confusing perspectives.
The first minute has the police recovering from the daze of the car crash, checking themselves for injury, and
then getting out and checking the other party. Over the course of the next couple minutes, the police figure out that
Kurt and Serena were not buckled in and immediately spin into action trying to remove them from their vehicles,
contact emergency medical services, and a secondary police cruiser to act as objective witnesses. However, Kurts
jealous nature and rage against police drives him to interfere with them.
4
Kurt starts by checking on his daughter who is unconscious and dying. Lacking medical skills, he does not
recognize that her blunt trauma is fatal but she does not respond to his queries. After about a minute of confusion, he
recognizes the police cruiser and becomes wildly incensed. While in the car, he utters the key phrase to summon the
monster and screams obscenities at the police officers while trying to rouse Serena who flutters in and out of
consciousness just enough to verify that shes alive. When the police come to check on him, he starts cursing them
to their faces. They will remove him from the car first, weathering the storm of hostility until one of the cops tries to
touch Serena and he starts swinging.
The police will then be forced to stop trying to help Serena and arrest Kurt. After Kurt is subdued, the police
will try to attend to Serena. The car is at risk of exploding from the damage it sustained in the accident, so they will
try to remove Serena before the paramedics get there and move her to safety. In order to do so effectively, they will
request aid from anyone nearby and provide very specific instructions on how to move and carry Serena. The whole
while Kurt will be shouting at them to not touch his daughter and otherwise being as vitriolic as possible. (Imagine
Mel Gibsons latest audio recordings to get an idea of how hostile Kurt is. He will actually run out of breath while
expressing his displeasure.) Serena is in bad shape but the efforts of the police should eventually stabilize her.
However, their constant presence near Serena only serves to further infuriate Kurt.
Serena is going to be at -8 Life Points (-20 if Kurts car had airbags). Regardless, she should live through the
trauma. If the game is live, it is important for the Chronicler to give the impression that she is at risk of real death
by rolling a die and taking a note. If the Chronicler is not the sort to appreciate arbitrary results, she should be
revived by the paramedics when they arrive if she otherwise fails her Survival Test.
Once she is taken care of, the police will move on to question Kurt. If the Cast chose to get involved, the
officers thank them and tell them to move back so they can deal with Kurt. Given the several minutes that have
passed, the faint sirens of approaching first responders can be heard. They are still approximately two or three
minutes out. This is when the monster emerges from the shadows. The description for the monster is meant to be
embellished by the Chronicler in a live game in order to relay the information naturally and with the right level of
horror for her audience.
The monster is 10 ft tall and weighs approximately 450 lbs. It has a torso of similar design to a human,
but its arms are exceedingly long and end in five fingered hands, each digit ending with a wicked talon. The
legs of the monster are like those of a satyr. The head is set low and forward, without a neck, and a long
mouth full of massive fangs like a wolf crossed with a shark. As a primordial spirit, it mostly lacks
definition, so even when manifested, its form is somewhat protean. It has dozens of eyes all over its body
and it can open as many as it likes. They are a mix of animal and human eyes. Just before it is ready to
strike, it raises its hackles and looks like it blossoms an array of spines on its back. The body of the monster
is all black with no reflection of light, it appears mostly as a hole in reality and that is the only way it can be
seen.
To the senses of a gifted, the eyes all glow red with violent and hungry essence.
When injured, its flesh manifests as gobbets of a mildly caustic, tarlike black substance that rapidly
evaporates over the course of the next five or so minutes. It is possible to test this substance, but it will
register as the rotten flesh of its most recent victims with a strong sulfuric content.
Insight reveals that this is a primordial fiend from before humanity gave fiends shape. It is consumed
by a ravenous hunger and craves the organs of the living while manifest. This particular spirit is bound by
powerful ancient magic. This manifestation could possibly be destroyed, but the actual spirit is protected by
its servitude.
The monsters modus operandi is to follow the orders of its master. It currently recognizes Kurt as its master
and he ordered the death of the two police officers that hit his car and therefore injured his daughter. It will therefore
try to grab one of them, tear out his guts, and eat them before grabbing the other one, and running off to savor her
while she is still alive. Of note is that the creature does not actually like most muscles. It really only seeks to eat vital
organs that would be burned as a sacrifice to the gods in ancient times: that means heart, lungs, liver, pancreas,
kidneys, intestines and drinks blood, lymph, and any other fluid it can find. This particular creature has a taste for
bile.
Naturally, this battle will actually be fairly brief, even if the Cast chooses to get involved. The monster should
treat them as a nuisance rather than a real threat. As such, it will shove and throw them about as it tries to get at its
real prey. If it is stopped from eating, or the police are actually killed before it can eat, it will try to make a meal of
the interruption.
Carter should be made aware of two similar killings that have happened in the past week; the first was a lone
officer, the second was a pair. The reports were very vague but he used his connections to get the real story. To that
5
extent, he has something of an idea of what the monster has been doing: killing police. This should give him
something to involve himself with the others.
If it is allowed to abscond with the second police officer, it will eat her slowly so that she is alive for every step
until it gets halfway through the liver. The officer will be kept alive and conscious as much as possible, especially
since pain will not knock a person out. As it eats her innards, it will stop to complain at her in archaic Latin that she
is missing her gall bladder and the flavor. Once it finishes eating, it will walk into a totally black area and get rid of
its physical form, leaving behind the smattering of rapidly evaporating goop that was constructed its form.
NOTE: Players have a disturbing talent at screwing with things. It is very possible that they will provide too
much temptation or irritation to the monster. One of the best ways to do this is to deny it the police that it is tasked
to devour. Anyone involved in keeping it from its duties will become a target. As a spiritual predator, it prefers
targets with generous essence pools, making Carter the most irritating but least tasty member of the existing Cast.
As such, it will not seek to kill anyone that is not an ideal target, and instead seeks to remove them from its path.
Again, that ward protecting Melusines library is probably the safest place in the city.
If, by some spectacular miracle, the Cast is somehow able to protect the police, the surviving police will react in
horrified manner. Both will deny the events when inquired and eventually move out of the city. If only one officer is
saved, she will have such severe survivors guilt that she will contemplate suicide within only a few days. However,
because the monster had already identified her spiritual matrix, Kurts second summoning attempt will cost her life.
The operational assumption is that both police officers die, one being carried off by the monster before the other
first responders arrive. It is up to the Cast to explain what happened in a manner that even approaches plausible. No
response is acceptable, given the situation, and the police will cover up the events regardless of what the Cast tells
them. If the Cast tries to explain that a primordial monster ate the first cops guts and ran off with the other to eat at
their leisure, the investigators will be offended and ignore anything else from the Cast.
Though this particular adventure is meant to be a one-shot, if it takes place in a full Chronicle the reports and
cover-up of this series of events will attract the attention of Sentinels, Rosicrucians, Knights Templar, and the
Combine. If the Cast tries to explain what happened honestly, the Combine will send some agents to investigate
more thoroughly. This puts Hibou and the rest of the Cast in a bad place. However, the Combine has no place in
this current story, so using them immediately is ill-advised.
INTERMISSION 1
This is a good chance for the players and Chronicler to take a brief break. Background research and contacting a
network should be resolved now. If any of the characters decide to just get out of Dodge, they should do so now.
The next scene occurs a few days later.
Kurt pays his bail, and gets the hospital to move Serena to his estate where his private physician can tend to her.
He also takes the time to refresh the fiends summoning essence, which is actually gathered by the people that the
fiend devours. If it somehow failed to eat anyone, it will be refreshed through a lengthy ritual involving animal
sacrifice. This is not done behind a Ward and proper magical reconnaissance will reveal the use of an ancient silver
knife.
This is also an excellent time for Clarissa to decide if she wants to really buckle down on her psychic training.
The other witches may also opt to focus on how to deal with the monster. Carter is practically guaranteed to do the
same. Remind the player for Adahy that he has some very useful powers specifically for such a surveillance mission.
Darren Yuhas can be briefly described as passing through Hibou during the intermission but does not ask or
want assistance. He spends some time touching things and looking around before deciding to leave. He flickers with
Essence while he does so because he is forcing visions of the past to try to piece together what happened. If he is
challenged, hell feign ignorance and depart.
Ideally, the Cast should be trying to hunt down information regarding the creature. After a suitable period of
time, the Chronicler should arrange for the group to meet together and discuss what is to be done. That is when the
next scene starts. The most likely place for this is at the Velvet Lounge.
THE END JUSTIFIES THE MEANS

