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Curse of Nineveh

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#41 ScottDorward

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Posted 06 April 2017 - 09:30 AM

I'm happy to hear it went so well, Steve! I'm also happy to hear that there were survivors. It can be a brutal chapter.

 

That was an excellent way of handling the effect of the crit POW roll. I wish I'd thought of that.




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#42 SJE

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Posted 06 April 2017 - 10:22 AM

I'm struggling not to make the Major a Tom cat. ;)
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#43 christian

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Posted 09 April 2017 - 01:00 PM

Hi

 

I'm going to try to run Curse of Nineveh, after a very enjoyable "Arrius Lurco" campaign. My players liked it, but they would like to come back to the Roaring twenties ;-) and more investigating, after having skewered various vilains and monstrosities. Curse seems well-put together but rather "dry" so I'll see how this translates. I have a few questions, basic ones: I DO NOT understand how the Brightman statue differs from the Selcibuc statue. Is it the same? Can't possibly be, methinks. Brightman brought his back, sleepless nights all included, and kept it, and showed it ro Rayburn Price. While Selcibuc got hers from Glossop who got killed for his pains. So are these two statues exactly alike, ie solid gold, cursed, etc....? That's what I've surmised but that seems such a cheap trick, and there is no explanation for it. Please help, friends


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#44 SJE

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Posted 11 April 2017 - 03:03 PM

I think it's a similar but different statuette- possibly the stolen Nabu Ascendant rather than the Nabu Incarnate that Neve was given.

That said Brightman had access to the artifacts before they were even catalogued by the British Museum, so it may be a third statue of an Nabu. In my game, the PC's found it at the hideout of the Children and it was used as evidence in Children's trial to prove they murdered Brightman.
Running Curse of Nineveh. Survivor of Horror on the Orient Express @ GenCon2013. Keepered Beyond the Lighthouse of Madness, Shadows of Yog Sothoth: Fight Club, and Innsmouth, Masks of Nyarlathotep in London, World War Cthulhu - Saint Cernouf Sandbox

#45 christian

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Posted 11 April 2017 - 08:36 PM

thanks


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#46 christian

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Posted 17 April 2017 - 04:04 PM


Even though I really like the portraits in "Curse of Nineveh", I always prefer to offer my players templates with the faces of contemporary actors, so, in case anyone is interested, here are a few of my character cards for Curse. 

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Edited by christian, 17 April 2017 - 04:04 PM.

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#47 Eddy

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Posted 17 April 2017 - 04:18 PM

Even though I really like the portraits in "Curse of Nineveh", I always prefer to offer my players templates with the faces of contemporary actors, so, in case anyone is interested, here are a few of my character cards for Curse. 

 

I like them...any more?



#48 christian

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Posted 17 April 2017 - 04:24 PM

Another one, a third one, and the fourth, the fifth, the sixth and the last one, for now, I think, with a few nameless protagonists.

 

Hope you enjoy them.

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#49 GBSteve

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Posted 21 April 2017 - 01:23 PM

I'm now playing Neve, a character written by my wife. Let's see if she lasts longer than the Major.


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#50 UncleRiotous

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Posted 30 April 2017 - 10:10 AM

I'm running Bedlam at the moment and next session the players will most likely be storming Sauvageot's lair with the police which leaves me with a couple of questions.

 

Am I right that the police wouldn't be carrying firearms (and would frown upon any characters who decided to bring firearms with them)?  Kind of makes sense to me but it's going to make that running battle pretty lethal.

 

It says that if they try a full frontal assault then Sauvageot will step up his plans and flay Puncheon while the battle is going on upstairs.  Any suggestions on how to handle that?  Does that mean that he'll just be ready to start as they arrive or if they're not quick they'll arrive in time to see him duck out as what remains of Puncheon expires?



