Ménage à Monster

Toronto After Dark is here, and once again I find myself skulking in the spider haunted shadows of the Bloor Cinema, madly scribbling down profane ideas birthed by the weird and wonderful sights revealed on the silver screen…
Toronto After Dark is a horror and genre film festival oozing with gobs of monster and rpg inspiration (if you’re in the GTA Oct. 18-26 be sure to check it out).  Many of the films the festival showcases won’t see wide release – so in addition to extracting some rpg goodness from each movie, I’ll also give them a bit of a critique, so fellow gamers can know what they need to track down and what to avoid.  I’ll try and keep spoilers to an absolute minimum.
Roleplaying games helped foster an unhealthy love of monsters which hooked me at an early age to genre films, that in turn help to inform my tabletop games (in a weird kind of feedback loop).  This ongoing series of articles takes these influences and mashes them together to create a strange hybrid I call It Came from the DVR (although I seem to be in the theatre more often than in front of the television, but I’m not complaining – they have better snacks).

Citadel

After losing his wife to a violent assault from a group of hooded youths, Tommy is left to raise their daughter on his own.  In the aftermath of the crime, Tommy is gripped by crippling agoraphobia, convinced that the ‘hoodies’ are waiting outside to steal his daughter.

Pure, uncut, 100-proof, fear.  Plain and Simple.

Citadel was simply the most frightening film of Toronto After Dark.  This movie is proof that there are untapped, original voices in horror and if that doesn’t sell you on this festival gem, I don’t know what will.
While completely different in terms of story and theme, Citadel in many ways reminds me of last year’s Abesntia.  Both films were made on modest budgets, but don’t look like they were; both are almost bloodless but still very threatening; and both left me very creeped out (both also have terrifying pedestrian tunnels – honestly why do city planners keep making those?).
There is a perfect storm between writer/director Ciaran Foy and lead actor Aneurin Barnard that captures an atmosphere of absolute dread and makes Citadel so effective.  If you have ever been the victim of crime, or lived under the threat of violence, there is a certain kind of fear that infects your life.  I can’t remember a movie that captures this quality quite as well as Citadel does.  It’s hardly surprising that Foy himself was a survivor of random gang violence.  He really lays it out in Citadel, and there are scenes that feel so raw and exposed they’re hard to watch (the group therapy session with the counsellor speaking about re-victimization struck a chord).  Despite fear being the stock and trade of horror films, rarely do they feel so genuine.
I mentioned the film is relatively bloodless, which will disappoint gore hounds, but that doesn’t mean Citadel is non-violent.  The portrayal of violence in the film is like a car crash: it happens quickly, with no fanfare and no spectacle.  What makes it so shocking is the horror of how utterly mundane it is to snuff out a human life.  It stands in such stark contrast to the theatrical deaths of other horror films and Foy smacks you with it right in the gut.  It’s used sparingly, but the threat remains, driving home the fear in Barnard’s performance (and I’ll tell you it stuck with me on my late night ride home alone on the subway).
The ‘hoodies’, Citadel’s villains, are well done and frightening.  Foy wisely leaves them as enigmatic, violent question marks for most of the film.  One of the signs that I am getting older, is that I find myself suspicious of groups of loitering teenagers.  I am sure that I’m not the only one, and the film plays nicely into that particular irrational fear (at least I’m not so old that I don’t think it’s irrational anymore).  When he does reveal the nature of the hoodies, the payoff is worth it.  Foy creates a nice urban mythology and social commentary all in one.
What must be the worst social housing development in Glasgow provides an excellent backdrop for the story and Foy puts it to good use.  I’m struck by how post-apocalyptic visions of urban decay have become in recent years (Crave, also in the festival, uses Detroit for similar effect).  A sign of global economic crisis perhaps?  Oh, and as I mentioned earlier Citadel pushes one of my fear buttons by including a very scary pedestrian tunnel (seriously, put one of those in your film and you are guaranteed to raise my anxiety level a notch).
Citadel is highly recommended.  It’s the kind of film that will have casual fans and jaded horror afficionadoes alike looking over their shoulders long after the credits roll.  I can’t wait to see what Ciaran Foy does next.

RPG Goodness

The hoodie creatures in Citadel are freaky, and reminded me of one of D&D’s creepier monsters, the semi-obscure meenlocks from Fiend Folio (just in case there was any question that I’m always thinking about D&D monsters).  The movie is excellent, but if that wasn’t enough of a pull to get you to see it, if you ever even think of running an encounter with meenlocks, Citadel is the blueprint.  While the hoodies don’t really share the insect look of meenlocks, the stooped, shambling throng of random violence that Foy presents paints a perfect scene to steal for the tabletop.  Add in the baby snatching plot (and a disturbing origin story) and you’ve got a pretty nice self-contained adventure.  In fact, the kinship between the hoodies and meenlocks is so strong that I wonder if there isn’t some common folklore that the creators of both creatures were drawing on (or the less likely but more intriguing possibility that Foy was inspired by D&D – without giving any spoilers there’s a connection between the 2e version of the monster and a certain scene in the film).  Internet legend holds that the made for TV film Don’t Be Afraid of the Dark was the inspiration for the meenlock (and the case is pretty strong), but I wonder if there isn’t also something older in its DNA?
My first instinct was to update the meenlock for the Pathfinder edition of the game, but I decided to stick with Citadel’s monsters because there’s an aspect to them that is extremely common in horror films (and nature) that I’ve never seen in D&D and wanted to try and re-create myself – the ability of predators to see (or smell) fear.  In fact it’s such a common (and awesome) motif that I can’t believe I haven’t seen a mechanic for it in any rpg that I’ve played.  Based on the way the ability works in the film, I figured that the mechanics for the faerie fire spell were a good place to start.  The ability to see fear wouldn’t be that useful without the ability to instill it though, so any monster inspired by the film would also have to have a fear aura…
Just a word of warning, even though I’ve adapted the mythology of the film for a fantasy setting (as well as changing the name – ‘hoodies’ just doesn’t seem to fit)it contains serious SPOILERS for anyone who hasn’t seen the movie yet – and why haven’t you?

Hoods

“There was something about the way the gang of small, ragged humanoids lurched and jerked towards him that the captain of the watch found threatening.  They concealed their faces beneath a collection of grimy cloaks and hats but he could see their shrivelled and misshapen hands reaching for sticks and loose cobblestones.  The captain had seen his fair share of combat and still these creatures unnerved him more than a charging ogre.  Maybe it was how the one on the left, although stooped and twisted, reminded him of the Wainwright boy who had gone missing not a fortnight ago…”

Hoods are violent fey creatures that thrive in the worst slums of large cities, infesting abandoned buildings and emerging at night to terrorize locals and kidnap the young.  In their darkened lairs they cultivate a loathsome black mold that serves as both a foodstuff and a method of propagation.  Force-fed to their captives, the black mold slowly and irreversibly transforms its victims into stunted, twisted versions of themselves, new members of the next generation of hoods.  If their nest is not found and destroyed, a hood infestation can spread across the whole city, ultimately causing its collapse.

Toronto After Dark is here, and once again I find myself skulking in the spider haunted shadows of the Bloor Cinema, madly scribbling down profane ideas birthed by the weird and wonderful sights revealed on the silver screen…
Toronto After Dark is a horror and genre film festival oozing with gobs of monster and rpg inspiration (if you’re in the GTA Oct. 18-26 be sure to check it out).  Many of the films the festival showcases won’t see wide release – so in addition to extracting some rpg goodness from each movie, I’ll also give them a bit of a critique, so fellow gamers can know what they need to track down and what to avoid.  I’ll try and keep spoilers to an absolute minimum.
Roleplaying games helped foster an unhealthy love of monsters which hooked me at an early age to genre films, that in turn help to inform my tabletop games (in a weird kind of feedback loop).  This ongoing series of articles takes these influences and mashes them together to create a strange hybrid I call It Came from the DVR (although I seem to be in the theatre more often than in front of the television, but I’m not complaining – they have better snacks).

[Rec] 3: Genesis

It is the happiest day of Koldo and Clara’s lives as they celebrate their nuptials with a lavish wedding reception for a huge crowd of friends and family.  Unfortunately, one of the guests has brought more than just a wedding present – he’s infected with a deadly virus that turns its victims into flesh eating zombies!  In the chaos that’s unleashed Koldo and Clara are separated, beginning a desperate fight to reunite the lovers.

Funny, Scary, Bloody, Fun.