This scene involves the introduction of the storys foil character, Darren Yuhas. Unlike the majority of the Cast,
Darren is very experienced at hunting down and killing supernaturals. He is skilled hunter, fighter, and precog.
When roleplaying him, he should come off as a cross between Jubel Early (Fireflys last episode, the bounty hunter)
and Gordon Walker (the psychotic hunter from the Supernatural series). Darren knows who the monsters next
target is, he is that good of a precog. This does, however, change depending on what the Cast did in the previous
scene.
6
If the Cast did not save either police officer, the next target is a currently off-duty officer. This officer was
involved in the police action that lead to Mary Chandlers death.
If the Cast saved one of the police officers, the next target is still the off-duty officer, but the monster will also
attack them directly.
If the Cast saved both of the police officers, they are the next target. The monster will not know of the off-duty
officer present because it was ordered to kill those that interfered when Serena was hurt. It will start by attacking
Morrigan (she has enough time to use Tap Emotions once).
The Velvet Lounge is at risk of being a blood bath. The monster will attack and kill most of the people in the
lounge if left to its own devices. Darren will destroy the manifestation, but only after it kills everyone else. This
upcoming slaughter is key to portray to Adahy as his visions superimpose the mayhem to come with the very
intimate and relaxed performance that is going on in real time.
This scene starts in or just outside the Velvet Lounge. The Cast has enough time to briefly chat with Morrigan
about her upcoming performance and the monster from the night before. Before the conversation is concluded,
Morrigan will need to get ready for her act. Meanwhile, Darren will enter the lounge and ask the bartender a few
questions in order to identify the Cast. He will approach the Cast during Morrigans performance; paraphrase the
following description according to what the Cast can detect when they finally notice him.
Darren Yuhas is 34 years old, just over six feet tall, and weighs a very fit 215 pounds. He has black
hair in a crew cut but is otherwise of ambiguous descent. He looks like he is mixed white. He wears
seasonally appropriate but otherwise rugged clothing, preferring denim or khaki, cotton, and leather. He
wears steel-toed boots and a leather belt. He has at least a folding knife on him, though he would be more
comfortable with more weapons. He speaks with a light South African Dutch accent. Some scars of various
sorts including claws and burns adorn his arms and other exposed parts of his body.
His spirit is shot through with darkness. Much like the matrix of the monster, Darren has a hostile and
hungry bent to his soul. He is the sort of person that acts with purpose but clearly believes the end justifies
the means even as he does things that others might mistake as good.
Insight reveals that Darren is under the influence of black magic. He is bloodthirsty and loves to hunt
and kill sentient beings. However, he is obsessed with the thrill of hunting down and killing supernatural
beings. He has convinced himself that he does this for the sake of humanity, but that is a lie and in his quiet
moments, he knows it. He is prepared to use anyone or anything to acquire the knife and kill the monster;
he knows who the next target is but has no intention of actually helping them.
Darren starts with small talk about Morrigans performance and mentioning the attack from before. He is quick
to get to the point and starts asking questions about the monster and Kurt Chandler. He also drops several useful
clues that the Cast could not otherwise acquire on their own.
There are several important hints to drop during this exchange based on what Darren knows of the situation.
Darrens visions have revealed Kurts appearance but not name; hell ask for the name of the person matching
Kurts description. Those visions have Kurt with the knife, but Kurt did not have the knife. It is key that he ask about
an Etruscan silver dagger and then become particularly disgusted when the Cast does not give him the
information he wants. He has encountered the monster before, but has no name for it and so he references by
description; he only expects confirmation that the monster he expects is the same monster that arrived (it is).
This scene is important because it illustrates that the world of the supernatural is broader than just the Cast.
Furthermore, it illustrates that not all people are of the highest moral standards. The other key to this scene is that
Darren must be extremely offensive, the goal is to convey a sense of superiority that can inspire the involvement of
the Cast. After he gets what he wants, he does not care who he offends. Remember also that he is a very talented
precog and almost nothing the Cast does will surprise him. However, their actions may interfere with his plans and
he really doesnt like that. He will not, however, try to kill them. He is not that sort of person, he does not like the
idea of hurting anyone or anything that is not his target, but he is not above it.
The exchange should leave the Cast with a bad taste in their mouths. Even without springing a few choice
metaphysical powers on him, Darren comes off as the sort of person that has no interest in helping so much as
acquiring the knife for his own purposes. When he leaves in a mild hurry after a suddenly distracted zone-out, it
should give the impression that he is going to do something dodgy.
Darren gets a vision about the impending attack moments before it occurs. He goes to collect his machete, intent
on destroying the monster. He is unaware that destroying the manifestation, even with the black blood machete, will
not actually kill the spirit. A vision after his victory or its departure reveals this truth. For the Chronicler, last time he
was on the trail of the knife, he was able to defeat the manifestation and kill the owner before it could return so he
didnt realize that relative invulnerability at the time.
7
The arrival of the monster depends heavily on what its target is. If it is targeting the police officer only, it will
appear when the officer is alone in the bathroom. For the sake of the story, the officer avoids the initial attack and
runs back out into the main lounge area. Since it is in such a target rich environment, it will attack every life force it
can. Its strategy is to grab and hold onto the off-duty officer in one hand while grabbing and biting out the
midsection of every other person it can get to.
If it is targeting both the Cast and the police officer, it will emerge from the bar, eat the bartender, grab the
officer and eat him behind the bar, then erupt into the main lounge to attack the Cast. The goal at that point is to
capture the person with the greatest apparent Essence pool (as a spirit being, it can see the Essence of the people in
the area, making Morrigan and Adahy the primary targets, with Medea a close third). If it seems that the Cast is
prepared to defeat it, the monster will quickly eat one of them (whichever has more) and then try to escape with the
other. It will not eat anyone that has been dead for more than that persons Constitution x2 minutes (when that
character is beyond the help of modern medicine and the soul leaves the body entirely).
If it is targeting only the Cast, it will spring up from backstage and go for Morrigan first. It will then go after the
