Rippers: Chapter 5

It's been a while, but we finally reconvened for a new session of Rippers! +Annette's been busy with work, but particularly wanted to have a game on the weekend of her birthday. +Michael reported in sick, but bravely soldiered on and joined us via Google Hangout to avoid spreading his illness around.

• +Annette plays Gregory Pratchett, an alienist with a gift for physically battling the forces of darkness. His encounter with a werewolf led to the Rippers showing an interest in his talents.
• +Michael plays William Baker, a Professor of Archaeology who uses knowledge as a weapon. On his expeditions across Europe he began uncovering signs of the occult. In Eastern Europe, one of his parties was all but wiped out by a vampire. He was kicked out of Cambridge for publicly airing his views on the supernatural, losing his tenure and his marriage. The Rippers recruited him shortly afterwards.
• James plays Douglas, a mysterious cloaked gadgeteer with a modified crossbow whose fiancée was killed by a werewolf on their wedding day.

Previously, all three Rippers followed Lord Maybrick to his country estate in an attempt to recover the heart of a rare Mesopotamian Mummy. The direct approach failed, so they are attempting to sneak back inside... although at the end of last session, they had just set fire to a carriage and two Mummies in the stable yard.


Given the commotion they have just ignited at the back of the East Wing, the Rippers sneak in the front door. Soon after entering, they hear a gunshot from upstairs - however, their minds are on other matters. Reasoning that the Mummy Heart is probably in a secure location, they head for the West Wing and the library.

They search the library quickly and thoroughly. Douglas finds a secret passage as a neatly-dressed man in a top hat runs past clutching something. Pratchett and Baker pursue him, also hearing booted feet coming from the same direction as their quarry, while Douglas investigates the passage.

Pratchett and Baker catch up with the top-hatted gentleman and attempt to snatch the canopic jar he's carrying. The struggle spills out onto the back lawn, where they are soon joined by three thugs dressed as footmen who assist Top Hat. The gentleman utters some arcane phrases in Ancient Egyptian and summons an otherworldly servant from the ground.

Meanwhile, Douglas' investigation of the passage is stymied by a lack of illumination. As he returns to the library to look for something to light his way, he hears the fracas outside and hurries to join the fray. He discovers that some of Maybrick's serving staff are also fighting against Top Hat's thugs. Top Hat loses the jar to Pratchett, and draws his sword in an attempt to get it back. Baker is struck a grievous blow by one of the thugs, who pays the ultimate price at Pratchett's hand.  As most of Top Hat's minions have fallen, he flees but is shot down on the way to the stables by a hail of bolts from Douglas' crossbow.

Maybrick's staff reveal that the gentleman is Sir Conrad Leek, and also that he shot their master; the butler is currently providing medical attention. The Head Maid wants them to stay to speak with Maybrick when he recovers, and requests the return of the jar, but Pratchett implicates their master in its theft and informs them the group will leave immediately.

The Rippers return by carriage to the London Lodge, deliver Leek to the cells, and debrief Shackleworth and Van Helsing. They are congratulated for their return of the artefact. Investigations will continue into Leek's cult, and Van Helsing will deal with the Maybrick situation.

The Rippers have proved their worth to the organisation, and Van Helsing offers them the opportunity of their own Lodge. However, they turn down the offer, content to keep working under orders as they have been.


Rather than tracking Experience Points too closely, I've basically been giving them half an advance every session. Since this session made a good conclusion for the current story arc, and would be a good spot to start them off with their own Lodge as they became Seasoned, I gave them a whole advance this time.

However, they turned down the offer, both in and out of character. The players are happy to be given assignments with enough leeway to use their own initiative and preferred methods, and just concentrate on hunting down and eradicating evil, without the need to bring additional responsibilities and the worries of resource management into the mix. The "run your own Lodge" system is a unique element of the Rippers setting, but it's not one the players are keen on at this juncture. They might decide to give it a try later on, though.