#51 nclarke

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Posted 30 April 2017 - 12:34 PM

We sort of stormed the lair with the police - only we got there early and stirred up a Russian emigre mob which chased us into the rear yard of the house. We entered the house quietly before the police raid and made our way downstairs just as the French opened up with a tommy gun on the police. The police returned fire (they'd been issued with firearms as they had been told the occupants were armed. (see the Sidney Street siege for a real life example). We had planned to enter the house by using the sewers as we'd located a way in via the engineering dept of the sewer/water company but a blown roll made us lose our way before using the arousing the Russians ploy as a distraction but we escaped via that route with a book and Puncheon leaving Sauvageot unconscious on the floor of the cellar.



#52 christian

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Posted 13 May 2017 - 07:08 AM

My players are starting to realise London 1925 is NOT Los Angeles 1935. I'd like to know how police would react if they realise characters have guns. Two of my characters, WW1 veterans, are carrying a handgun. One is a Lord, the other one a servant. They have just called police after finding McAvoy's body, and their first contact with police before that was quite peaceful. There is nothing shady here, they hav'nt broken a lock or anything, mainly slipped through a window, but how would police react and in what conditions would they bar people from carrying? Thanks


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#53 nclarke

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Posted 13 May 2017 - 07:41 AM

In the UK in the between-the-wars period a licence was required  from the local county police Chief Constable. Smooth-bore shotguns for rabbit or pigeon in a countryside environment should easy enough but obviously not during a visit to any city or town.

 

1920_Firearms_Act



#54 UncleRiotous

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Posted 13 May 2017 - 08:08 AM

I have a similar issue in my game having made the decision/mistake to allow one of my players to be a fairly highly placed Lord (allowing him to be well placed in the Masons was probably a worse move and definitely compounds the problem).  He's pretty well armoured against a lot of the rules that should cause issues with the police which means he often carries a revolver.  That said he and his retinue are making quite a name for themselves which is making them very visible to both The Children of Tranquility and Delgado.

 

On a side note I think one thing that is missing from a lot of The Curse of Nineveh is notes on the social standing and titles of the NPCs.  Given how class ridden London was in the 1920s it seems not to be taken into account in at least the first few chapters.



#55 nclarke

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Posted 13 May 2017 - 10:01 AM

I suspect that the editors and authors of CoN may have fallen into the common perception when writing about material they are familiar with that everyone knows innately what they themselves do.

 

I know, having lived in the UK, Middle east and the States, things about various cultures that do not even show up on my local players horizons (they've never  lived more that 20 or 30 miles from where they were born). T For example there's a bit in the Zalozniyhi (sp) Quartet concerning the Empty Quarter of Saudi Arabia that seemed to be totally at odds with what I knew from living in SA for several years.

 

In other games and campaigns the assumptions of the authors about 'facts' associated with people and places often beggars belief for anyone who knows even a small amount about the true facts. The British class system as portrayed by US authors is riddled with poorly researched and even more poorly understood information so it's little wonder that Keepers who usually have no better experience fail to correctly portray the situation. The 7e Investigator's Handbook section on Useful Information for the 1920's has precisely two paragraphs (IIRC) of UK specific information and that covers the 1920's Firearms Act. A few minutes with Wikipedia could help out most non-Brits with details of how social status in the UK works between the wars. A film like Remains of the Day shows how that social structure reduced to a shadow of it's former self after WW2.

 

Chaosium's Monograph #0359 Kingdom of the Blind does a reasonable job of providing background to the UK in the 20's and 30's and Green and Pleasant Land has a certain amount of information but isn't quite up to the amount of data in KotB.

 

Nigel


Edited by nclarke, 13 May 2017 - 10:02 AM.


#56 SJE

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Posted 14 May 2017 - 02:19 AM

So, we've now pretty much finished Chapter 4 and are heading into Paul Frickers chapter 6 + 7 (since we did Scott's Chapter 5 already).

Chapter 4 in fairness is fairly freeform, and I'm mostly ignoring the linearity of the later chapters as its much more a game of responses between the PC's and the various factions - for example after being repelled by the Guardian down in the Tube tunnels, they basically warned Campbell Thompson about what was happening so he could sic the police on it. They finally got to one of Delgado's Gatsby-like parties and party girl Neve enjoyed taking cocaine with all the Bright Young Things.

Now the game has turned into a cat and mouse game of trying to seize various artifacts- things are being stashed in bank vaults, forgeries being commissioned for sale to Malfada or Delgado, the British Museum and Campbell Thompson are also changing up their security and where they are stashing Elements, all the while as thugs tail people and vaults get raided.

Again some of the gaps between the chapters and editing errors are showing up- Delgado's house for example is better described in Chapter 6 instead of 4, and the idea that anything more could be stolen from the British Museum is starting to get laughable given everything that's happened before. I'm not sure why suddenly there are lots of maps in Paul's scenario, nor what they add except word count, and given the spell list on p11 (including a lot of non-7th ed spells) some of the occupants of room 28 make no sense (avoiding spoilers here). And a minor editing error amused me that you could peer through a window of and see Aloysius talking to Delgado (basically himself).
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#57 UncleRiotous

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Posted 14 May 2017 - 08:50 AM

I suspect that the editors and authors of CoN may have fallen into the common perception when writing about material they are familiar with that everyone knows innately what they themselves do....

 

Chaosium's Monograph #0359 Kingdom of the Blind does a reasonable job of providing background to the UK in the 20's and 30's and Green and Pleasant Land has a certain amount of information but isn't quite up to the amount of data in KotB.

 

I think there may be some of that but if that was the case I'd expect a note to say that they had a title or position with no explanation of what that means.  What I'm finding is more that there is no mention of anyone's social standing.

 

I'll definitely check out Kingdom of the Blind.  I've got Green and Pleasant Land and the Cubicle 7 London Britannica set which really does have an amazing amount of information on Britain in the 1920s, definitely a resource worth picking up.



#58 UncleRiotous

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Posted 14 May 2017 - 09:13 AM

What I could really do with looking ahead in the adventure is at least a sketch of the temple of Nabu.  I've read the descriptions a couple of times and tried to sketch it out and somewhere in my brain there is a disconnect.



#59 DavePerry

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Posted 14 May 2017 - 10:27 AM

What I could really do with looking ahead in the adventure is at least a sketch of the temple of Nabu.  I've read the descriptions a couple of times and tried to sketch it out and somewhere in my brain there is a disconnect.

 
I found a floorplan for the Temple of Nabu on Google.

#60 UncleRiotous

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Posted 14 May 2017 - 12:26 PM

Thanks, not sure that it exactly lines up with the description in the book.  It seems a bit of an oversight to publish maps of loads of random houses early on in the book but leave the location of the finale unmapped.

 

I think the bit that I'm probably struggling with is comparing this from the scenario

 

The temple is accessed through a set of doors leading into a small antechamber, but blocked by a great stone seal carved with images of the gods Nabu and Marduk. Recesses hold candles and

other votive offerings.On either side of the following chamber are three portals, one behind the other, formed by golden, winged bulls looking towards the great hall. The largest of these bulls is some 18 foot high, the smallest 12 foot.

 

with this from the journal of Campbell Thompson

 

 

The seal was rolled out of the way with no small effort, taking five of us to budge it, and then finally we were able to descend a short flight of steps into a great chamber, which offered up a view of such perfectly preserved history that it quite took our breaths away.

 

Three doorways on the western side of this chamber, similar to those on the eastern, led into as many distinct rooms, unconnected with each other. There were thus three magnificent portals, one behind the other, each formed by winged bulls facing the same way, and all looking towards the great hall; the largest colossi, those in front, being above 18 feet high, and the smallest, those leading into the inner chamber, about 12. It would be difficult to conceive any interior architectural arrangement more imposing than this triple group of gigantic forms, as seen in perspective by those who stood in the centre of the hall, dimly lit by our primitive torches, and harmoniously coloured or overlaid, like the cherubim in the temple of Solomon, with gold. At the upper ends of the two parallel chambers just described, were entrances opening into a room 82 feet by 24, whose walls were of the same unsculptured limestone.

 

I'm definitely not sure which are the two parallel chambers described.  It's probably me just being dense but a simple drawing would really help me visualise it.







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