[Rec] 3 is a radical departure both in terms of format and style from the previous films in the series, so there are bound to be some strong feelings from fans of the franchise on this one.  Now, I am a big fan of the first [Rec], it scared the hell out of me, so when I heard that the latest installment in the series was a comedy, I was wary.  That said, [Rec] 3 really surprised me, not only for how much I liked it, but for how scary it was.
First, I should talk a little about what makes [Rec] 3 so different from its predecessors.  In spite of being the third installment in the series, [Rec] 3 doesn’t pick up the storyline from the first two films, although it is set during the same zombie outbreak (it’s not a prequel either, don’t let the ‘genesis’ in the title fool you).  You definitely don’t need to have seen the first two films to enjoy this one, but [Rec] 3 does add to the mythology of the franchise’s zombies (which is a smart move, making the film accessible to newcomers and rewarding for fans).  The biggest change is in format and tone.  While [Rec] 3 begins in traditional ‘found footage’ mode (as with the previous two films), once ‘the zombies hit the fan’ it switches gears from first person to third person POV in dramatic fashion.  Given that writer/director Paco Plaza uses the opportunity to poke some fun at the conceits of the found footage sub-genre, I get the impression he was feeling a little constrained by it as a storyteller.  The first [Rec] films, while they have their humor, are pretty serious affairs (deadly serious).  [Rec] 3 on the other hand, proudly flies the tongue-in-cheek banner, with plenty of laughs aimed at lampooning all the foibles of modern day wedding ceremonies (the choreographed bride and groom dance, family relations, the politics of wedding invites) and over the top kills.
As funny as the movie is though, it’s not a straight ‘zomedy’ like Shaun of the Dead or Zombieland either (where much of the humor comes from the zombies themselves).    The zombies in [Rec] 3 are (like its predecessors) truly scary.  For every scene I laughed out loud, there was a jump scare or tension filled chase that had me gripping the armrest.  That weird mix of laughs and scares carries on the tradition of films like The Evil Dead and Return of the Living Dead (which as a kid I didn’t realize was a comedy at all).  Perhaps it’s better to classify [Rec] 3 not as a horror/comedy, but as a horror and a comedy.
The action is bloody and well executed and, I have to be honest, as much as I like the immersion of found footage, I didn’t miss the shaky cam at all when the screen was filled with nice big shots and fantastic set-pieces.  Plus, seeing wide eyed Leticia Dolera as the blood spattered bride with a chainsaw giving it good to the undead (in heels no less) is worth the price of admission (and got a suitable cheer from the crowd at TAD).
In between the blood and chuckles there’s also a love story lurking in [Rec] 3.  Apocalypse movies, especially zombie ones, have a tendency towards cynicism (what with them being about how our society and morals are built on a house of cards).  Maybe that’s why I found the unabashed romantic elements of [Rec] 3 refreshing and sweet – even parts that in another light would have been a major downer.
[Rec] 3 is recommended, and would make a great double bill with Return of the Living Dead for a night of light hearted Halloween viewing.  Die-hard fans of the first two [Rec] films will have a problem with [Rec] 3 if they are looking for more of the same.  However, if they watch with an open mind and are willing to let the shaky cam go, I think they’ll be pleasantly surprised at how much fun this latest installment is.

RPG Goodness

The undead of the [Rec] series are very different from the monsters of traditional zombie films.  Although they spread their plague through biting, implying some kind of biological virus, they trace their origin to a supernatural source, a victim of infernal possession.  This brings the zombies of [Rec] 3 more in line with the undead of D&D than any movie I have seen in a long time, and I have to admit that gave them an undeniable appeal.  There is even a scene in the movie where a priest ‘turns’ the zombies using prayer (for all intents and purposes) so, at a minimum, gamers get to watch the Cleric’s signature ability on the big screen.
The explicit link between the demonic and the undead in [Rec] 3 got me thinking.  In most folklore, demons, vampires, ghouls and ghosts are all a part of what could be called the ‘spirit world’.  I really like the flavor of having a close relationship between that group of monsters (call it spooky), even though as a DM I think I have been moving farther and farther away from it over the years (subconsciously encouraged by later editions’ emphasis on monster ‘types’).  That’s a shame, because the classic D&D cosmology (pre-4e ‘great wheel’) can totally support it: the spirits of the departed move to the outer planes where they are eventually fashioned into fledgling demons and devils, sent back to the Prime Material to torment and haunt the living (while those that fail to move on become trapped on the Prime as undead).  It’s definitely an approach I will use the next time I run encounters that centre on possession (is it a ghost or shadow demon’s use of magic jar?), haunted houses (the lair of a vampire or bone devil?), or cemeteries (stalked by a pack of ghouls or grave oozing lemures?).  It helps that in most editions of the game demons and devils can be turned like the undead (either explicitly in the turning rules or through the application of the right feats).
[Rec] 3’s priest turns the zombies in a very creative way that I’m sure any Cleric player will be jealous of.  Given the limited selection of channelling feats in the Pathfinder edition of D&D, I thought I would add a few in the spirit of [Rec] 3.

New Channelling Feats for Pathfinder

Far Channel
You can unerringly throw your holy symbol to affect creatures with your channelled energy across the battlefield.
Prerequisite: Ability to channel energy.
Benefit: When you channel energy, you can choose to center the burst on a space up to 50 ft. away that you have line of sight and effect to instead of on yourself.  Use of this feat does not return the holy symbol to your hand, it must be retrieved normally.

Reliable Channel
Your practice channeling energy makes the results more predictable and dependable.
Prerequisite: Channel energy 4d6.
Benefit: When you channel energy to heal or inflict damage, you may reroll any result of 1 of your channel energy’s healing or damage dice.  You must keep the result of the reroll, even if it is another 1.

Widen Channel
You can concentrate the power of your channel energy to affect a larger area.
Prerequisite: Ability to channel energy.
Benefit: When you channel energy, you can expend 2 of your daily uses of that ability to create a 60-foot radius burst instead of a 30-foot radius burst.

Toronto After Dark is here, and once again I find myself skulking in the spider haunted shadows of the Bloor Cinema, madly scribbling down profane ideas birthed by the weird and wonderful sights revealed on the silver screen…
Toronto After Dark is a horror and genre film festival oozing with gobs of monster and rpg inspiration (if you’re in the GTA Oct. 18-26 be sure to check it out).  Many of the films the festival showcases won’t see wide release – so in addition to extracting some rpg goodness from each movie, I’ll also give them a bit of a critique, so fellow gamers can know what they need to track down and what to avoid.  I’ll try and keep spoilers to an absolute minimum.
Roleplaying games helped foster an unhealthy love of monsters which hooked me at an early age to genre films, that in turn help to inform my tabletop games (in a weird kind of feedback loop).  This ongoing series of articles takes these influences and mashes them together to create a strange hybrid I call It Came from the DVR (although I seem to be in the theatre more often than in front of the television, but I’m not complaining – they have better snacks).

Grabbers

Nothing much happens in the small, Irish village of Erin, and that’s just the way chronic alcoholic police officer Ciaran likes it.  Unfortunately, that’s all about to change.  Ciaran has just been assigned a new by the books partner… and the island is being invaded by a swarm of bloodsucking alien tentacle monsters.  The good news is that the aliens are deathly allergic to alcohol.  So the question is: can Ciaran and Lisa get the whole town drunk in time for the invasion?

A Throwback in All the Best Ways

Grabbers is a delightful throwback to the monster comedies of the 80’s, combining equal measures of lighthearted fun and menace.  It doesn’t really break new ground, but it’s territory I haven’t visited in a long time, and Grabbers navigates it perfectly.
The film is immediately comparable to Tremors (itself a throwback), and not just for occupying the same niche and having a similarly tentacled monster.  Grabbers takes the best parts of Tremors and transplants them to Ireland: suspense cut by funny kills, lots of playing with cultural stereotypes (Irish instead of the American Southwest), colorful personalities, and great back and forth between the two main characters (OK, the film’s name also seems to be taken from the ‘graboids’ of Tremors as well).  But here’s the important thing, Grabbers isn’t just a Tremors rip-off.  Aside from the change of scenery, Grabbers has a very distinct personality and brand of humor.  When was the last movie you saw where the only way to defeat the monster was by getting drunk?
A slight aside.  Acting drunk is hard, especially ‘funny-drunk’ (faking it I mean – getting drunk is incredibly easy… and fun).   If it’s not done right your film can turn from hilarious to stupid in a heartbeat.  Given Grabbers’ kind of ridiculous premise, it would have been easy for the whole thing to descend into Ernest Goes to Camp-ness.  Fortunately the actors pull it off, with some truly hilarious scenes and actress Ruth Bradley delivering some choice lines.
The romantic sub-plot is also well delivered.  Ruth Bradley and Richard Coyle have great chemistry, which adds a nice dimension to the whole buddy cop thing.
The titular monsters of the film are well realized and look good (even if they are mainly CGI).  For a smaller budget picture, this is an achievement (one that made for SyFy films rarely accomplish).  Though not perfect, the aliens never come off as so cheap that they take you out of the action of the film.  That’s important because, like the creatures of Gremlins, Critters, and yes Tremors, they provide just enough horror and suspense to keep things from getting too goofy.
Grabbers is recommended for a night of good old fashioned monster fun.  It’s the perfect film if you’re in mixed company and need something accessible for varied tastes in horror.  For fans of Tremors (or Gremlins or Critters for that matter), Grabbers is a must see, and a much better inheritor than any of the sequels those films spawned.

RPG Goodness

Horror comedies are a great inspiration for rpg games.  Inter-party conflict is the stuff of buddy pictures and any game that presents owlbears and gelatinous cubes as serious enemies makes the manoeuver from silly to scary commonplace.  Even some of the most dramatic and sober campaigns I have played in featured goofy table talk, full of pop culture references and lines from movies (not to mention the link between Monty Python and D&D is practically cliché).
I think the real lesson monster comedies have to teach DMs is how to handle the inherent absurdity of the game.  The lesson: play it absolutely straight.  The monsters in Grabbers or Tremors never try and ‘act funny’ themselves.  The humor comes from ridiculous situations and character interaction (in game terms: table talk and PC actions).  There’s no need for the DM to joke things up on their end.  An encounter with a vampire can inadvertently generate laughs and something seemingly silly like a fight with a mimic posing as a table with a birthday cake (an example from one of my own campaigns) can be absolutely terrifying.  In Dungeons and Dragons terms, I think a fight with a grabber could go either way, with a drunken party making all kinds of poor decisions and flubbing skill checks (as in the film), or as a gritty tactical battle that incorporates elements of many of Pathfinder’s alternate class archetypes (like the drunken master and drunken brute).  With that in mind, I present the grabber for the Pathfinder edition of D&D.