I actually went against the expectations I'd laid out at the beginning regarding pulling punches and character death. In our first game I'd used the Heroes Never Die setting rule to take PC death off the table. For Rippers however, given the visceral and brutal nature of the setting and the foes they would be facing, I'd said that I wouldn't fudge the rules to save lives.

Then I did just that, when a damage die exploded several times in a row against poor Professor Baker and he was faced with taking four Wounds at once from a cultist Extra. Although he might not have died, I reduced the blow to three Wounds, which effectively took him out of the fight anyway.

The main factor influencing my decision was that he'd Soaked against the immediately previous attack with a total Vigour roll of about 26, giving him more than enough Raises to Soak the one Wound he was going to take but also leaving him out of Bennies.

The other factor was that I was concerned about the difficulty of the fight - at the start, due to Douglas' absence, it looked like it would be two Rippers against Wild-Card Leek, three Cultists, and a summoned Bodyguard! I gave Douglas an opportunity to join in, and also had Maybricks' combat servants help out. Even so, it was a close thing when Baker went down. In hindsight I probably shouldn't have been overly concerned; rather than worrying about what makes for a good and balanced fight, I think Rippers is more about what the situation demands. If the good guys end up outnumbered and out of luck, that's the way it goes. Leek was in a hurry to leave anyway, so it's unlikely he would have stopped to finish them off if all the Rippers had been incapacitated.

Anyway, I talked to the group about it afterwards, and they didn't seem to think their sense of fun or challenge had been betrayed. In addition, two of them currently have back-up PCs in case they feel like a change or suddenly need a new PC. I'll try harder to toe the line in the future, but I am by nature a fairly soft-hearted GM.

>>> To be continued!

Rippers: Chapter 4

Since everyone's on holidays at the moment, we got together for an extended Rippers session. It ended up going for eight hours, with about a one hour break for dinner; the Actual Play is fairly long because it's effectively two sessions' worth of stuff, and we spent a good deal of time discussing and executing plans and conducting investigations so big combat scenes didn't really feature this time around.

• +Annette plays Gregory Pratchett, an alienist with a gift for physically battling the forces of darkness. His encounter with a werewolf led to the Rippers showing an interest in his talents.
• +Michael plays William Baker, a Professor of Archaeology who uses knowledge as a weapon. On his expeditions across Europe he began uncovering signs of the occult. In Eastern Europe, one of his parties was all but wiped out by a vampire. He was kicked out of Cambridge for publicly airing his views on the supernatural, losing his tenure and his marriage. The Rippers recruited him shortly afterwards.
• James plays Douglas, a mysterious cloaked gadgeteer with a modified crossbow.

Last time, Pratchett and Baker were unable to prevent the theft of a canopic jar from an exhibit at the British Museum. Baker was certain that it contained the heart of a rare Mesopotamian mummy.


Baker and Pratchett debrief their superiors at Ripper HQ, and also reunite with Douglas. They return to the scene of the crime and try to track the thief, but find only a small black cat statue. Baker uses his shady contacts to learn it's the calling card of the cat burglar known as Black Cat.

On Douglas' suggestion, they set up a "job" for Black Cat to steal an Egyptian cat statue from the Rippers Lodge. It's early morning, so they have to wait until that night to spring the trap and question him about the whereabouts of the stolen canopic jar.

On his way home to sleep, Pratchett is set upon by two assassins with swords who scream "Die in the name of Imhotep!" Surprised, overwhelmed, and badly injured, Pratchett makes it inside his office and bolts the door; the assassins are forced to flee as people begin to emerge onto the street. Pratchett returns to Rippers HQ by hansom cab to seek medical attention, and everyone sleeps at the Lodge until evening.

Late that night the Rippers lure Black Cat into a secure room and capture the burglar after a brief skirmish. Unmasked, they discover that Black Cat is a woman! Upon questioning her, they learn that the stolen canopic jar has been delivered to Lord Julian Maybrick, an occasional Rippers sponsor, friend of Johann Van Helsing, and collector of Egyptian artefacts (and the man whose party the PCs crashed in the Prologue). Black Cat only agreed to tell them this because they promised not to reveal their source, and Pratchett agreed to pay the rest of her fee for the fake job and let her go.

