Fantasy Horror
The RAVENLOFT game involves classic horror in which the darkest of evils descend upon a more or less civilized world and prey upon the unsuspecting citizenry therein. However, it is also a game of swords and sorcery, knights and wizards, heroes and monsters. Unlike any other horror or fantasy game, this system meshes these two traditions into one genre that can best be called fantasy horror.
Gothic Tradition
From its Gothic roots, the RAVENLOFT setting draws the
elements of fear and terror that have fascinated mankind
throughout the ages. Here live the greatest of villains and
the most diabolical of creatures. Vampires and werewolves,
witches and black cats, ghosts and spirits - all these things
abound within the Land of the Mists.
Many Dungeon Masters have difficulty capturing the subtle flavor of Gothic horror. While anyone can write a game in which armies of rotting zombies hammer away at the heroes, such an approach fails to include the subtle romance and drama that makes for a truly horrific experience. Death lasts only an instant, but horror can linger for a lifetime.
Gothic horror creates a world of shadows where mysteries are as much a part of the adventure as frightening monsters and deadly villains. Heroes must use their wits as well as their swords if they want to emerge triumphant. To that end, the Dungeon Master must consider many aspects of play. The following elements have special importance in the traditions of Gothic horror.
Helplessness
In Gothic horror, the hero generally confronts creatures and situations far more powerful than any he might be reasonably expected to deal with. Jonathan Harker, for instance, certainly proved to be no match for Dracula. He was an insignificant fly cast into the web of the greatest evil the world has ever known.
In Ravenloft, however, this is a little harder to accomplish. A group of heroes can make up a very powerful force. Thus, very little truly terrifies a strong party of adventurers. It is important, however, that in the face of whatever villain they confront, the assembled heroes still feel a certain degree of helplessness.
The Dungeon Master can impose a sense of helplessness on the heroes in many ways. For example, he could plan an adventure where the characters have a chance to use some great spell or artifact on the villain, only to see him shrug it off as if it were a mere trifle. Such a scene can rattle the nerves of even the most dedicated enemy of evil.
Isolation
This is one of the most important aspects of Gothic horror, and one that a Dungeon Master can easily include in any game session. In its purest form, isolation cuts the heroes off from each other or any hope of outside assistance. A team of explorers shipwrecked on an island inhabited by a colony of illithids will probably not find any allies among the ranks of those vile creatures. Even the human cattle on which the mind flayers feed do not present a very promising source of aid or comfort.
Isolation confronts the characters with two distinct problems that can shake the confidence of even the greatest warrior. First, they must depend utterly upon themselves and their own resources. No one else is going to wander by and give them an important clue. Second, they often have no route of retreat. If things get too rough for them to deal with, they cannot simply withdraw to a safe position and regroup. They stand with their backs against the wall.
Alienation
In many ways, alienation resembles isolation; in some ways, however, it is even more frightening. An alienated group of heroes might find themselves in the heart of a great city, surrounded by people, but still feel cut off from help. This happens when the heroes discover something that no one else will believe or when cultural differences keep them from interacting with the locals. Things only get worse if the heroes do not speak the same language as those they are trying to convince. A great many psychological thrillers depend upon one or both of these techniques.
An example of alienation might entail a group of adventurers who know that the burgomaster of the village is actually a vampire, but no one believes their claims. Indeed, if the burgomaster is an especially beloved individual, the alarm that the heroes try to raise might turn the populace against them.
Contrasts Any adventure becomes more exciting with the liberal use of dramatic contrasts. When the Dungeon Master uses this technique for his descriptions, things that appear wholesome and happy by day become frightening and menacing at night. Evil seems all the more disturbing when placed side by side with innocence.
Again, the novel Dracula makes excellent use of this technique. The death of Lucy Westenra, as charming and elegant a young lady as one might hope to meet, is tragic enough. When she rises from the grave as a foul thing of the night who preys on small children, however, the true horror of what has happened rings clear.
Ignorance
A final important aspect of horror centers around the information available to the characters. No matter how much the players deduce or how many answers they uncover, they must always believe that other crucial tidbits exist that they do not know about. This may very well be untrue, but they should always feel that they are missing some important piece of the puzzle.
If done correctly, this technique makes the players feel that danger surrounds their characters. Who knows what trick the fiend their characters are stalking might have in store for them? Doubts like this enhance the characters' feelings of weakness and vulnerability.
Role of Fantasy
Ravenloft is also a realm of the fantastic. The heritage of the AD&D game graces the Demiplane of Dread with valiant knights, devout priests, powerful wizards, and cunning thieves. Taken from their traditional places as glorious defenders of the light and cast in more somber roles, these characters must now adventure in the Land of the Mists.
Of course, fantasy literature has a long tradition, and players (rightfully) expect certain elements. Thus, a good RAVENLOFT adventure should include swords and sorcery as well as the macabre. Consider the following aspects whenever designing an adventure or campaign.
Heroism
At least once in every adventure, the players should have a chance to show their characters' mettle. This might involve combat, a chance to behave in a chivalrous fashion, or an opportunity to demonstrate the skills and powers that set them apart from the common folk. Since every adventure must vary the pace of play from time to time (see "Laying Out the Plot" later in this chapter), a scene like this can provide a break from the grim and ghastly.
Romance
Of course, Gothic horror makes use of romantic involvements as well, but it is even more prevalent in heroic fantasy. A bit of romance - whether between two player characters, a player character and a nonplayer character, or even two nonplayer characters - can add a lot to the flavor of an adventure. Nothing spurs a knight into battle more than when the hand of a lady is at stake.
If used in conjunction with the horrific aspects of the game, romance can provide an especially useful tool for the Dungeon Master. Imagine the warrior's surprise when he discovers that his beloved is not being held by the evil monster, she is the creature he set out to slay!
Magic and Wonder
Of course, magic plays a smaller role in Ravenloft than it does in many other fantasy settings. However, every adventure should have at least one scene where the characters encounter some aspect of fantasy and awe. This might entail a chance to show off their own magical abilities or the opportunity to partake in some unusual ritual or ceremony.
No matter what the nature of this element, it should make the players go "ooooh" and "aaaah", like a good fireworks show.