Grabber

“Slithering out of the water is a rubbery, black mass of ropy tentacles.  It rolls forward with a wet flopping sound, a horrible barbed tongue flickering out from the centre of the beast’s mass like a bullwhip.”

Grabbers are a race of ravenous, aquatic blood drinkers from the same destroyed world as the akata, where they occupied a similar, aquatic niche in the planet’s food chain.  Chunks of that dead planet cross the dark tapestry as asteroids, making planetfall and releasing grabber eggs into oceans and lakes.  Once hatched, grabbers relentlessly hunt warm blooded life, travelling inland in search of prey on rainy nights.  When compressed, a typical grabber is 2 ½ feet in diameter and weighs 150 pounds.

Juvenile Grabber
Juvenile grabbers have the young template.  Freshly hatched grabbers look like short stubby worms, but still possess the dangerous tongue and blood drinking of their adult form.

Giant Male Grabber
These creatures have the advanced and giant templates.  Female grabbers are far more common than the male of the species, which can grow to enormous size and appetite.  Female grabbers abandon their egg clutches in shallow water or on sandy beaches, leaving the males to protect them from predation – which they do zealously.

Currently I am running a Pathfinder campaign for my gaming group, and since I never got the chance to use my copy of The Shackled City hardcover while we were playing 3.5 I figured it wouldn’t be too much work to convert to ‘3.75’.  In spite of Paizo’s claims of backwards compatibility, you can’t really use 3.5 D&D adventures off the shelf for Pathfinder.  Most of it works, but the monsters and NPCs in particular are too weak to be a real challenge to a party of Pathfinder characters.  Converting the stat blocks isn’t impossible, but it does take time, and since I’m doing the work anyway (I’m a bit of a stat block perfectionist) I thought I would share (click on the pictures at the end of the article to download PDFs of the updated stat blocks for all the monsters and NPCs as well as some additional handouts I created for the third chapter).  You can find a conversion of the first chapter of the adventure path, Life’s Bazaar, as well as Pathfinder-style versions of the Greyhawk gods here, and the second chapter, Drakthar’s Way, here.
SPOILER ALERT
Obviously there are a ton of spoilers here, both for the campaign and the adventure.  So if you plan on playing in The Shackled City, peeking ahead is going to ruin a lot of the fun.  If you are one of my players, it goes without saying that you shouldn’t read any further.  You’ve been warned.

Flood Season

The following changes should be made to the adventure for it to play smoothly using the Pathfinder edition of D&D.   Click on the pictures at the end of the article to download a PDF of Pathfinder stat blocks for every NPC and monster in the adventure (when I DM I like to have the monster stat blocks in front of me, instead of having to flip to the back of the book or shuffle through Bestiaries), as well as a few additional handouts useful to the adventure (some handbills advertising Flood Festival events, double-sided invitations to the Demonskar Ball, maps that the PCs can buy to aid them at the Lucky Monkey, the symbol of the Ebon Triad, and an excerpt from Skaven’s scroll detailing the kopru civilization).

Event 6: Meet the Competition
I added a class level to each of the Stormblades to maintain their original CR.  Since there isn’t a Swashbuckler base class in Pathfinder I made Cora Lathenmire a Fighter – with her choice of feats and skills she will still be able to take levels in the Duelist prestige class later in the campaign.

Inside the Lucky Monkey
M1. Common Room
I added a level to both the alleybashers and the hillfolk to maintain their CR in Pathfinder.  I also slightly altered the hillfolk to give them more of an Olman flavor (the jungle barbarians that live in this area of the World of Greyhawk).  I traded out their masterwork longswords for obsidian war clubs (with the stats of a masterwork warhammer), but kept their armor (assuming they had acquired chainmail through raiding or as payment from Triel).  If you want the Hillfolk to be more of a traditional European barbarian, just give them longswords.

M21. Courtyard
The hill baboon was never updated in any of the Pathfinder books, so I replaced them with advanced chimpanzees, but kept the description and flavor.

M27. Kitchen
Tongueater was a mess.  As originally presented, Tongueater was an infected lycanthrope, which adds a needless amount of rolling for the DM and doesn’t really add anything to either the story or the game – so I changed him into a natural lycanthrope.  The second problem was that Tongueater was given levels of Barbarian, a class restricted to non-lawful alignments (and Tongueater is LE), so I switched these out with levels of Ranger (and took the two-handed weapon combat style from the Advanced Player’s Guide to keep him as a falchion wielder).  Finally, the way CR works with lycanthropy and class levels is slightly different in Pathfinder, so he wound up with 5 class levels instead of 3.  Even after all these changes I still think that my version of Tongueater maintains his core identity – a ferocious melee combatant able to tear through PCs quickly.
For DMs interested in a little more flavor than ‘120 pounds of loot worth 4,500 gp’ I broke it down as follows:

• A large painting of the setting sun on a far horizon with a darkwood frame (taken from area M15); 300 gp; 5 pounds.
• A case of 12 bottles of fine wine from the Holds of the Sea Princes; 10 gp each; 18 pounds total.
• 4 bottles of Keoish brandy; 20 gp each; 8 pounds total.
• Assorted silverware; 100 gp; 10 pounds total.
• A pair of gold candleholders, elegant in their simplicity; 100 gp each; 2 pounds total.
• Silver dinner service, embossed with native Amedio fruits and animals; 500 gp; 7 pounds total.
• 4 golden monkey statuettes with chipped emeralds for eyes; 500 gp each; 15 pounds total.
• A sea chart of the trade winds of Jeklea Bay and the Northern Azure Sea; 200 gp.
• A letter of bond for Maavu’s Imports; 500 gp (a great set-up for the next chapter).
• A lapis ornamental comb; 75 gp.
• A silver mirror with folding cosmetics plate; 50 gp.
• A small bottle of spicy smelling perfume oil; 25 gp.
• 7 moonstones; 50 gp each.

M39. Battlefield
Switch out Sarcem’s 3.5 style periapt of Wisdom +2 with a Pathfinder headband of inspired Wisdom +2 (since the item is a headband, you might consider keeping it with Sarcem’s head in area M27.).

M43. Well Room
I added an additional class level to Shensen in order to maintain her CR, following the guidelines for her advancement in the appendix of the hardcover.

Event 10: Information for Sale
I added an additional class level to Artus in order to maintain his CR.  I interpreted his high ranks in Use Magic Device as an interest in magic so I gave him the Rogue talents of minor magic and major magic.

The Kopru Ruins
K7. Nightmare Beach
The skulvyn has never been updated to the Pathfinder game so I replaced it with a fiendish bunyip.  It’s not a perfect fit, but it’s fairly close (and I get the impression the skulvyn was chosen only to showcase the then-released Monster Manual II).

K8. Kopru Lair
The kopru has never been updated for the Pathfinder game, but rather than substitute another monster I decided to rebuild it using the monster guidelines in the Bestiary (as the race plays such a central role in the adventure).  Since it’s essentially a new monster for the game, I included the extended stat block in the PDF (and now that the work is already done, the kopru makes a perfect candidate for the next installment of Classic Monsters).

K13. The Gauntlet
The Reflex save DC for the pit trap here should be DC 20, as that is now the standard for all pit traps regardless of CR.

K16. Workroom
The mud slaad has never been updated to the Pathfinder game (and won’t be by Paizo as slaad are considered WOTC intellectual property) so I replaced it with a cerberi.  This is a case where I think the replacement works better than the original.  Thematically, the cerberi is a better fit for the role of leftover mystic guardian.

K24. Skaven’s Parlor
With arcane lock, the Disable Device check to pick the lock is DC 40 and the door’s break DC is 38.
I added a class level to Skaven to maintain his CR.  In 3.5 diviner Wizards only had a single opposition school, in converting Skaven to Pathfinder I added the opposition school of conjuration as that didn’t have any effect on the spells he had memorized.
In addition to the scroll on the kopru (included in the PDF of handouts) Skaven’s collection of esoteric books contains the following:

• The Last Will and Testament of Lawethika of Ket
• Ruminations of Charnel Fulminations
• The Hours of Tintinnabulatory Twilight
• Fragments from the Digested Notebooks of Tenrast Inktongue, a Blackmailer

K25: Skaven’s Bedchamber
With arcane lock, the Disable Device check to pick the lock is DC 40 and the door’s break DC is 38.

K27. Spider Nest
Spiders are one of the monsters that went through a lot of changes between 3.5 and Pathfinder, messing up the sizes and CRs of the spiders presented in this adventure.  In order to maintain CR replace the small spiders in this room with 2 spider swarms.

K30. Webbed Cavern
In order to maintain the CR of this encounter, replace the medium and large monstrous spiders with 4 giant spiders and 1 giant black widow.

K31. Ettercap Lair
This room should have 3 ettercaps for the given CR.

K32. Harpoon Spider Lair
The harpoon spider has never been updated for the Pathfinder game (and I suspect it was included in the adventure for the same reason as the skulvyn), so I replaced it with another intelligent arachnid foe, the phase spider (which could just as easily be worshipped as a god by ettercaps).  I made two slight modifications to the phase spider’s stat block to better reflect the adventure.  I changed its alignment to NE to reflect Skaven’s corrupting influence on the creature and I gave it Common instead of Aklo, since there is no Greyhawk equivalent of that language.

K33. Trapped Chamber
The poison on the spikes should read as follows:
Medium Spider Poison—injury; save Fort DC 14; frequency 1/round for 4 rounds; effect 1d2 Strength damage; cure 1 save.

K36. Triel’s Chamber
I added a class level to Triel to maintain her CR.

K41. Bloodbath
The bloodbloater ooze has never been updated for the Pathfinder game so I replaced it with an amoeba swarm.  While technically the amoeba swarm could crawl out of the pit in search of food, I assumed their preference for an aquatic environment and regular feedings would keep them in the pit.

K50. Undead Ogres
The pair of ogre zombies are slightly below the target CR, but the skeletal tyrannosaurus in area K48. is so brutal it more than makes up for it.

K52. Cult Treasury
The spawn of Kyuss have never been updated for the Pathfinder game so I replaced them with a pair of giant crawling hands.  I’ll admit it’s not a perfect fit, but the giant crawling hands are the right CR, and their pus burst has a similar gross-out factor as the spawn of Kyuss’ worms.
The poison on the chest should read as follows:
Nitharit poison—contact; save Fort DC 13; onset 1 min.; frequency 1/min. for 6 min.; effect 1d3 Constitution damage; cure 1 save.

K55. Undead Minions
There should only be 6 zombies in this encounter for the target CR.  Just so these monsters wouldn’t seem exactly the same as the zombie ogres in K50., I used the plague variant included in the Bestiary (plus, I hoped they would make up for the missing spawn of Kyuss in K52.).

K56. Tarkilar’s Cavern
Huecuva work very differently in Pathfinder then they did in 3.5 so it was next to impossible to do a straight conversion of Tarkilar.  Instead, I rebuilt him from the ground up.  Starting with a standard huecuva, I added class levels of Cleric until I hit the target CR (adding class levels also gave the huecuva a bonuses to its stats, which I used to replicate Tarkilar’s original stats as closely as possible).  I also fiddled a little with the standard racial skills and feats of the huecuva in order to better emulate the original Tarkilar.  Finally, I allowed the huecuva’s disease to be spread through the creature’s weapon attacks (it is wired directly into his flesh, so the spiked chain is probably filled with all sorts of disgusting bits of rotting gnoll flesh).

As I mentioned in an earlier post, I’ve been lurking at the Toronto After Dark film festival’s summer screenings (if you’re in the GTA don’t miss the main event, October 18-26).  Toronto After Dark is a horror and genre film festival oozing with gobs of monster and rpg inspiration.  Most of the films the festival showcases won’t see wide release – so in addition to extracting some rpg goodness from each movie, I’ll also give them a bit of a critique, so fellow gamers can know what they need to track down and what to avoid.  I’ll try and keep spoilers to an absolute minimum.
Roleplaying games helped foster an unhealthy love of monsters, which hooked me at an early age to genre films, which in turn help to inform my tabletop games (in a weird kind of feedback loop).  This ongoing series of articles takes these influences and mashes them together to create a strange hybrid I call It Came from the DVR (although I seem to be in the theatre more often than in front of the television, but I’m not complaining – they have better snacks).

V/H/S

A group of maladjusted vandals and budding snuff filmmakers are hired to break into a lonely old house and steal a unique VHS tape.  A simple enough job, complicated by a creepy room filled with random tapes, a wall of televisions, and something even more disturbing.  As the vandals watch the tapes, looking for their prize, they are given a window into a frightening world that threatens to drag them in.

Anthology and Found Footage Combine for a Deliciously Scary Peanut Butter Cup of Film

V/H/S was conceived as a creative challenge to a group of independent filmmakers to revitalize the saturated sub-genre of found footage horror.  Like any anthology, there are hits and misses, but overall the film succeeds at what it set out to accomplish – providing some truly frightening moments that had me gripping the armrest in the theatre.
First, if you haven’t seen the film yet I strongly urge you to avoid the trailer if at all possible since it spoils some of V/H/S’s best parts.   It won’t ruin the experience, but I found myself waiting for scenes from the trailer to pop up during the screening, which sort of killed the surprises a few of the segments had to offer.
I’ve mentioned before that I’m a fan of horror anthologies, and I really enjoy a good found footage film (The Blair Witch Project, Paranormal Activity and Cloverfield come to mind) so I had fairly high expectations going in to V/H/S.  I wouldn’t say the filmmaking of the individual segments exceeded those expectations (and in some cases didn’t meet them), but what made V/H/S really stand out was how well it utilized both formats and how well those formats complemented one another.  In fact, I would go so far to say that V/H/S has spoiled me, and I’m not sure I’ll be able to see another found footage film without thinking that it probably would have been better cut down to fifteen minutes and included as part of a larger anthology.  The general problem with found footage films is that they tend to be slow, with the worst having huge chunks of filler, and that slowness gives the audience plenty of time to question the verisimilitude of people continuing to film themselves during horrible events (the main conceit of the sub-genre).  V/H/S avoids that pitfall by nature of the format leaving little room for filler.  Each segment cuts to the chase fairly quickly and, in addition to some pretty good justifications for the protagonists filming themselves, the audience really doesn’t have a lot of time to question the suspension of disbelief.
I really dig the concept behind the wraparound tale by Adam Wingard.  It provides an excellent framework for the film, which is actually pretty rare in an anthology, and moves the viewer from one segment to the next efficiently and smoothly (overall I have to commend the filmmakers for using visual styles, that while different, didn’t clash with one another).  There are some odd pacing choices that I wasn’t expecting and, given how despicable Wingard makes his characters, I was a little disappointed he made their comeuppance so unspectacular (off screen for the most part).
The first segment by David Bruckner, about a trio of frat boy types with a set of spy-cam glasses is predictable but has a good payoff (and monster), some excellent practical effects work and a nice punchline worthy of Creepshow 2.
After the lacklustre The Innkeepers, I’m starting to think that Ti West and I just don’t see eye to eye.  His segment here, which documents a young couple’s cross country road trip, takes one of the most unsettling hooks I’ve seen in a long time and throws it away with an ending that isn’t just lame, but also cheats the whole found footage format.  It’s really too bad, because if it had been executed better, West’s story could have had real staying power, clinging to the audience’s subconscious long after leaving the theatre.
Joe Swanberg’s segment, a series of haunted Skype conversations between long distance partners, also stumbled during its finale, but was so original and had some of the best scares in the entire film that it’s easy to overlook its shortcomings.  There’s a really killer reveal at the end but it’s just a bit too long and shows just a bit too much.  This segment freaked me out while I was watching and a more subtle ending would have amplified that fear, rather than helped to dissipate it.  I’ve also got to call out Swanberg for the gratuitous boob shot in what is essentially the segment’s epilogue.  I get that found footage taps into the whole amateur porno aesthetic (there is an 1980’s era slasher flick level of breasts in this film), but it just felt tacked on and a little silly in what was otherwise a super creepy end note (a nit-pick of mine I’m sure many others don’t care about).
Glenn McQuaid’s segment presents a unique take on the ‘college kids camping in the woods’ story that both tweaks film convention and has an unexpected justification for the protagonists filming it.  The best part is how McQuaid explores the medium of found footage and its place in the horror continuum while still delivering the entertainment goods.  Plus it introduces a super cool monster with a concept I don’t think I have seen before.
The final tape in the anthology is also my favorite.  The Radio Silence collective show how to do a haunted house story right with their segment about a group of friends on Halloween looking for a party.  The pacing here is perfect, starting with some nice subtle creeps and building to a great climax.  When things start to get crazy, we are treated to a smorgasbord of supernatural sights and sounds that I won’t be surprised to see imitated by other horror filmmakers very soon.
V/H/S is recommended and is a must see for fans of The Blair Witch Project and the Paranormal Activity series.  I’m not sure it will change the minds of die-hard haters of found footage, but it stands amongst the better entries of the sub-genre and is a good reminder of why those films are an important addition to the horror lexicon.

RPG Goodness

One of the reasons found footage works so well in a short format is that it has a very noticeable point of view, which gives the audience a lot of information quickly about the character filming it just by how it is shot without the need for exposition.  It’s a technique DMs can utilize themselves by incorporating ‘found documents’ (standing in for found footage) into their campaign.
I’m a bit of a handout junkie in my games, so I don’t really need an excuse but, in my experience, found documents require only a little effort on the DMs part to create and add a tremendous amount of atmosphere to the game.  There is a long history of using found documents as adventure hooks in D&D (the Return to the Tomb of Horrors mega adventure has some of the best), and running across a scroll or stack of papers that documented any of the tales in V/H/S would make a very memorable adventure (Joe Swanberg’s segment would be hard to reproduce but could be created as a series of correspondence).  My preferred method of including found documents in a game though is as an item of treasure.
Most adventures involve thwarting a villain’s evil scheme or stopping a (sometimes complex) plot or conspiracy from coming about.  The only problem is that most of the time the players only learn the broad strokes of what they are dealing with, and then move on to the next adventure.  The finer details and the villain’s motivations are often left to be enjoyed only by the DM (unless you’re running a supers game and do the whole ‘now that you’re captured, let me tell you about my plan’ thing).  By introducing found documents into the monster’s lair you can share this information with the players and give them a glimpse into the mind of the foe they have just fought.
The form such a document takes is important to keep in mind as it will help get across as much information about the one who created it as the point of view the camera tells the viewer in a found footage film.  Organized, methodical minds (i.e. Lawful) might make a journal or a detailed ledger of accounts while unorganized or insane minds (i.e. Chaotic) might make rambling manifestoes or smear poetry on the walls in an unwholesome substance.  Just remember you don’t need to recreate a whole document in order for it to get the point across to the players.  V/H/S shows just how much story you can tell with a short excerpt (although in found journals I do like to include one or two short entries with no solid information but that helps to paint a portrait of the author’s personality).
The other thing DMs can take away from viewing V/H/S is inspiration for new monsters – scads of them (over email Toronto After Dark festival director Adam Lopez joked that you could create a whole game out of the monster material in V/H/S, and he’s not far from the truth).  My favorite was the creature from Glenn McQuaid’s entry, presented for the Pathfinder game below.  It’s a tiny bit spoiler-y, so if you haven’t seen the film yet, check it out before using the new monster in your game.

