Baeraad
Delicate Snowflake
- Joined
- Oct 4, 2017
- Messages
- 1,107
- Reaction score
- 2,261
Eldritch Skies is a game by John Snead, which should be interesting, since he's also responsible for Blue Rose, one of my most played games ever and therefore also a game I have a major love-hate relationship with. My impression of him from that game (and online discussions of the same) is that he's a great idea man but suffers from a bit of a "I thought it was obvious that..." problem - by which I mean, he's not always the best judge of what he does and does not need to mention in the text. Let's see if that holds through for this game also.
Before I begin, I need to gripe that my hardcopy from drivethroughrpg claims on the back cover that this is a game for the Cinematic Unisystem, while the front proudly displays a Savage Worlds brand. This might be a problem with the printers rather than with the authors, though as we will see, the interior of the book will often suffer from the same confusion.
But more of that later.
The cover art is pretty impressive, showing an astronaut facing what is presumably meant to be a mi-go (a vaguely crustacean creature with bat wings and a potato-like head covered in short tentacles - you can say this for Lovecraft, when designing an alien species he didn't just stick a lumpy forehead on a human and call it a day...) before an alien landscape with cities half-sunken into the ground and what looks like a whale flying on dragonfly wings in the background. The astronaut is holding what looks half like a talisman and half like a high-tech instrument. Trippy, man.
There is a somewhat (hey, I'm not writing an elevator pitch!) meandering description of what a roleplaying game is, first explaining that you need to create a Hero to play as. Some examples of where to find inspiration are given, such as "Randolph Carter's great granddaughter," or one of the "overly curious FBI agents, reformed criminals, and newly recruited intelligence operatives" seen on TV. You can also make up something new, like "a brilliant and insatiably curious misfit that fights the forces of the Cthulhu Mythos with amazing computer skills and technosorcerous devices." (I admit that I have never seen a character like that, if only because most Mythos stories are not about fighting the Mythos but about dying horribly at the hands of the Mythos)
The Game Master runs the Guest Stars (neutral characters, such as "the run-away running right into the arms of an evil cult," "an administrative assistant searching for a way to blow the whistle on superiors who are making illegal deals with the mi-go for advanced weapons" or "the conspiracy nut looking for proof and respect") and Antagonists (evil characters, like "cultists, hyperspatial mutants, aliens, and other nasties") that the Heroes encounter. The Game Master also arbitrates all the rules.
Players get together to have game sessions of varying length, and the game is also broken down into Episodes which join together into Seasons, and this is all needlessly pretentious, but as I recall it's all inherited from Unisystem so I guess it was mandatory. Also "in roleplaying, no one gets to brag about being the winner. The flip side is that no one has to be the loser." An excellent attitude to be sure, but I know from experience that it takes more than just saying so to turn some people into proper team players!
One-shots are also possible, so you could just play a single session to "locate and obtain a powerful artifact before an evil cult can obtain it or save an interstellar colony from being overrun with flying polyps." The examples are doing a decent job so far of hinting at what you're supposed to do, I'll say that much.
The section then loses several points by first patronisingly explaining what dice are, and then failing to mention anything about how this game is going to require a different sort of dice than the regular six-sided kind. Does Unisystem only uses d6s? Because in that cause this is something that should have been changed for the SW version, and if not, well, then it's pretty much inexplicable in how hard it fails.
Still, we'll let bygones by begones and move on. The next bit defines Lovecraftian science fiction. Basically, it's meant to emulate the sort of stories Lovecraft wrote when he was feeling unusually mellow - you know, on those days when he wasn't fighting the certainty that the mackarels were plotting his demise.
Stories like The Shadow Out Of Time and The Whisperer In Darkness dealt with freaky tentacled monstrosities in a pretty sober way, on the assumption that they had comprehensible interests and were possible to reason with. This game is about viewing the entire Cthulhu Mythos through that lense.
I'm a little in two minds about this. On the one hand, in my experience taking a source of inspiration and removing something rather than adding something, no matter how little you like the thing removed, rarely results in improvement. And Snead seems to be prone to this. In Blue Rose, he set out to create a fantasy setting that was pristinely free of anything that was in any way, shape or form grimdark - and which turned out to be boring as hell, because he didn't add anything to replace the grimdark with! (I've run a number of BR campaigns, but the two most successful ones were set in Kern and Jarzon, which is to say, in the grimdarkest parts of the setting
) Here, he wants to create a version of the Mythos that's pristinely free of hysterical xenophobia. Can that turn out any better?
On the other hand, as he points out himself, Lovecraft wasn't always hysterically xenophobic, so perhaps this is less about cutting something out than about emphasising one aspect over another? And I must admit that I really love aliens who are properly alien, with incomprehensible thought processes and inhuman perspectives, without necessarily being evil because of it. So let's give it a chance, shall we?
The section also makes it clear that in this game, humanity is not inherently doomed. It references The Shadow Out Of Time, in which the protagonist interacts with a number of human intellects from thousands of years into his future, thus implying that we're canonically not about to go extinct any time soon. On the other hand, we're not guaranteed to make it, either - the universe in this game is ultimately indifferent to our plight, so whether we spread across the stars and last for millions of years or die out tomorrow and leave nothing but ruins for some future race to pick over is all up to us. Fair enough, I guess.