Led by Van Helsing, the group calls upon Maybrick's town house only to discover he has departed for his country estate earlier that evening.

Having missed the last train, Pratchett, Baker and Douglas travel to Maybrick's estate via carriage, arriving in the morning. Pratchett and Baker meet Maybrick and suggest he may be in possession of the jar, perhaps to protect it. He takes umbrage and orders them to leave. Meanwhile Douglas strolls in the back of the house, but doesn't find anything before being accosted by servants and escorted off the property.

Douglas jumps the wall and the group meets up again. The groundskeeper releases his dogs, and the Rippers climb a tree. Pratchett reveals his ability to empathise and communicate with dogs, and persuades them to leave - although the group remains in the tree to avoid the groundskeeper.

Some time in the afternoon, they see a carriage arrive with several lackeys and one gentleman in a top hat. The new arrivals are met at the front door by Maybrick and his butler, and are escorted inside. One of the lackeys drives the carriage around to the back of the house.

They climb down and circle around the mansion, but run into some of the dogs and the groundsman. They try to persuade him they are supposed to be there, but he tries to escort them to the main house "for their own safety." Douglas shoots him in the back, and is badly mauled by the dogs until Pratchett manages to call them off again.

They drag the unconscious groundsman towards the carriage. Pratchett recognises the lackey guarding it as one of the assassins from yesterday morning. He steps out and stabs the man before the thug can draw his weapon. They try to stuff the body into the carriage's trunk, but discover it's already occupied by two active Mummies. They slay one, and set fire to the carriage which burns the second one. As the fire takes off, they retreat into the cover of the garden.


To prepare for this session, I spent maybe an hour or two writing notes and mulling over the existing situation. With several elements already in play, I drew a relationship map showing who was doing what with whom. I then came up with a couple of timelines - lists of sequential events that would happen if the NPCs' plans went ahead unopposed. Once the PCs start to interfere, I just need to adjust the plans and maybe rework the timelines to reflect the changed circumstances.

All of my prep for this seven hour session (and probably for the next session as well) fit on one piece of paper, although I also used another sheet with some NPC and monster stats. Here's a scan, although I've obscured the details since I don't want to reveal some of the connections to my players yet!

Relationship diagrams help me get a better feel for how things look from various points of view. A lot of this planning style is influenced by Apocalypse World which uses Fronts (sources of trouble) and Countdown Clocks (essentially, a list of what will happen if nobody interferes). Speaking of which, I have a three-player Apocalypse World game lined up later in the week with two of my three Rippers and one of the Pathfinder guys.

>>> To be continued...

Ghouls for Savage Worlds

Reading through the Rippers bestiary, I was disappointed to find no Ghouls - so I made my own.

Since reading up a little on Persian mythology many years ago, I've always been quite partial to the Arabic ghul - not an undead, but an inhuman creature that feeds on the dead; that cannot starve to death but becomes increasingly emaciated; that has broad soft feet that don't leave footprints on sand; that can imitate a human; and that can turn invisible when standing still.

My Ghouls come in three versions - Sated, Hungry, and Starving. Sated Ghouls are tougher, but the hungrier they get the faster and more vicious they become. They excel as ambush predators, often waiting underground or simply invisible in plain sight until their prey moves within reach.

Ghoul

Split attributes are for Sated/Hungry/Starving Ghouls.

Attributes: Agility d6/d8/d10, Smarts d6, Spirit d8, Strength d10, Vigor d8
Skills: Fighting d6/d8/d10, Stealth d10+2, Notice d8/d8+1/d8+2
Parry 5/6/7, Toughness 8/7/6, Pace 6+d6/8+d6/10+d8

Special Abilities

• Burrowing (4): Able to dig rapidly through dirt, sand, mud, and clay. Ambush (Stealth vs Notice) for +2 Attack and Damage (+4 on a Raise).
• Darksight: No vision penalty from darkness.
• Fade: In a turn where it takes no actions (including reactive or free actions), the Ghoul can choose to turn invisible, fading into the surrounding scenery. -4 to Notice and subsequent attacks - but if attacked the Ghoul must move to defend itself and therefore becomes immediately visible.
• False Visage: The Ghoul can pull its face into the semblance of a human face, and imitate a human gait, but it will not stand up to close inspection; Notice at +2 will reveal its inhuman nature.
• Grasping Teeth: Str+d6 Damage.
• Rubbery Hide: Armour +2/+1/0 (calculated into Toughness).
• Sand Feet: Stealth +2. No Pace penalty on soft sand, thick mud, or snow.

Rippers: Chapters 1 to 3

We held a second Rippers session in November or December, and managed to fit in another couple of sessions around the New Year period. James turned up for session two (Chapter 1), but unfortunately couldn't make it to either of the subsequent games. Undaunted, Pratchett and Baker pressed on against the forces of darkness.

• +Annette plays Gregory Pratchett, an alienist with a gift for physically battling the forces of darkness. His encounter with a werewolf led to the Rippers showing an interest in his talents.
• +Michael plays William Baker, a Professor of Archaeology who uses knowledge as a weapon. On his expeditions across Europe he began uncovering signs of the occult. In Eastern Europe, one of his parties was all but wiped out by a vampire. He was kicked out of Cambridge for publicly airing his views on the supernatural, losing his tenure and his marriage. The Rippers recruited him shortly afterwards.
• James plays Douglas, a mysterious cloaked gadgeteer with a modified crossbow.

Chapter 1

Pratchett and Baker were placed under the administration of the bureaucratic Tristifer Shackleworth, and teamed up with the mysterious Douglas. Given the option of searching for the missing mummy-filled crates from Canary Wharf or checking out reports of grave-robbing at a small church in Southwark, they chose the church. They determined that something had been burrowing into the graves, which had subsequently collapsed. Entering the catacombs below the church, they discovered a nest of Ghouls! While fighting them off, Baker was severely injured. The group was forced to retreat before completing a thorough search, and the elderly Father Robertson agreed to keep the catacombs firmly shut just in case.

Chapter 2

Two weeks later, Baker was fully recovered. He and Pratchett were assigned to help guard the British Museum the following evening. The Rippers were providing additional security to an exhibit of Mesopotamian grave artefacts, posing as Scotland Yard detectives. Until then, the pair had free reign to undertake their own investigations. Douglas was in the middle of another assignment and would not be joining them.

Father Robertson visited Pratchett and reported that he had heard noises from the crypts. The pair go back to Southwark and slay a final Ghoul that had sated its hunger on the bodies of its fallen comrades. Unfortunately, one of the Ripper irregulars they brought as backup falls in combat.

After returning to the city, the pair investigate the missing Mummy-laden crates from Canary Wharf. The crates came in on the Azimuth, a cargo ship registered to Leek Imports, owned by industrialist Conrad Leek. They deduce the likely location of the Mummy crates and raid a warehouse the following morning. It's empty save for the remnants of some crates, and four unopened ones that contain activated Mummies. They slew two in their boxes before the other pair burst out. The Mummies are defeated, but one of the Ripper irregulars falls in combat.

Chapter 3

After finishing off the Mummies, the group were forced to flee as the police approached.

That night, the pair help guard the unusual Mesopotamian burial exhibition at the British Museum, under the direction of senior Ripper John Stebbins. The exhibit was an unusual form of mummification, with obvious Egyptian influences. A gang of Mummies attacked one of the rear entrances, and it took the combined force of seven Rippers and a game security guard to stop their advance.

Alas, the assault had drawn their attention away from the exhibition room. As they returned, they witnessed a cat burglar climbing a rope to the skylight, with one of the canopic jars! Their attempts to foil the burglar's escape were in vain.


I really started to feel the swinginess of Savage Worlds combat in these games - a lot of misses followed by one explosive, decisive hit. The extra-resilient Mummies (even Servitors have a high Parry and exceptional Toughness) probably don't help, so I will be sure to introduce more enemy variety in the ensuing sessions. I do feel for Professor Baker, as he's not really much chop in a fight.

We have another session scheduled in the next couple of days. I still need to sit down and work out some more factional details and potential looming threats, but I've been going over things in my head so it should just be a matter of making some notes and pulling the threads to see what happens.

>>> Chapter 4

Rippers: Prologue

Since our D&D Next DM's on an extended holiday, a few of us from that group decided to get together for a game in Savage Worlds' "Rippers" setting. I'm GMing; there were going to be three players, but James wasn't able to make it for this first session.

Michael had made his character ahead of time, but Annette had been otherwise occupied. We started work shortly before Michael arrived, and managed to get her character organised after a couple of hours. Although she enjoys roleplaying, she's expressed a dislike for character creation, so we discussed the issues around that a bit. Character creation in some games can be a bit of a slog, and while Savage Worlds is not quite as convoluted as the current D&D Next, it is up there a bit. The need to have a good grasp of the available Edges is probably the biggest hurdle to overcome. I've also found that, instead of buying Edges and Hindrances near the end, character creation in Savage Worlds is usually best done by starting with the Edges you want and then buying Attributes and Skills afterwards to ensure you meet the Edge requirements.

Annette explained that she dislikes the process of trying to find the right way to express her character concept in game terms. It's one thing to describe them in prose, but another thing entirely to translate that into numbers and game options. "If you want your character to do X, you have to take points in Y" was just not engaging or exciting for her. The pitfalls of the concept-to-mechanics process were also made abundantly clear when Michael's professor of archaeology turned out to not actually have the Knowledge (Archaeology) skill - an omission that was rectified in play by swapping out one of his other skills. The need to manipulate multiple interacting segments takes a certain amount of concentration; not only do you have to know which Edges to take, but Attributes are affected by Edges, and Skills are affected by both Edges and Attributes.

Character creation is often seen as a chore - a necessary evil that needs to be suffered in order to get to the fun bit. Mind you, some people do actually enjoy the character creation process itself, although that probably depends on the game. I talked a bit about some of the other games I'd run lately that approach character creation somewhat differently. Apocalypse World (and the *World games in general) give you a guided package deal where all of the thematic choices have been compiled for you, so you just need to go through a checklist and pick some stuff that sounds cool. Some games such as Fiasco and Annalise build character creation into the session itself. Annalise also starts with very vague character outlines which become fleshed out during play, while Fiasco defines characters only by their relationships and requires you to hash out a consensus of who these people are in freeform discussion before the game proper gets underway. In Fate, a high concept aspect such as "Disgraced Professor of Archaeology from Cambridge" would tend to avoid the problem of forgetting to buy all the mechanical widgets to suit your concept, although Fate still has Skills and Stunts to select or build.

During the session Annette also mentioned that she didn't mind spending Experience Points to buy more things for her character; it's just the huge lump of character creation that's a bit much to deal with all at once. I suggested a system (like Leverage or one suggestion in Fate) where you start out with little more than a broad character concept and then fill in the details as they come up in play. "Oh, we have to get away? Well, it turns out I'm a stunt driver! And I can hotwire this car!" It's something I might look into using heavily in a future game.

Anyway, on to the Actual Play!

• Annette plays Gregory Pratchett, an alienist with a gift for physically battling the forces of darkness. His encounter with a werewolf led to the Rippers showing an interest in his talents.
• Michael plays William Baker, a Professor of Archaeology who uses knowledge as a weapon. On his expeditions across Europe he began uncovering signs of the occult. In Eastern Europe, one of his parties was all but wiped out by a vampire. He was kicked out of Cambridge for publicly airing his views on the supernatural, losing his tenure and his marriage. The Rippers recruited him shortly afterwards.

The two recent recruits to the Rippers' London Lodge meet briefly with Johann Van Helsing himself. He welcomes them to the organisation, and immediately provides them with a mission. The Rippers' information network had picked up news of a disturbance at Canary Wharf. It sounds as though it might be Cabal-related, but the Rippers don't have any definite information yet. The pair are sent off into the foggy London night to see what they can discover.

Thick fog rolls across the dockside warehouses. On the other side of the street, the wan light from a tavern is the only cheer to be seen in the gloom, but the place does not boast the raucous sounds normally heard from such common establishments. The pair make their entrance to find the bar nearly empty, with only the innkeeper and a few sullen workers nursing their drinks. A group of three are gathered near the back, two men comforting their obviously shaken comrade - Alf, the man who had been attacked.

The overdressed Rippers interview Alf, gaining his confidence with drink, coin, and encouraging words. He tells them that he was working in one of the warehouses when a long, narrow crate burst open, smashing him in the head with a flying plank and knocking him to the ground. He was dazed, but recalled the scent of roses and had the vague impression of a form shambling away. By the time he came to his senses, his mates had come to assist and drag him away. The men refused to return to work, much to the chagrin of their boss, so the wharves have lain idle since late afternoon. The men aren't sure where the ship that carried the crates had sailed from, but believe it had come through the Mediterranean. Pratchett and Baker ask if Alf will show them to the site of the incident, but no force will motivate him. His friend George, however, is eager to help.

Baker manages to jimmy the lock on the gate, and they enter the docks. George leads them between rows of warehouses. The eerie silence is broken only by the noise of movement some distance to their right, but they ignore it and press on to the warehouse where the incident took place. The storage area stands unchanged since the afternoon, with a devastated crate on the floor and stacks of them against the wall. Baker discovers a scrap of dried cloth in the ruined box, which smells vaguely of perfume and dried herbs. Pratchett breaks open one of the other crates, and discovers a mummified corpse nestled beneath the packing straw! The sound of rattling chains from the front gate cannot deter them from their investigation, and they are loath to go see what it is in case they disturb some night-watchman. Pratchett runs the corpse through with his sword-cane to test it for signs of animation, but it appears to simply be a dry husk. They search for clues as to the crates' origins, but find only a cargo lot number stamped on them.

They hear a strangled scream from the street, and finally call off their investigation to rush to the front gate. They see a drunk man sitting against a lamp-post with his neck at a fatal angle, and catch sight of a stiff form shambling away into the fog. They pursue it, and the figure turns to confront them - a mummy, risen from the tomb, with blazing green eyes. It prepares to attack, but Pratchett speaks to it in Ancient Egyptian and persuades it that they have been sent to help it in its task. In a dry husky voice it hisses "the Eye of Osiris" and motions for them to follow.

Their undead friend leads them through a series of back alleys, thankfully sparing them from any more run-ins with the public. However, it becomes apparent that the mummy's destination is a soiree at an inner-city town house. They try to persuade it to wait until the party is over, but its master compels it inexorably towards its goal. Since they can't deter it, they are reluctantly forced to fight it. Pratchett whips out his sword-cane, and Baker attempts to put a couple of ruonds in it from his pistol. The mummy tries to shrug off the attacks and make for the garden wall, but Pratchett pursues it and stries it down. As it falls, it crumbles into a pile of dust and bones. Pratchett is unimpressed, as he was hoping to keep it as a pet. Baker Rips some powdered bone from the crumbled corpse to turn into extracts.

The pair gatecrash the party to attempt to gain control of the Eye of Osiris, but just as Baker is about to make an announcement to clear the crowd he spots Johannes Van Helsing among the guests. Van Helsing heads for a side-entrance, and the two wayward Rippers take this as a cue to withdraw, encouraged by the doorman. Before they can be escorted off the property, Van Helsing catches up with them and sends the doorman away. They move to a secluded garden courtyard, where they debrief Van Helsing on the mummy and the Eye of Osiris. Van Helsing explains that the party is being held by his associate, a minor aristocrat who is an avid collector of Egyptian artefacts. He will investigate the Eye of Osiris personally, and instructs the two Rippers to return to the Lodge, get some manpower, and return to the wharves. He also expects a full report in the morning.

Unfortunately, by the time they return the site has been cleared. There's no sign of the dead man or the crates of mummies. Even the broken crate has been cleared away. Their investigation frustrated, they return to the Lodge, where Baker creates two extracts from the mummy's remains.

>>> Chapters 1 to 3