others in much the same way as the prior attack strategies. Anyone that gets between it and its target gets picked up,
has his or her midsection bitten out and swallowed, and is subsequently cast aside.
The bloodbath in the Velvet Lounge is meant to do two things. Firstly, it is to convey the sheer power of the
monstrosity and give the initial impression that the Cast is helpless against it. Immediately following that is evidence
that mortals are not helpless against such a being, but only if they know what they are doing and come prepared.
For the sake of the horror story, this is the glimmer of hope that gives the Cast the impression that they are not
entirely helpless.
Even if Darren ends up taking action, he should still come off as very offensive. He will use the Casts inability
to effectively fight off the monster as evidence of their gross incompetence. The Chronicler should be careful to
convey Darrens contempt without actually completely demoralizing the players. The goal should be to inspire a
feeling of resentful persistence, almost to the degree that the Cast feels like they will save the day just to spite
Darren.
INTERMISSION 2
This is a break in the action again. However, by this point, the Cast should have gathered several important
clues. It should be clear that Kurt Chandler is directly involved with the monster. The aforementioned Etruscan
silver dagger is also a significant player in this story. This is a chance for the Cast to look into the details of the
world, and those have to be provided by the Chronicler due to the customizable location and era of this tale.
The Cast needs to figure out what to do. This affords them an excellent opportunity to use a lot of their
respective contacts and other information gathering abilities. Melusines personal library of occult grimoires can be
combed for references to the knife. Though it will never refer to it as an Etruscan silver dagger, a brief passage in
Latin explains that the monster can be drawn back into the knife but the explanation involves words that she does
not recognize.
The other people involved in the story that are acting during the Intermission period are described below.
Darren continues his investigation distinct from the efforts of the Cast. He starts by trying to identify the man in
question and tries to figure out anyone that would have a particular desire to target police personnel for such
gruesome executions. It should take him very little time to figure out what is going on. Armed with a little bit more
information, hell stealthily attack the Chandler Estate.
Serena Chandler should be able to wake up from time to time if enough days have passed. She is mostly
delirious during these periods and retains no memory of the events. She always asks for her father or mother
whenever she is awake.
Kurt sits at Serenas bedside almost every waking minute, alternating between consoling her, talking about her
mother, talking about revenge on those people that did this to her, and occasionally just crying wherein Serena tries
to console him instead. He has taken medical leave from his business to keep a careful eye over his daughter. His
business partners are not terribly relevant, but if investigated can provide some additional insight into his personality
and history. They are somewhat concerned for him, but not terribly because he has been something of a loose
cannon since Mary died.
The knife is in a secret chamber in the Chandler Estate. The chamber is protected by a Ward (Strength 10).
Searching for the monster reveals Kurt and Serena Chandler as they are always together. It is imperative to
maintain the impression that Kurt is the host.
Penny has not heard about the events except through Melusine. If kept apprised of the situation, she promises to
get some contacts on the subject. If pressed for more active involvement, she will research the knife and monster in
8
the Rosicrucian archives. She will call later at a dramatically appropriate time to share her findings and explain that
the monster can be bound inside the matrix of the knife but only if the host to which it is attached is killed with the
knife.
Tim Shinozaki is aware that there are several police deaths but he has no inside knowledge regarding them. He
does have some inside knowledge about Serena and Kurt that he will share if Clarissa promises to join the Cabal of
the Psyche. He will explain the mental states of Serena and Kurt. Serena came to terms with the death of her mother
and the necessity of the police action and that it was an accident that Mary died. Kurt is severely repressing his
feelings and his daughter is trying to console him. In effect, Tim should effectively explain the motive.
The Cast should be guided to the conclusion that they must acquire the knife and use it to kill Kurt. This
conclusion is only partially correct but it is important for the final twists that it be the followed to conclusion.
It is imperative that the Cast use all their resources to hunt down the knife and Kurt. Kurt is easy to find because
he is at home. The knife, however, is not so easy. It is stored in a secret chamber where the ritual to summon the
monster was performed. Destroying the altar or the ward that protects the chamber and knife will not end the
summoning.
Melusines Farsight and Locate invocations are going to be very useful for finding and observing Kurt, Serena,
or Darren. Searching for the monster reveals nothing unless the Task result exceeds the knifes wards Simple
Strength Test (Ward Str 10), if Melusine beats the Wards Strength, she finds the knife. Similarly, any effort to find
the Etruscan silver dagger has the same result as looking for the monster. Cleansing will not function to fight the
creature but can be used on Darren to help purify him of the black blood machetes influence. If successful, Darren
will cast off the machete and try to help, but without it, he is significantly less effective against supernaturals. The
Symbols of Protection will not protect against physical assault by the monster.
Morrigans magic is not particularly useful. She lacks significant magic to oppose anyone and though shes
cruel, her best courses of action are ineffective against a directly hostile opponent.
Medeas talents, however, are much more suited to the last scene. Hideaway can be used as invaluable
protection against the monster that will undoubtedly attack anyone that approaches Serena or the knife. After that,
the other invocations in her collection have varied uses, with Levitation being an excellent way to just get out of the
monsters reach.
Adahys powers are useful for investigation. Soul Projection lets him scout areas, his compact with a cockroach
spirit provides an additional set of eyes and potentially another ally that might distract the monster while he and the
others do what must be done. His prescience should have helped guide the story along.
Clarissa may be one of the best people available to directly oppose the monster if it wasnt for her lack of skill
in Mindfire. Other than that, she is exactly the sort of reckless young person that would be willing to be in for a
dramatic showing, assuming she survives this far.
Carter is the resident combat badass, and even he isnt that good. With a marked lack of powers, the best he can
do is investigate the monster and protect the Cast. Fortunately, his street contacts should be give him better intel than
pretty much any source available to other people.
The final conclusion must be that the Cast will go to the Chandler Estate and take the knife, by force if
necessary.
A LOT OF THINGS CAN BE FORGIVEN

The final scene of this story has the Cast tracking down the knife with the intent of killing Kurt Chandler in
order to trap the demon and stop any future killings. The events of the previous scenes may have whittled down the
Cast by a fair few members. However, there is not much variety in this final scenario as it is largely independent of
the actions taken during the rest of the story.
The activities of the Cast during Intermission 2 are very important for this scene. They should have put their
extensive metaphysical abilities to the test in order to find out as much as they could before proceeding. Although
they probably could not look inside the Ward, the inability to find the knife by any other means should be a strong
indicator that it is stored there. Finding the secret room should also have been done in advance. If the Cast, by some
amazing and probably depressing miracle, opt to not do their due diligence, this final scene is going to be incredibly
difficult.
The Chandler Estate is a large two story mansion with a broad front yard and high fences. The inside is richly
appointed. Several historical artifacts are on display throughout the mansion with several rooms devoted to
displaying Kurts vast collection. They are divided thematically and demonstrate that his wealth is quite vast. The
personal rooms are upstairs whereas the lower rooms are used to display Kurts collection or have more practical
purposes like the kitchen and dining room.
9
The essence signature of the estate is fairly distinct. It has the generations of the Chandler family suppressed
under a torrent of despair, jealousy, and a growing malice. The most obvious flavor of essence is a depthless and
seething hunger. The cause of this is clearly because of the presence of the monster who has permeated the area with
its own energy. As noted before, Mary ascended shortly after she died so her spirit is not present to offer assistance
even if a necromancer were present.
The secret chamber is on the lower floor. It was originally Marys study and personal library. Kurt put up a
brick wall all along the window and redid the interior wall to seal away her study because he was so depressed about
her death. Eventually, he remembered the knife and what Mary said about it and decided to try the ritual she
described. In order to get into that room, he approached from one of his display rooms and used a sledge hammer to
smash through the side wall. He then put a display case over the hole and has since forbidden anyone to enter. The
display room is locked with a relatively simple mechanical lock; Kurt has the key in a box in his study.
Note: This particular door is the only door in the house that is locked on the lower floor. If the Cast needs more
of a clue, they deserve to be eaten.
Note: Players have a talent for disruption, but it is not necessarily because they are so insightful that they preempted the events of the story and took appropriate action. If the Cast is being particularly dense, label the key in
Kurts study Etruscan or Roman so that they have some sort of hint.
The secret chamber has the knife in a display case inside of a powerful ward drawn onto the floor in blood.
Evidence of the ritual used to create the ward and control the monster is still scattered throughout the room. The
eviscerated remains of a dog is cast haphazardly in the corner of the room. There are also several bookshelves with
mixed occult and history books, though several are of special note if investigated. Mary had a book she bought from
Melusine over two years ago as well as the grimoire that explains the ritual. The desk is dragged into the center of
the room and is splattered with dried blood. The objects that may have been on the desk are in a pile near the
window.
The idea of this room is to convey what went on since Kurt never came back after the ritual ended unless he had
to use the knife to sacrifice another few animals to feed the spirit. It started with a blood rite to protect the knife and
location (hence the Ward), then the ritual to awaken and bind the monster involved more sacrifice and the burning
of the innards of the sacrifices. However, an oversight almost ruined the ritual. The monster can only be attached to
a virgin. Kurt swept the things from the desk, picked it up and put it in the middle of the room and ward, and used it
as the altar where he would bind the monster to his daughter.
Note: The above discovery can be made by Adahy because of Mindtime, but the image of the monster
superimposed over the entire scene should keep him from discovering too much. The description above is for the
Chronicler to understand what happened earlier and thusly get an idea of how to provide additional details to the
Cast.
The moment the knife is touched, it sends out a wave of essence that any Gifted person can detect. However,
this same pulse is like a dinner call to the monster. The clock starts now. No matter where the monster is or what it
is doing, it will abort and head straight back to the knife. It will not obey the orders of the wielder and the knife will
not hurt it, but it is bound to protect the host and the knife and anyone that is not authorized to touch it will die. So
will anyone near that unfortunate soul.
If the Cast has not already discovered how to use the knife properly, Penny should call and explain (using an
air elemental as a messenger if she cant use a cell phone because of the era). She can either do that right after they
pick up the knife or during/after the confrontation with Kurt. However, the monster is now on their tail and should
be used to horrifying effect as there are no others that can stand in the way to give it pause.
The final moments of this story should occur in Serenas bedroom. Her room is adorned with several dolls, a
desk, and all the other features typical of a wealthy girls bedroom. Her vanity has a picture of her family before her
mother died: Kurt is smiling protectively like he is master of the world while Mary (an attractive woman that could
only be described as a hot librarian) hugs Serena. Serena lies on her bed with the appropriate medical equipment
nearby, including an IV, several casts, and a neck brace. She still is in bad shape, but she should be able to be awake.
The chronicler should master and paraphrase the following description.
Serena Chandler is a cute little girl with pale skin and mouse brown hair. In her current state, her skin
is clammy and her hair is a stringy mess. She has sparkling green eyes dulled by a black eye. She looks to
be about thirteen, but she is probably short and light for her age. She has a cast on her left arm and leg and
her neck is in a brace. She otherwise wears a loose nightgown.
When approached, she whimpers pleadingly for her mother or father (depending on the person
approaching), asking if they are going to make it stop hurting. She is not lying, it really does hurt, but she
will quickly recognize who is approaching her.
10
Insight into Serena reveals that she wants her mommy back. She wants to protect and help her daddy.
She does not hate the police.
The monster fades away the moment the knife is brought within the same room as Serena and Kurt. The scene
should end abruptly at that point and the players be given a chance to breathe.
The pause here is artificial. The second part of the last scene involves the twist.
KILLING KIDS ISNT ONE OF THEM

This part is where the violation aspect of horror comes into play. The monster is bound to Serena, not Kurt. The
person that must die is the otherwise innocent little girl. This should only start to become evident after Kurt is
already dead.
Once Kurt is dead, his spirit is devoured by the monster in spirit form. This may not be seen except by Clarissa
before it fades away into Serena.
Upon failing to recognize the Cast Members, Kurt will attack them and scream for the monster to kill these
people. The monster will not obey, but Kurt should be giving the Cast the impression that he is in command. By this
point, the Cast should be made aware that the person to whom the monster is bound must be killed with the knife.
However, they must be convinced that Kurt is the person that must be killed.
Serena should be propped up in some way to let her watch the scene but she does not initially comprehend what
is happening. She awakens and whimpers for help, begging her daddy to make it stop hurting. As she comes to,
shell start begging for what she sees to not be real. She will even try to claim that it is just a dream. However, the
essence of the monster is still in the area. Insight into Serena will reveal that the monster is bound to her.
The last words Serena should say are, Im so sorry. I dont hate the police. But they deserve to die for what
they did to my mommy. So do you, for what you did to my daddy. The monster then manifests and attacks the
person with the knife, probably by surprise.
The subsequent battle is an example of fighting with a goal other than killing the attacker. In order to prevent
the Cast from being slaughtered, someone must kill Serena (stabbing her even once should be enough; she is in bad
shape, afterall). Serena fully intends to use the monster whenever she wants.
It is very possible that the Cast will not survive or be able to bring themselves to kill Serena. If that is the case,
as the last character watches the monster eat her innards, she will catch sight of Darren sneaking in, grabbing the
knife, and Serena shrieking before he executes her. Just before the last Cast member fades into death, Darren should
walk up them and look down with disdain, with the knife and ritual book in hand, and say something awful like, I
knew you wouldnt be able to handle it. All I had to do was, wait. He takes a deep and satisfied breath, Its finally
mine.
DENOUEMENT
If the Cast was able to kill Serena and thusly save the day, they will have to explain what happened to the
authorities if they are caught. Darren will still want the knife, but trusts that the Cast wont use it so will not
approach overtly. The person whose hand resulted in Serenas death should be described as suitably traumatized. It
is even possible that this Cast will never speak again after the events of this story.
The Chronicler should give consideration to providing the denouement as the players may want one or may be
satisfied with the in-game ending. Something suitable based on the survivors and such should be imagined and
shared accordingly. No specific suggestions are provided because the specifics of the conclusion are entirely in the
hands of the Chronicler, players, and dice.
11
KURT CHANDLER
SERENA CHANDLER
2
2
2
Str
Dex
Con
3
2
3
Int
Per
Will
Life Points: 26
Endurance Points: 26
Speed: 8 mph
Essence Pool: 14
No Covenant Special Abilities
1
3
2
Str
Dex
Con
3
2
3
Int
Per
Will
Life Points: 22
Speed: 10 mph
Essence Pool: 14
QUALITIES & DRAWBACKS
Cruel 1
Weird Delusions 3 (psychotically jealous)
Minority 2 (child)
Emotional Dependancy
Impaired Vision (she wears glasses)
Resources +5 ($5 million in property, $200,000

monthly pretax income)
Charisma +1
Appearance +1
SKILLS
SKILLS
Brawling 2
Computers 2
Dancing, ballroom 3
Driving, civilian cars 2
Guns, small arms 1
Haggling 4
Humanities, art 2
Humanities, business 3
Humanities, law 3
Intimidation 3
Language, French 3 (native language is English)
Language, Greek 2
Language, Italian 3
Research/Investigation 4
Rituals, Etruscan 1
Smooth Talking 3
Storytelling 2
Swimming 1
Beautician 1
Brawling 2
Computers 2
Dancing, ballet 3
Dodge 1
Humanities, art 2
Humanities, business 2
Intimidation 2
Language, French 3 (native language is English)
Language, Latin 2
Smooth Talking 2
METAPHYSICS
Spirit Patron Voracious Devourer
Power (4) (+60 Essence, refreshes at midnight)
Summon Monster (6) (burns 54 Essence)
Gift of the Soul (-4)
Gifts of Kin (-2) (humans or animals must be eaten or
sacrificed to refresh Essence pool)
METAPHYSICS
None
12
DARREN YUHAS
THE VORACIOUS DEVOURER
4
4
3
Str
Dex
Con
3
4
3
Int
Per
Will
Life Points: 47
Speed: 14 mph
Essence Pool: 41
Solitaire Special Abilities: +1 to all Tasks associated
with a Metaphysical Art of choice (The Sight)
12
4
5
Str
Dex
Con
3
5
6
Int
Per
Will
Life Points: 122
Speed: 30 mph
Energy Essence Pool: 61 Vital Essence Pool: 61

Accursed 3 (machete gives him an Essence addiction)
Charisma -1
Cruel 1
Humorless
Prejudice 2 (hates people that cant fight)
Fast Reaction Time
Hard to Kill 3
Nerves of Steel
Situational Awareness
SKILLS
Brawling 5
Climbing 2
Dodge 5
Driving, civilian vehicles 2
First Aid 2
Gambling 3
Guns, long arms 3
Guns, small arms 3
Hand Weapon, knives 3
Hand Weapon, swords 5 (7 ranks with machete)
Intimidation 3
Language, English 3 (native language is Africaans)
Lock Picking, mechanical 3
Mechanic 2
Notice 4
Occult Knowledge 3 (5 ranks regarding spirits)
Questioning 3
Research/Investigation 3
Riding, horses 1
Smooth Talking 2
Stealth 5
Surveillance 5
Survival, plains 3
Swimming 1
Throwing, knives 4
Tracking 3
Traps 2
Extra Essence 3 (+6 Vital and Energy Essence)
SKILLS
Brawling 4
Climbing 2
Dodge 3
Language, Greek 3 (Native language is ancient Latin)
Notice 3
Running, sprint 3
Stealth 4
METAPHYSICS
Voracious Devourer species (powers illustrated later)
Spiritus 4
Dark Aura (costs 1 Essence per yard radius centered on
self to reduce lighting by one step, lasts 1 Turn per
Spiritus and Willpower Task Success level)
Locate 2 (as the invocation)
METAPHYSICS
Mindtime Art 4
Mindtime Strength 5 (future 9 days, past 9 months)
13
VORACIOUS DEVOURER
The Voracious Devourer is a type of primordial fiend. It has no solid natural form, instead assuming frightful
imagery from the minds of those that witness it and the being that summoned it. For this story, there is only one and
it is bound to the Etruscan silver dagger and Serena Chandler.
The natural state of the spirit is a floating sphere of eyes, fang filled mouths, and claws surrounded by a corona
of hungry black and red energy.
MAKING A VORACIOUS DEVOURER CHARACTER

Voracious Devourers are built using the Unnatural character type. Voracious Devourer is a Racial Quality worth
46 points.
ATTRIBUTES
The primordial fiends are inhumanly large and unbelievably strong. Though they seem to be mindless when
they are active, the being has a very malicious cunning that allows it to be more dangerous than most would assume.
PRIMARY ATTRIBUTES
Strength +9(24), Dexterity +1(7), Constitution +2(8), Intelligence +0(6), Perception +2(10), Willpower +2(8)
SECONDARY ATTRIBUTES
Life Points: EE + VE
Vital Essence Pool: sum of attributes +10
Energy Essence Pool: sum of attributes +10
Top Speed: (D+C)x2 +10 mph
Natural Armor: S+Cx2
MORPHOLOGY
The Voracious Devourer is a primordial spirit of hunger and appears to have a mix of predatory features all
geared toward finding and devouring prey. The physical manifestation is something of a partial biped with humanlike forelimbs and more animalian hindquarters, though it is easily double the dimensions of a full grown man.
However, when it moves, its body shifts in form to accommodate the type of movement and purpose of the creature,
flowing from one form to another with a dreamlike consistency similar to the way ferals move. However, the
creature is also entirely black and almost appears two-dimensional as its body does not really reflect light.
Natural Weapons
The Voracious Devourer is equipped with several very effective natural weapons. This spirit has hands with
opposable digits ending in huge claws. Its hindquarters are also clawed. Its jaw(s) are filled with rows of savage
canine teeth, though it can manifest jaws like a shark or lamprey if it is appropriate.
Voracious Devourer forelimb claw (Brawling); D8xStrength; Slashing
Voracious Devourer hindquarters kick (Brawling); D8x(Strength+1); Blunt and Slashing
Voracious Devourer bite (Brawling); D8xStrength, Slashing and Stabbing
Note: Under normal Xy size rules, these dice are actually D4 and then doubled against human size targets
before armor.
Shapeshifting
The creature cannot actually assume a specific form of any kind, but it can change its apparent size through a
simple act of will. It uses this ability to walk in disguise in the size of a human, but because it is so strange and
protean, this disguise only works at night and only if someone isnt really looking at it.
Immaterial Being
The Voracious Devourer is technically a spirit, so it follows all the rules associated with being a spirit.
It gets access to a metaphysical skill called Spiritus, which it uses for its spirit related powers. It is considered to
always be flying, though it may move about in a manner appropriate to its form. It can channel Essence as if it had
14
Essence Channeling equal to its Willpower, but it recovers as a mortal. It cannot increase its own Essence pool, it
has to consume the Essence of others, whether given or taken. Oaths it takes are metaphysically binding and so it
will not break them. It is invisible and cannot affect the real world. It can move at super speed equal to its Willpower
x100 mph at the cost of 1 Essence per minute. Crystalline salt that passes through its matrix inflicts damage and it
cannot pass over a closed geometric shape drawn in salt.
PSYCHOLOGY
The Voracious Devourer is defined strictly by its desire to eat other beings. Everything it does is to get that
opportunity. Technically, it is an intelligent being, but it is obsessed with devouring spirits and the innards of
humans and thusly their spirits.
Alien Psychology
The Voracious Devourer does not think anything like a human. It does not even think similarly to other spirits,
except perhaps fiends. Most fiends are also scared of these spirits because these do not become servile under any
conditions.
THAUMATURGY
The Voracious Devourer typically does not have powers of its own. It can acquire a few powers that make it a
better hunter, but it is otherwise just a monster.
Restricted Metaphysics
This spirit can acquire Essence Channeling, Invocations, and Spirit Patrons in addition to a very few racial
powers.
Innate Magic
As a supernatural being, it counts as Gifted for all purposes. However, it takes damage to all of its Life Points,
Vital Essence, and Energy Essence if it is hit by an Essence damaging effect like Soulfire.
Essence Drain
In spirit form, damage from its claws or bite transfer the lost essence to the Voracious Devourer.
While manifested, the Voracious Devourer must eat the internal organs of a physical being in order to take its
essence. This act is physically and spiritually fatal. However, the essence of a physical being must be absorbed
within 2 minutes per Constitution level or it is lost. Typically, the monster will quickly eat the first being it can get
so it has a hoard of essence, and then it will capture another one to eat slowly for Evolution and just because it
enjoys the act.
Manifestation
In order to manifest physically in the material plane, the Voracious Devourer must be supplied with an external
source of Essence. It costs 1 Essence per Vital Essence to give this creature a form. Typically, the monster will get
this from a summoner or through a ritual, sacrifice, or time of power.
15

The Twisted Love of A Jealous Man v02

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

The Twisted Love of A Jealous Man v02

Caricato da

Copyright:

Formati disponibili

Contact the author, who retains copyrights for all original content, at: xycho.mantis@gmail.

THE TWISTED LOVE OF A JEALOUS MAN

A SWEET DAY TURNS SOUR

THE END JUSTIFIES THE MEANS

A LOT OF THINGS CAN BE FORGIVEN

KILLING KIDS ISNT ONE OF THEM

QUALITIES & DRAWBACKS

QUALITIES & DRAWBACKS

Resources +5 ($5 million in property, $200,000

THE VORACIOUS DEVOURER

QUALITIES & DRAWBACKS

Extra Essence 3 (+6 Vital and Energy Essence)

MAKING A VORACIOUS DEVOURER CHARACTER

Potrebbero piacerti anche