Next, the book goes over the possible tones you can set for the game. You can go gritty, in which case you're almost back to Call of Cthulhu and keeping the monster from eating you for one more day is the absolute best you can hope for (examples: Alien, Battlestar Galactica). You can go pulpy, in which case you blow the monster up while making a witty remark (examples: Star Wars, Chronicles of Riddick). Or you can go with the "somewhat cinematic" tone that is the default for the game, in which case you've got a good chance of taking the monster down, but you'd better plan your attack carefully or it'll definitely take a chunk out of you first (examples: Stargate Atlantis, Babylon 5).
It also mentions that the game uses "the Cinematic Savage Worlds rules." The what now? I've never heard that term before. I swear, if someone just did a search-and-replace on "Unisystem," I am going to be upset.
The fact that the section also mentions "Drama Points" as a way of adjusting the tone does not bode well, either. (Savage World does have something similar, but it calls them "bennies," and they're not normally used to adjust the tone - in SW, you do that by adding optional rules instead)
Next, we get a rundown of the world of the game. It's the year 2030, in an alternate history where every story ever written by Lovecraft actually happened, especially The Shadow Over Innsmouth (which led to the US government learning about the deep ones), The Shadow Out Of Time (which involved an archeological excavation of a yithian city) and At The Mountains Of Madness (same, only with an elder one city). The upshot is that the public knows about aliens in a general sense, and the governments of the world know even more. Psychic powers are also acknowledged and you can make a living from having them, and using alien tech humanity has developed interstellar travel and started colonising other planets.
Cthulhu and similar nasties inhabit something called hyperspace, and are much weirder (and far less possible to co-exist with) than regular aliens. They tend to visit the material universe and munch on the psychic energy of us feeble fleshy types. You know how the dinosaurs suddenly went extinct and we had all those theories about why? Yeah, turns out that was just Cthulhu feeling peckish. On the other hand, if you can dodge the mad god-things, hyperspace is great for taking shortcuts through, which is why there is such a thing as interstellar travel these days.
Hyperspatial energies also drive you crazy (and in extreme cases turn you into a deformed mutant) if you get exposed to too much of them too quickly. This is the game's solution to the whole "things man was not meant to know" thing - Lovecraft's protagonists didn't go crazy because they knew too much, they went crazy because unbeknownst to them, the alien creepy-crawlies they ran into had showered them with magical radiation. I guess that works as a compromise - it wouldn't be much of a sci-fi game if knowing stuff automatically made you crazy, but it wouldn't be much of a Mythos game if no one ever went crazy.
It's possible to command hyperspatial energies with your mind to make all sorts of whacky things happen, if you have enough discipline and learn the right tricks. This is called "hyperspatial sorcery," but it's actually perfectly scientific, honest! As a (somewhat) safer and more reliable alternative, you can build machines that make the whacky things happen more reliably - hyperspace doesn't care if the electrical currents it responds to are generated by a biological brain or by electronic circuitry.
There is one particular level of hyperspace that people touch when they sleep, the Dream Realm. With training, you can go there intentionally. You should be careful, though, because ghouls and deep ones have dreams, too.
Finally, we get a rundown of the chapters in the book. Chapter one details the history of the world and the current political situation. It also presents the main good-guy organisation, the Office of Paranormal Security, or OPS. Okay, you guys realise that you're just one well-publicised screwup away from everyone starting to refer to you as "the Ooops," right?
Chapter two is chargen, including ready-made characters. The latter part is a FILTHY LIE, by the way, but I'm sure it was true in the original version of the book. Chapter three is called gear and includes "all the information [you] need to play or run Cinematic Savage Worlds and Eldritch Skies." Again, that's not actually true, like most SW books this one assumes that you also have the main SW rulebook - and again, since I'm pretty sure that there is no such thing as Cinematic Savage Worlds, I'm pretty sure that someone blithely assumed that the non-rules-chapters were pristinely system-agnostic and didn't bother to check to make sure. Also, I can't help it notice that the chapter called "gear" only contains gear rather than contain additional rules like the description claims, so I guess the title might also have been changed.
Sigh... anyway, chapter four is the rules for magic, hyperspatial sorcery and psychic powers and so forth. Chapter five expands on the first chapter by outlining the alien worlds and dimensions that humanity has colonised or discovered. Chapter six is the antagonist chapter, with stats for the various creepy-crawlies of the setting. Chapter seven, finally, is Game Master advice and story ideas.
Despite my growing concerns about the quality of the SW edition (which appears to be the only one currently on the market - I can find references to the Unisystem version, but other than one copy that is up for $165 (!) on amazon, no one seems to be selling it anymore), there's a number of interesting ideas here. We'll see what comes of them. To be continued.
Before I begin, I need to gripe that my hardcopy from drivethroughrpg claims on the back cover that this is a game for the Cinematic Unisystem, while the front proudly displays a Savage Worlds brand. This might be a problem with the printers rather than with the authors, though as we will see, the interior of the book will often suffer from the same confusion.