Shadow People

Your eyes can’t seem to focus on your pursuer, though glimpses out of the corner of your eye of its bloody attack on your camp give you the impression of a dark, humanoid shape… indistinct images that even now begin to slip unnaturally from the grasp of your memory.

The shadow people are enigmatic and malicious magical creatures that dwell in lonely wilderness locations and abandoned ruins.  They are extremely territorial, viciously attacking and tormenting any intelligent creature that passes too near their homes.  Any fortunate enough to survive an attack by the shadow people and resist their magical aura can be guaranteed a lifelong enemy, for the creatures’ greatest fear is that outsiders will spread word of their existence to the outside world.
Consequently, there is very little information regarding the nature or origin of the shadow people beyond general warnings that a particular patch of woods is haunted.  Brave adventurers moving through shadow people territory though might find faded pictograms, or ancient runes carved into crumbling pillars that tell the story of a group of assassins, cursed by the gods for slaying a beloved priestess to be forever erased not just from history, but from memory itself.

As I mentioned in an earlier post, I’ve been lurking at the Toronto After Dark film festival’s summer screenings (if you’re in the GTA there’s still a chance to catch the second night of screenings on July 11 – Detention and V/H/S).  Toronto After Dark is a horror and genre film festival oozing with gobs of monster and rpg inspiration.  Most of the films the festival showcases won’t see wide release – so in addition to extracting some rpg goodness from each movie, I’ll also give them a bit of a critique, so fellow gamers can know what they need to track down and what to avoid.  I’ll try and keep spoilers to an absolute minimum.
Roleplaying games helped foster an unhealthy love of monsters, which hooked me at an early age to genre films, which in turn help to inform my tabletop games (in a weird kind of feedback loop).  This ongoing series of articles takes these influences and mashes them together to create a strange hybrid I call It Came from the DVR (although I seem to be in the theatre more often than in front of the television, but I’m not complaining – they have better snacks).

The Pact

After their estranged mother’s death, Annie’s sister convinces her to return to the family home and help put the estate in order.  A reluctant Annie arrives only to find her sister missing and a growing, frightening supernatural presence.  Emotionally raw, with plenty of reminders of her painful childhood, Annie attempts to uncover the mystery of her sister’s disappearance.

Solidly Delivers on the Creeps

The Pact isn’t going to blow anyone’s mind with originality (and the most clever parts of the script are the things I thought were the weakest – more on that below) but it does what it does extremely well and that’s deliver an extraordinarily creepy atmosphere.  It’s got all the trappings audiences have come to expect from supernatural suspense films: eerie figures moving off screen from the corner of the frame, apparitions suddenly appearing behind the protagonist, a medium who goes into paroxysms of terror when she enters the house, spirit photography and, of course, a Ouija board that moves on its own.  Nothing ground-breaking.  Then again, those tropes are repeated so often in the genre because they work, and writer/director Nicholas McCarthy knows how to use them effectively.  For example, McCarthy does an excellent job letting the audience know that a certain door in the house is very bad, just through the use of composition, music and the reaction of Annie.  It’s a great technique that is hard to pull off well (the 1963 version of The Haunting is another great example), but one that is excellent at ramping up the tension.  That build-up is essential in supernatural suspense because the actual jump-out-at-you scares are sparse; you’re kept glued to the screen by the threat that something bad could happen at any minute – and McCarthy uses this to make a dated suburban bungalow seem as creepy as on old gothic manor.
McCarthy’s best ally is actress Caity Lotz in the role of Annie.  Lotz’s ability to project the character’s emotional scars, without tons of script exposition, gives Annie an unexpected depth that I found engaging and sympathetic.  She was also fantastic at supercharging her character with the kind of expressive fear that really sucks the audience in – you can get away with just standing there and hysterically screaming in a slasher (they’re supposed to be a bit cartoony) but suspense thrives on authentic emotion.  Lotz’s reactions felt real, and I almost cheered when during her first encounter with the supernatural, she reacts by blindly lashing out at her attacker and getting the hell out of the house as fast as she possibly can.  I really hope she continues to work in the horror genre.
While I was hooked into the creep fest that was the first three-quarters of this film, I felt that the last act of The Pact fell short.  Much of the creepiness of the movie flows from not knowing, but the inevitable reveal of the film`s mystery robs The Pact of its scariest elements (which is the inherent trap of any mystery – not revealing anything would have been even worse).  During the film’s climax when I should have been biting my nails, I almost felt kind of safe, since the sense of dread McCarthy had built up so well was completely dissipated (see more under the spoiler tag).  The Pact is not alone in making this kind of mistake; I felt that to a lesser extent even Insidious suffered from this, so McCarthy’s work is at least in good company.
Despite of my complaints, The Pact has enough going for it that I recommend it to those that like the suspense horror genre and don’t need a big scary ending to enjoy a film.  If you’re spending the evening in on a dark and stormy night, I think it would make a great double bill with Stir of Echoes.

SPOLER ALERT
As I mentioned previously, the big revelation in The Pact is the film’s most original moment, and is cleverly executed, but is also its weakest point.  Once you realize that the supernatural force is merely trying to warn Annie, and that the real threat to those in the house is decidedly human, the film got a lot less scary.  I might be in the minority, but a mundane flesh and blood killer is much less frightening to me than a haunted house with freaky ghostly manifestations where anyone who spends the night disappears without a trace.
I do have to give kudos to McCarthy for not cheating the plot though; everything about the revelation made sense without invalidating the first three quarters of the film (even the sounds made sense, an excellent little detail I really appreciated).  When I see so much lazy writing on film and TV, especially where any kind of mystery is involved, it’s very refreshing to see something thought through from the beginning.  I just wish it hadn’t sucked all the scariness out of the film for me.

RPG Goodness

The Pact is a great resource for DMs who want to inject some supernatural suspense into their games since it’s a veritable dictionary of the tropes of the genre – and more importantly – shows how to execute them effectively.  As I mentioned in my review (with the example of the sinister door), one of the ways that McCarthy creates suspense is through the use of indirect information.  Incorporating this trick into the DMs toolbox is a little counterintuitive in a game with a long history of ‘read aloud’ boxed text, but is one that can help to create a really creepy atmosphere for the right kind of adventure.  Continuing with the example of the door, a similar situation at the game table might traditionally go something like this:

“The door at the end of the hall radiates palpable waves of fear and dread.  As you move closer the feeling intensifies and you have to clutch your weapons tightly to keep from trembling.  You press on even as every instinct screams that there is something very wrong here…”

There is nothing wrong with running an encounter this way (and it’s a pretty good in-game cue that there’s some kind of fear effect in play without being too gamey), especially if it isn’t pivotal to the adventure.  However, if the door is central to solving a mystery, and if the party are going to pass by the location several times, it helps to build suspense by slowly layering indirect information to the players instead of coming right out and telling them the door is bad.  Here are some examples of indirect information using the aforementioned sinister door:

• If the characters make a point of keeping the door closed, have them find it open and vice versa.
• Familiars and animal companions won’t overtly freak out, but always move in such a way that they avoid the door (a Perception check might reveal this to observant characters), and won’t cross its threshold unless forced.
• Characters walking by the door might get a sudden chill and see their breath in the cold pocket of air.
• A character who makes a moderate Knowledge (engineering) check realizes the door is in an odd location in relation to the rest of the structure and isn’t something most architects would build.
• Characters who put their ear up against the door to listen hear someone on the other side whispering things about them, but the room beyond is empty.
• Instead of their usual effect, divination spells regarding the door result in ominous automatic writing.
• Characters searching the area who succeed at a hard Perception check notice a single torn and bloody fingernail lodged between the stones of the door’s sill.

Inheriting a Haunted House

The Pact (as well as the Poltergeist series), has another great lesson for DMs – the best hauntings are by multiple spirits with distinct personalities and goals (something especially important in D&D given the way that ghosts work mechanically).  This keeps the PCs on their toes, sows confusion if they assume they are dealing with a single spirit, and helps to up the creep factor by having an in-built narrative (with more than one ghost wandering around there’s got to be some kind of story there).
The easiest (and most classic) way to introduce this kind of adventure into the game is to have one of the PCs inherit property that turns out to be haunted.  Alternatively, the party could be asked by an NPC contact to protect an inherited estate from wandering brigands while they put their affairs in order (and as payment they are welcome to whatever knickknacks and baubles are lying around).
To be a true haunted house, it should be the lair of at least two or more ghosts.  Perhaps in life, one was murdered by the other out of jealousy and the murderer, now a ghost herself, prowls her hard won acquisition to keep intruders out and her crime a secret (and won’t rest as long as her reputation is publicly intact).  The murder victim tries to warn those who spend any time in the house but as a ghost, his communication is limited to the frightful moan ability (and won’t rest until his body is retrieved from its shallow grave in the cellar). If you’ve seen The Pact, then the last quarter of the movie holds a further complication that can be recreated in a haunted house adventure (one that I think would work a lot better in a D&D adventure than it does in the film).

As I mentioned in an earlier post, I’ve been lurking at the Toronto After Dark film festival’s summer screenings (if you’re in the GTA there’s still a chance to catch the second night of screenings on July 11 – Detention and V/H/S).  Toronto After Dark is a horror and genre film festival oozing with gobs of monster and rpg inspiration.  Most of the films the festival showcases won’t see wide release – so in addition to extracting some rpg goodness from each movie, I’ll also give them a bit of a critique, so fellow gamers can know what they need to track down and what to avoid.  I’ll try and keep spoilers to an absolute minimum.
Roleplaying games helped foster an unhealthy love of monsters, which hooked me at an early age to genre films, which in turn help to inform my tabletop games (in a weird kind of feedback loop).  This ongoing series of articles takes these influences and mashes them together to create a strange hybrid I call It Came from the DVR (although I seem to be in the theatre more often than in front of the television, but I’m not complaining – they have better snacks).

Juan of the Dead (Juan de los Muertos)

In Havana, ne’er-do-wells Juan and Lazaro find themselves in the middle of a zombie outbreak sweeping across Cuba.  Amid the chaos, Juan tries to make amends to his estranged daughter, survive, and if he plays his cards right, maybe even turn a profit while he does it.

Surprisingly Fresh for a Film about Walking Corpses

Juan of the Dead surprises on many levels – and keeps you laughing while it does it.  The first thing I noticed was how good it looks.  Cuba doesn’t export a lot of movies, so walking into Juan I had every expectation that a zombie flick from Cuba would out of necessity have to be put together with bubble-gum and stock footage.  It turns out my assumptions were completely unfounded (or Cuba has some pretty awesome magic bubble-gum).  The zombie make-up looks great, there is ample blood (some of it CGI but there’s enough practical gore to satisfy horror lovers), and filmmaker Alejandro Brugues manages to use the visual language of classic zombie films (machetes, baseball bats, and crouching undead feasting on the entrails of the fallen) while expanding the repertoire with some really creative and fun kills (both zombie and human).  The film had the support of the Cuban Institute of Cinematographic Art and Industry (ICAIC) so, in addition to the better than expected cinematography Brugues also had access to many of Havana’s most recognized landmarks which provided some beautiful visuals all their own.
The involvement of the Cuban government is surprising not just because Juan is a horror-comedy, but also because a lot of its humor is driven by political satire (in the film, government officials refuse to recognize the zombies as undead, calling them ‘political dissidents’ instead).  Perhaps the film’s political grumbling is palatable when mixed with a heavy dose of physical comedy, genre commentary (after they realize what they’re up against, the main characters have a great conversation about the nature of the undead), and general zom-com fun and silliness.  I find the context in which the film was made fascinating.  It adds a tension to the whole thing that works very well with the suspense and dread inherent in any apocalyptic tale (even a comedy).
The group of misfits at the film’s core are funny and instantly likeable, in spite of their sometimes despicable actions and questionable personalities.  In another context they might easily be villains, but the script’s humor and the actors’ charisma are enough to charm the viewer into almost liking the characters because of their failings (something viewers of Shameless will be familiar with).
After great movies like Shaun of the Dead, Zombieland and Deadheads, I was worried the sub-genre would run out of juice, but Juan of the Dead’s final surprise is that zombie comedies still have fresh things to say and new ways to entertain.  Sure there’s some overlap (and I caught a great shout out to Peter Jackson’s Dead Alive), but no more than between any given group of romantic comedies.  Juan of the Dead is more than just the Cuban take on the zom-com (although it is also very much that), it’s also a film about fatherhood.  Through Juan’s relationship with his daughter, Brugues explores the competing interests of being your own man, doing what you need to do to survive and transforming into the kind of role model our children want us to be (all while never taking itself seriously).
Juan of the Dead proves the zom-com is here to stay.  I highly recommend this film – there are plenty of brains yet to be eaten and laughs to be had at a crumbling civilization’s expense.

RPG Goodness

Plot twists (and back stories) involving the PCs’ parents are familiar (and fun) territory when it comes to ‘campaign complications’.  Juan of the Dead (and my own steadily growing age) got me thinking in a slightly different direction.  What if, like the main character of the film, the PCs’ lives are complicated by the appearance of an estranged child?
Of course this campaign complication comes with its own unique obstacle – the small matter of the child’s origin.  If the player is willing to have their PC begin the campaign a little older than most starting characters, then it’s easy to introduce the child as an established part of the character’s backstory.  If not, it’s easy to imagine the wild adventuring lifestyle producing an unplanned child or two at some point in a PC’s career (what with tempting succubi, charming assassins and amorous demigods running around).  When the campaign calls, settling down to be a responsible parent is not in the cards (and is about as fun to role-play as operating a fruit stand), and the friction begins.
The storytelling possibilities for this kind of complication are near limitless, and if the player is willing to go along with it, can provide a lot of drama, comedy, and fun at the table.  Here are a few possibilities:

• After hauling chests full of a slain dragon’s hoard back to town, one of the PC’s is tracked down by their bastard daughter, who immediately demands her right to inheritance.
• A larcenous and chaotic PC’s son is a devout worshipper of St. Cuthbert (or other Lawful deity), who checks up on his parent from time to time in order to make sure they remain ‘on the straight and narrow’.
• The PC’s daughter has gotten herself involved in the Cult of Elemental Evil (or some other villainous organization).  Is she a lost cause or can the PC repair their relationship and convince her to abandon her wicked way of life?
• One of the PC’s is confronted by their son, who has just married into a wealthy and powerful family.  He is embarrassed by his parent’s adventuring life and asks the character to retire or change their name.  If they are aren’t willing to do either he uses his newfound coin and influence to ‘convince’ them to do so.

One of the things I really like about complications involving children is that even in an antagonistic situation; combat isn’t always the easy choice.  I once pitted my gaming group’s party against a band of wild orphans, led by a sorcerous twelve year old (she attacked with animated toys).  It was obvious to the players that although they were suffering damage, the children were merely acting out, their leader in the throes of a fierce tantrum.  Since the PCs didn’t want to have the slaughter of children on their heads, subdual, diplomacy and bribery were the strategies of the day.

Variant Zombies for Pathfinder

Juan of the Dead isn’t just about parents and their kids; there are also quite a few zombies – the classic kind of zombie that doesn’t die unless you shoot it in the head.    I really like the zombies that are presented in the Bestiary for Pathfinder.  I think the fast zombie and plague zombie variants that are included go a long way to bringing the D&D zombie more in line with the tropes of horror cinema.  At the risk of setting off an edition war (not here please, I like both editions plenty) though, I think that the 4e Monster Manual may have done it better.  In this edition of the game, zombies are especially vulnerable to critical hits, which just screams ‘shoot it in the head’ to me.  Fortunately, it isn’t hard to bring that mechanic into Pathfinder via a variant zombie simple template.  I even think it’s possible to improve on the 4e design by emphasizing how hard the walking dead are to kill unless you destroy their brain.

Unrelenting Zombie

“Just shoot them in the head!  They seem to go down permanently when you shoot them in the head.”

Some zombies are possessed with a particularly relentless and evil will.  These creatures shrug off most wounds, and only complete bodily destruction or the obliteration of their putrid brain can stop them from their pursuit of the flesh of the living.
Defensive Abilities: An unrelenting zombie gains DR 10/-.  This ability replaces DR 5/slashing.
Weaknesses: An unrelenting zombie gains the following weakness.
Critical Vulnerability (Ex): A confirmed critical hit roll against an unrelenting zombie destroys the monster’s brain, reducing it immediately to 0 hit points.  Additionally, any attack against the unrelenting zombie with extra sneak attack damage applied, bypasses the zombie’s damage reduction.

Notes:

When combined with the plague zombie simple template (minus the change to DR), I think you’ve got the perfect Romero (or Juan) style zombie for Pathfinder.  With both templates applied, add +1 to the creature’s CR.

Currently I am running a Pathfinder campaign for my gaming group, and since I never got the chance to use my copy of The Shackled City hardcover while we were playing 3.5 I figured it wouldn’t be too much work to convert to ‘3.75’.  In spite of Paizo’s claims of backwards compatibility, you can’t really use 3.5 D&D adventures off the shelf for Pathfinder.  Most of it works, but the monsters and NPCs in particular are too weak to be a real challenge to a party of Pathfinder characters.  Converting the stat blocks isn’t impossible, but it does take time, and since I’m doing the work anyway (I’m a bit of a stat block perfectionist) I thought I would share (click on the pictures at the end of the article to download PDFs of the updated stat blocks for all the monsters and NPCs as well as some additional handouts I created for the second chapter).  You can find a conversion of the first chapter of the adventure path, Life’s Bazaar, as well as Pathfinder-style versions of the Greyhawk gods here.
SPOILER ALERT
Obviously there are a ton of spoilers here, both for the campaign and the adventure.  So if you plan on playing in The Shackled City, peeking ahead is going to ruin a lot of the fun.  If you are one of my players, it goes without saying that you shouldn’t read any further.  You’ve been warned.

Drakthar’s Way

The following changes should be made to the adventure for it to play smoothly using the Pathfinder edition of D&D.   Click on the pictures at the end of the article to download a PDF of Pathfinder stat blocks for every NPC and monster in the adventure (when I DM I like to have the monster stat blocks in front of me, instead of having to flip to the back of the book or shuffle through Bestiaries), as well as a few additional handouts useful to the adventure (a remade copy of Terseon’s letter using my version of the Cauldron arms as a seal; the symbol of the Cagewrights burnt onto the storage crates; and a few examples of goblin graffiti – I tried to keep them primitive and crude).

Jil’s Tip
Jil’s total bonus to Disguise, including all modifiers and her disguise self spell, is +25.  She has a Challenge Rating of 5 instead of 6.

Rats in the Bathhouse
Orak’s challenge rating is reduced from a 4 to a 3.  I kept him the same level in spite of this, since even at CR 4, Orak isn’t much of a real threat to a well-equipped party (he hasn’t got any armor or a decent weapon).  The wererats, who are the real combatants in this encounter, are the proper challenge rating.

Wandering Monsters
I used Tricky Owlbear Publishing’s version of the ethereal filcher from the PFSRD, which is only a CR 2 instead of the called for CR 3.  Rather than beefing the creature up, I kept it as is, since an encounter with this creature is all about preventing it from stealing your magic items – not protracted combat.

6. Storage
The rules for determining CR for creatures with class levels are slightly different in Pathfinder than 3.5e, which means that 1st level goblin rogues only have a CR or ½ instead of 1.  To compensate, I gave them another level in rogue.  Alternatively you could keep them as level 1 rogues and increase their numbers.

13. Adept’s Lair
Like the goblin sneaks, in order to maintain a CR of 3, I increased the level of the goblin adepts.  Since this only results in more spells, not a new spell level, it shouldn’t be problematic.

17. Silent Wolf Goblins
Normally I try and maintain feat choice between the 3.5e and Pathfinder versions of NPCs.  In this case I broke that rule and substituted Mounted Combat for Dodge.   The adventure states that the silent wolf goblins get off their mounts to fight on the ground in combat, but I ignored this for a few reasons: it seems like a waste letting the goblin’s high ride checks go unused; the cramped layout of the map means that combat space is at a premium; and most importantly, the image of a dual-wielding goblin riding into battle on the back of a worg is just too awesome to pass up.  I also added an extra level of rogue to maintain the creature’s original CR.

26. Mercenary Quarters
To maintain Chorlyndyr’s CR of 4 I added another level of Sorcerer (since it doesn’t result in a new level of spells).  However, I kept Kallev at 4th level and lowered her CR to 3 – even with the pair bickering, this is a tough encounter and Kallev has a ton of hit points.

31. Drakthar’s Throne Room
Drakthar’s throne, a unique creature, seemed heavily based off of the 3.5e version of the skeleton, so rather than attempting to translate it, I used a Pathfinder version of the skeleton with enough hit dice to reach CR 3, and added a pair of claw attacks (with damage appropriate to the CR) as well as blindsight.
To create Drakthar I added the vampire template to a stock bugbear (even though technically it should only be added to a creature with at least 5 hit dice), substituted putrefy corpse for create spawn and lowering his energy drain to a single level (the standard two levels seems high for a party of 3rd level characters, and his fast healing is challenge enough all by itself).

35. Half-Orc Mercenaries
Like most of the monsters with class levels in this adventure, I added a level of expert to Xoden and a level of fighter to the Half-Orc mercenaries to maintain their CR.

A Note on Magic Items
In my previous post on the Shackled City, I never explained the strange codes in the lists of NPC gear.  It isn’t a typo.  One of the practices I picked up DMing 3e games that I’ve carried over into Pathfinder is coding all the magic items in the campaign.  There are so many magic items (especially one-shot items like potions and scrolls) that it’s easy to forget where they came from in the time between ‘looting the body’ and getting the item identified.  To help keep track of everything, I simply give the players the item’s code when they find it, and refer back to a master list when the item is identified.  For potions I also add a visual descriptor to help identify the concoction by sight.  Each particular type of potion has a standard description, which helps provide some internal consistency to the game world and speeds up the identification process (my players now know that when they find syrupy, red potions they can start using them immediately to heal).

Note: ‘Classic’ is a pretty subjective term, when I use it here I mean to say: monsters that have survived through the editions of D&D that I think are cool.  In this series of articles I look at the development of a classic monster over time and try to add a ‘crunchy’ piece of my own to the creature’s canon.

I’m posting this second installment of Classic Monsters as part of The Going Last Gaming Podcast’s May of the Dead blog carnival.  There has been a shameful shortage of undead on Ménage à Monster, and the blog carnival seemed like the perfect opportunity to rectify that (and a great excuse to write another article in this series – the eye of the deep was getting pretty lonely).
I first encountered the coffer corpse lurking in the pages of the Fiend Folio and was instantly drawn to the fantastic Russ Nicholson illustration (click on the images to view full size).  While the coffer corpse doesn’t get the same kind of fan recognition as the death knight (also introduced in Fiend Folio), I’ve always felt its low power level and unique mechanics gave it a certain charm.  Like the Monster Manual’s vampire and mummy, the coffer corpse was also one of the few undead creatures in the game whose background jived with the mythology of the restless dead in horror films.  While arguably a little obscure, the coffer corpse’s great mechanics, art and story combine to make the monster a classic.

Origins

Like many of the monsters in the Fiend Folio, the coffer corpse first saw print in the pages of White Dwarf as part of the ongoing Fiend Factory column (issue 8, 1978).  In its infancy White Dwarf was a general gaming magazine with a focus on D&D, which makes sense given that Games Workshop (the company that produces the magazine) was at that time the UK distributer of the D&D game.  Since the AD&D Monster Manual had only just been published in the UK, the creatures in the Fiend Factory column were created for the OD&D game.
The White Dwarf version of the coffer corpse sets out the parameters for all of the incarnations of the monster to follow.  Cursed to undeath by incomplete or botched funeral rites (or as the author puts it, when a corpse fails to return to its ‘maker’), these animate corpses are often found floating on waylaid grave barges.  The coffer corpse attacks by choking the life out of its victims, and can only be harmed by magic weapons (which inflict half damage).  If the creature is struck with a normal weapon, it falls to the ground, apparently destroyed, only to rise up a round later in a display so horrible NPCs must succeed at a save vs. fear or flee in terror (the editor, Don Turnbull, notes at the end of the entry that this is probably an error and that PCs should also have to save vs. fear as well).
The coffer corpse was created by Simon Eaton, a name I’m not familiar with, as the only other credit I can find attributed to him is the witherweed (also featured in the Fiend Folio).

1st Edition

The coffer corpse was given an AD&D makeover for its inclusion in the Fiend Folio (and D&D canon).  Its origins remained unchanged but a few of the monsters abilities were tweaked.  Magic weapons do full damage to this version of the coffer corpse, and it falls to the ground if it is hit for 6 or more points of mundane weapon damage (instead of the ambiguous “if struck on the head” of the previous version).  When the coffer corpse reanimates, all who are in melee must save vs. fear, not just NPCs.  Additionally, the strangulation attack of the coffer corpse is upgraded from a simple 1d6 attack to one that inflicts automatic constriction damage each round, which is especially deadly since “nothing will release the grasp of the coffer corpse once it has locked its hands in place.”

2nd Edition

The coffer corpse next appears in 2e’s Fiend Folio Appendix for the Monstrous Compendium.  While generally identical to its 1e incarnation, most of its abilities are expanded and explored in greater detail: this coffer corpse has resistance to some weapon types (magic slashing weapons inflict normal damage with no bonus, blunt weapons inflict full damage and piercing weapons inflict half damage), and it is possible to break free of its strangling grip (but with a strength of 20 it’s still very difficult).
The most important addition to the coffer corpse in 2e is an attempt to utilize the creature’s origins as a way for clever players to defeat it: “If the unfinished death ritual which binds the coffer corpse to undeath can be completed, the creature will be released and effectively destroyed.”  The mechanics of how players might go about discovering and acting on this information is left to the DM’s discretion (and this bit is buried in the habitat/society section of the write-up), which is too bad since I think this is where the coffer corpse’s true potential as a classic monster lies.

3rd Edition

The coffer corpse never saw an official release for 3e.  The Fiend Folio is generally regarded as a mixed bag and, in an effort to excise some of D&D’s sillier monsters from the game (the flumph is almost a clichéd example), many great monsters from this book, including the coffer corpse, were not updated for this edition of the game.  However, Necromancer Games included the coffer corpse in their Tome of Horrors book, which updated just about every monster from 1e that WOTC had left behind (an admirable effort – though I think the carbuncle should have been abandoned to the dustbin of history).  This version is more or less a direct translation of the coffer corpse from the Fiend Folio for 3e rules (damage reduction instead of immunity to normal weapons, and standard grab and constrict rules for the coffer corpse’s strangulation).  It is a solid adaptation but, by sticking so closely to its 1e incarnation, I think it was a missed opportunity to expand and clarify the ‘unfinished funeral rite’ that the 2e version touched on (also, why they maintained the 25% chance for the coffer corpse to wield a weapon from previous editions is a mystery to me – the fact that the monster strangles people to death is what makes it interesting).

4th Edition

Not having a memorable appearance in 3e, and with 4e’s proliferation of low level skeleton and zombie breeds, it is hardly surprising the coffer corpse is absent from this edition.  I do think that 4e’s skill challenge mechanic is particularly well suited to simulate the pitched struggle of a Cleric trying to complete funeral rites while the undead monster strangles her companion, which makes the coffer corpse the perfect candidate for entry into 4e’s canon.

Coffer Corpse

Barred entry into the afterlife by incomplete funeral rites, the coffer corpse is cursed to a restless eternity, its only desire to squeeze the hated spark of life from anything that crosses its path.

Lore
Religion DC 15: Although they superficially resemble zombies, coffer corpses aren’t animated through necromantic rituals, but are created as a result of a divine curse.  Their deathlike grip is exceptionally strong, making escape all but impossible once the coffer corpse has wrapped its bony fingers around your throat.
Religion DC 20: Cursed by an incomplete funeral ritual, a coffer corpse is difficult to destroy, often springing back to life only moments after being felled.  Only by completing the creature’s burial rites can the curse be lifted and the tortured soul granted peace.

Encounters
Coffer corpses can be encountered floating aimlessly in a waylaid funeral barge, slumped over a half dug grave, or lying in a coffin awaiting the completion of an interment ritual that never comes to pass.  They are often part of a group of undead, created as part of the larger tragedy that interrupted the creature’s funeral.

Coffer Corpses in Combat
Every moment of existence is torture for a coffer corpse, so these undead monsters fight without regard for their own well-being.  Even as they strangle and destroy they often liplessly whisper for release in their victim’s ear.

Pathfinder

For those looking for a classic interpretation of the coffer corpse, Necromancer Games has updated their 3e book Tome of Horrors Complete, and the coffer corpse, for the Pathfinder game (and since its part of the OGL you can get this version at the Pathfinder System Resource Document).  If you like the ideas in my 4e version of the monster though, I have used it as the blueprint for this Pathfinder translation of the coffer corpse that builds on the creature’s 2e presentation.  The flavour text and lore from the 4e monster are system neutral enough to be used as is.

Currently I am running a Pathfinder campaign for my group, and since I never got the chance to use my copy of The Shackled City hardcover while we were playing 3.5 I figured it wouldn’t be too much work to convert to ‘3.75’.  In spite of Paizo’s claims of backwards compatibility, you can’t really use 3.5 D&D adventures off the shelf for Pathfinder.  Most of it works, but the monsters and NPCs in particular are too weak to be a real challenge to a party of Pathfinder characters (I’m not worried about the traps, as The Shackled City has a reputation for the traps being a little too deadly anyway).  Converting the stat blocks isn’t impossible, but it is a little bit of work, and since I’m doing the work anyway (I’m a bit of a stat block perfectionist) I thought I would share (click on the pictures at the end of the article to download PDFs of the updated stat blocks for all the monsters and NPCs as well as some additional handouts I created for the first chapter).
SPOILER ALERT
Obviously there are a ton of spoilers here, both for the campaign and the first adventure.  So if you plan on playing in The Shackled City, peeking ahead is going to ruin a lot of the fun.  If you are one of my players, it goes without saying that you shouldn’t read any further.  You’ve been warned.

Greyhawk Gods in Pathfinder

Since my gaming group has had many previous adventures in the world of Greyhawk, it was important for me to keep the city of Cauldron in that setting.  That meant using the Greyhawk deities that were the default for 3e D&D and rejecting the Golarion Gods of Pathfinder.  However, the Gods in the Pathfinder Core Rulebook were each given 5 domains, rather than a number of domains based on deific power, as was the custom in 3.5.  In order to bring the Greyhawk deities more in line with the Pathfinder rule set, the following list updates all the Greyhawk deities of core 3e with 5 domains each, except for Obad-Hai who always had six and Fharlanghn who I couldn’t find an appropriate fifth domain for.  I used the official RPGA expanded domain lists for Living Greyhawk as a guideline, deviating in order to make sure that all the Pathfinder domains were covered.

• Heironeous: LG; Glory, Good, Law, Nobility, War
• Moradin: LG; Artifice, Earth, Good, Law, Protection
• Yondalla: LG; Community, Good, Law, Plant, Protection
• Ehlonna:  NG; Air, Animal, Good, Plant, Sun
• Garl Glittergold: NG Community, Earth, Good, Protection, Trickery
• Pelor: NG; Glory, Good, Healing, Nobility, Sun
• Corellon Larethian: CG; Chaos, Good, Liberation, Magic, War
• Kord: CG; Chaos, Good, Luck, Nobility, Strength
• Wee Jas: LN; Charm, Death, Law, Magic, Repose
• St. Cuthbert: LN; Community, Destruction, Law, Protection, Strength
• Boccob: N; Artifice, Knowledge, Magic, Rune, Trickery
• Fharlanghn: N; Luck, Protection, Travel, Weather
• Obad-Hai: N; Air, Animal, Earth, Fire, Plant, Water
• Olidammara: CN; Chaos, Charm, Luck, Protection, Trickery
• Hextor: LE; Destruction, Evil, Law, Strength, War
• Nerull: NE; Darkness, Death, Evil, Water, Weather
• Vecna: NE; Darkness, Evil, Knowledge, Madness, Magic
• Erythnul: CE; Chaos, Evil, Madness, Trickery, War
• Gruumsh: CE; Chaos, Destruction, Evil, Strength, War

Life’s Bazaar

The following changes should be made to the adventure for it to play smoothly using the Pathfinder edition of D&D.   Click on the pictures at the end of the article to download a PDF of Pathfinder stat blocks for every NPC and monster in the adventure (when I DM I like to have the monster stat blocks in front of me, instead of having to flip to the back of the book or shuffle through Bestiaries), as well as a few additional handouts useful to the adventure (Jenya Urikas’ list of abductions, Vervil Ashmantle’s letter to Kazmogen, the Cauldron coat of arms, and the first issue of Cauldron’s populist handbill – The Cauldron Crier).

Gear Door
Twilight mist trap; CR 1; type mechanical; Perception DC 21; Disable Device DC 20; Trigger touch; Reset none; Effect poison gas (twilight mist), multiple targets (all targets in a 10-ft.-square area).
Twilight Mist; type poison, inhaled; Save Fortitude DC 13; Frequency 1/round for 4 rounds; Effect 1d2 Dex damage; Cure 1 save

J4: Lurking Shadows
The challenge rating for most creatures has been reduced in Pathfinder, so to keep the adventure challenging and maintain the experience level, I increased the number of monsters.
Add an additional skulk in this room for a total of 3.

J11: Control Lever
I removed the Nystul’s undetectable aura on the bag of tricks.  That spell is now covered by Pathfinder’s magic aura, but because of the slightly different mechanics for detecting and identifying magic items, concealing “the bag’s aura but not its magical nature” doesn’t make sense anymore.  It is still just as dangerous for the party to find since it’s infected with the vanishing.

J17: Hall of Dancing Lights
Add an additional 2 skulks in this room for a total of 4.

J22: Theatre
The fine cloak in the chest has magic aura instead of Nystul’s magic aura.  If detected, it radiates moderate transmutation (a character who casts identify or who uses Spellcraft to determine the function of the cloak must make a DC 14 Will save to pierce the illusion).

J26: Automaton Factory
I never really liked the raggamoffyn as a creature, and thankfully Paizo has never made a Pathfinder version of it.  Rather than creating a new monster (when I wasn’t crazy about the original) just substitute a single adamantine cobra (included in the PDF) for the captured skulk and raggamoffyn (its poison and damage reduction will make it enough of a challenge).

J27: Gearworks
To simulate the pulverizer I used a clockwork servant and just gave it the ‘self-winding’ special quality (at the beginning of each encounter the clockwork creature winds itself as a swift action and carries out its last orders).  It has a net instead of a sonic attack, but the battlefield control elements of the attack are very similar (and visually it can spit the net out of the same opening the pulverizer uses for its sonic attack).

J31: Alchemy Lab
Replace the raggamoffyn with an adamantine cobra.

J36: Great Factory
Since there isn’t a Pathfinder version of it (along with mind flayers and umber hulks), I replaced the grell with a grick.  There are some pretty good Pathfinder versions of the grell online, but in the last 2 campaigns my group has played in they encountered quite a few grells, so I thought I’d give another creature a turn.

J40: Woodshop
Add an additional dark creeper for a total of 2.

J44: Hidden Foes
Add an additional dark creeper for a total of 2, plus the pulverizer.

J48: Secret Vault
I replaced the dread guard with an animated object, and styled it after an animated suit of metal armor.  It is Medium sized instead of Small, but so is the dread guard.

J52: Kitchen
Add an additional dark creeper for a total of 3.

M3: Stony Greetings
I substituted a Medium earth elemental for the stone spike – it is slightly more powerful but has many of the same abilities.

M4: Major-Domo`s Quarters
Xukasus is a very strange creature in the original adventure, whose statistics rely on the 3.5 edition polymorph rules, which have been drastically overhauled in Pathfinder.  To save the DM a headache (and also because I don`t really buy Xukasus’ neutral alignment) I have made the Major-Domo a ‘normal’ ogre – albeit a mentally ill one who believes he is really an otyugh.

M14: Automaton Guard
I used robot fighters with warhammers and short swords to simulate the hammerers.  If used as is, this encounter will be CR 6, which is incredibly tough.  I recommend damaging the hammerers as they are in the original adventure and treating each as a CR 3 creature (which would make this encounter CR 5 – the same as it is in the original adventure).

M34: Slave Bazaar
Kazmogen’s strange heritage was easy enough to replicate from his 3.5 stat block, although in Pathfinder his fighter levels lead to a monster with a weaker CR (which is OK since Prickles is now more effective than it was in 3.5).  Pyllrak was a different story.  To simulate a durgazon I used a duergar monk, applied the devil-bound template (bearded devil), and removed the ‘battle-frenzy’ ability since Pathfinder bearded devils lost this ability.
With his high hit points and fast healing, Kazmogen and his pet should be a formidable encounter.

Event 5: Orbius’ Intervention
I didn’t include stats for the Beholder or Thifirane in the PDF since this event is obviously not intended as a combat encounter.