The cover art is pretty impressive, showing an astronaut facing what is presumably meant to be a mi-go (a vaguely crustacean creature with bat wings and a potato-like head covered in short tentacles - you can say this for Lovecraft, when designing an alien species he didn't just stick a lumpy forehead on a human and call it a day...) before an alien landscape with cities half-sunken into the ground and what looks like a whale flying on dragonfly wings in the background. The astronaut is holding what looks half like a talisman and half like a high-tech instrument. Trippy, man.
Introduction
Eldritch Skies is "a roleplaying game of somewhat cinematic Lovecraftian SF," in which you've "got heroes defending the Earth and its off-world colonies from the monsters and foes of the Cthulhu Mythos." I think using the term "somewhat" in an elevator pitch is probably not the best idea, as it makes it sound too much like you're not actually sure what you want and should stop wasting other people's time until you've made up your mind, but other than that it's a fairly succinct description. It's Cthulhu in space, and we get to shoot him with a raygun. Right on.There is a somewhat (hey, I'm not writing an elevator pitch!) meandering description of what a roleplaying game is, first explaining that you need to create a Hero to play as. Some examples of where to find inspiration are given, such as "Randolph Carter's great granddaughter," or one of the "overly curious FBI agents, reformed criminals, and newly recruited intelligence operatives" seen on TV. You can also make up something new, like "a brilliant and insatiably curious misfit that fights the forces of the Cthulhu Mythos with amazing computer skills and technosorcerous devices." (I admit that I have never seen a character like that, if only because most Mythos stories are not about fighting the Mythos but about dying horribly at the hands of the Mythos)
The Game Master runs the Guest Stars (neutral characters, such as "the run-away running right into the arms of an evil cult," "an administrative assistant searching for a way to blow the whistle on superiors who are making illegal deals with the mi-go for advanced weapons" or "the conspiracy nut looking for proof and respect") and Antagonists (evil characters, like "cultists, hyperspatial mutants, aliens, and other nasties") that the Heroes encounter. The Game Master also arbitrates all the rules.
Players get together to have game sessions of varying length, and the game is also broken down into Episodes which join together into Seasons, and this is all needlessly pretentious, but as I recall it's all inherited from Unisystem so I guess it was mandatory. Also "in roleplaying, no one gets to brag about being the winner. The flip side is that no one has to be the loser." An excellent attitude to be sure, but I know from experience that it takes more than just saying so to turn some people into proper team players!

One-shots are also possible, so you could just play a single session to "locate and obtain a powerful artifact before an evil cult can obtain it or save an interstellar colony from being overrun with flying polyps." The examples are doing a decent job so far of hinting at what you're supposed to do, I'll say that much.
The section then loses several points by first patronisingly explaining what dice are, and then failing to mention anything about how this game is going to require a different sort of dice than the regular six-sided kind. Does Unisystem only uses d6s? Because in that cause this is something that should have been changed for the SW version, and if not, well, then it's pretty much inexplicable in how hard it fails.

Still, we'll let bygones by begones and move on. The next bit defines Lovecraftian science fiction. Basically, it's meant to emulate the sort of stories Lovecraft wrote when he was feeling unusually mellow - you know, on those days when he wasn't fighting the certainty that the mackarels were plotting his demise.

I'm a little in two minds about this. On the one hand, in my experience taking a source of inspiration and removing something rather than adding something, no matter how little you like the thing removed, rarely results in improvement. And Snead seems to be prone to this. In Blue Rose, he set out to create a fantasy setting that was pristinely free of anything that was in any way, shape or form grimdark - and which turned out to be boring as hell, because he didn't add anything to replace the grimdark with! (I've run a number of BR campaigns, but the two most successful ones were set in Kern and Jarzon, which is to say, in the grimdarkest parts of the setting

On the other hand, as he points out himself, Lovecraft wasn't always hysterically xenophobic, so perhaps this is less about cutting something out than about emphasising one aspect over another? And I must admit that I really love aliens who are properly alien, with incomprehensible thought processes and inhuman perspectives, without necessarily being evil because of it. So let's give it a chance, shall we?
The section also makes it clear that in this game, humanity is not inherently doomed. It references The Shadow Out Of Time, in which the protagonist interacts with a number of human intellects from thousands of years into his future, thus implying that we're canonically not about to go extinct any time soon. On the other hand, we're not guaranteed to make it, either - the universe in this game is ultimately indifferent to our plight, so whether we spread across the stars and last for millions of years or die out tomorrow and leave nothing but ruins for some future race to pick over is all up to us. Fair enough, I guess.
Next, the book goes over the possible tones you can set for the game. You can go gritty, in which case you're almost back to Call of Cthulhu and keeping the monster from eating you for one more day is the absolute best you can hope for (examples: Alien, Battlestar Galactica). You can go pulpy, in which case you blow the monster up while making a witty remark (examples: Star Wars, Chronicles of Riddick). Or you can go with the "somewhat cinematic" tone that is the default for the game, in which case you've got a good chance of taking the monster down, but you'd better plan your attack carefully or it'll definitely take a chunk out of you first (examples: Stargate Atlantis, Babylon 5).
It also mentions that the game uses "the Cinematic Savage Worlds rules." The what now? I've never heard that term before. I swear, if someone just did a search-and-replace on "Unisystem," I am going to be upset.

Next, we get a rundown of the world of the game. It's the year 2030, in an alternate history where every story ever written by Lovecraft actually happened, especially The Shadow Over Innsmouth (which led to the US government learning about the deep ones), The Shadow Out Of Time (which involved an archeological excavation of a yithian city) and At The Mountains Of Madness (same, only with an elder one city). The upshot is that the public knows about aliens in a general sense, and the governments of the world know even more. Psychic powers are also acknowledged and you can make a living from having them, and using alien tech humanity has developed interstellar travel and started colonising other planets.
Cthulhu and similar nasties inhabit something called hyperspace, and are much weirder (and far less possible to co-exist with) than regular aliens. They tend to visit the material universe and munch on the psychic energy of us feeble fleshy types. You know how the dinosaurs suddenly went extinct and we had all those theories about why? Yeah, turns out that was just Cthulhu feeling peckish. On the other hand, if you can dodge the mad god-things, hyperspace is great for taking shortcuts through, which is why there is such a thing as interstellar travel these days.
Hyperspatial energies also drive you crazy (and in extreme cases turn you into a deformed mutant) if you get exposed to too much of them too quickly. This is the game's solution to the whole "things man was not meant to know" thing - Lovecraft's protagonists didn't go crazy because they knew too much, they went crazy because unbeknownst to them, the alien creepy-crawlies they ran into had showered them with magical radiation. I guess that works as a compromise - it wouldn't be much of a sci-fi game if knowing stuff automatically made you crazy, but it wouldn't be much of a Mythos game if no one ever went crazy.
It's possible to command hyperspatial energies with your mind to make all sorts of whacky things happen, if you have enough discipline and learn the right tricks. This is called "hyperspatial sorcery," but it's actually perfectly scientific, honest! As a (somewhat) safer and more reliable alternative, you can build machines that make the whacky things happen more reliably - hyperspace doesn't care if the electrical currents it responds to are generated by a biological brain or by electronic circuitry.
There is one particular level of hyperspace that people touch when they sleep, the Dream Realm. With training, you can go there intentionally. You should be careful, though, because ghouls and deep ones have dreams, too.
Finally, we get a rundown of the chapters in the book. Chapter one details the history of the world and the current political situation. It also presents the main good-guy organisation, the Office of Paranormal Security, or OPS. Okay, you guys realise that you're just one well-publicised screwup away from everyone starting to refer to you as "the Ooops," right?

Sigh... anyway, chapter four is the rules for magic, hyperspatial sorcery and psychic powers and so forth. Chapter five expands on the first chapter by outlining the alien worlds and dimensions that humanity has colonised or discovered. Chapter six is the antagonist chapter, with stats for the various creepy-crawlies of the setting. Chapter seven, finally, is Game Master advice and story ideas.
Despite my growing concerns about the quality of the SW edition (which appears to be the only one currently on the market - I can find references to the Unisystem version, but other than one copy that is up for $165 (!) on amazon, no one seems to be selling it anymore), there's a number of interesting ideas here. We'll see what comes of them. To be continued.
Last edited: