Lovecraftesque second edition is available to pre-order

Lovecraftesque. The eldritch horror roleplaying game where you create the mystery at the table. Pre-orders now open. Image shows the Lovecraftesque box cover with a skull-like monster lurking behind a lone character in the woods. Alongside this are the new rulebook with a striking red-and-white cover, and a spread of cards from the new edition.

Lovecraftesque second edition successfully crowdfunded in late 2023. You can now pre-order it here, or if you’d like to know more, read on!

A Storytelling Card Game Of Eldritch Horror

Lovecraftesque is a storytelling card game of creeping cosmic horror, emulating the tone and pace of eldritch horror stories. The game will guide you to create the story of a lone individual who stumbles upon clues to a terrible evil. It creates slow-building, brooding horror that the main character at first dismisses, until all too suddenly it becomes impossible to deny. The ending will certainly be bleak, and the main character is likely to meet their doom.

A mock up of the cards used to play the game
Brand new cards help streamline gameplay and inspire your group

Lovecraftesque is an emergent mystery game, which crafts a story out of clues that you take turns to create. The game includes hundreds of creative prompts to help you generate your story and guide the main character towards a confrontation with cosmic evil. You take turns to drip weird events into the story, building up your mystery one clue at a time.  Each player creates a secret theory about the horror and the truth about the horror emerges from those theories. By the end you’ll reach a chilling climax that none of you could have predicted at the start.

Lovecraftesque is easy to learn and teach, simple and intuitive to play, with hundreds of prompts to fire your imagination. It can be played with 1-5 players in around 2 hours.

Lovecraftesque is created by Josh Fox and Becky Annison of Black Armada Games, the award-winning publishers who brought you Wreck This Deck, Last Fleet, Flotsam: Adrift Amongst The Stars and Bite Marks.

A mock up of the Lovecraftesque core box
A New Edition

We created the first edition of Lovecraftesque back in 2015. It was our first game design project and we were delighted with its success. It’s received critical acclaim, won awards and gained thousands of fans around the world. But we were new to publishing then, and the costs and risks meant we were unable to realise our full vision for the game. In this new edition we’ve created the game we always wanted to.

The second edition is fully card-driven. It gives your group more support for their creativity through prompt cards that help you get your story set up and populate it with interesting clues, characters and locations. The story will seem to write itself.

There are also brand new card-based scenarios to get your story off to a flying start. Check out the scenarios list to see the incredible range of fresh exciting settings for eldritch horror, written by a diverse slate of talent from across the industry. Like the rest of the game, these are written on cards, meaning you can easily mix and match to make up your own weird tales.

With the new card-driven approach the game is even easier to learn, teach and play. The rules and structure of the game are written into the cards and your progress is tracked on the board, so you always know what you’re meant to be doing. As always we include teaching text to make it easy for you to learn and teach the game at the table, and tools to avoid the stereotypes of Lovecraft’s own work.

We are also commissioning new art by Vincent Sammy and Paul Tomes to make the game look cooler than ever before.

Lovecraftesque second edition will be available as a boxed set with the rules and all the cards you need, and as a virtual tabletop for online play.

Lovecraftesque is crowdfunding from 10 October to 9 November 2023. Pre-order now and become one of the first to back the project!

Lovecraftesque second edition has brand new scenarios!

We are just 24 hours off the launch of our crowdfunding campaign for Lovecraftesque second edition. If you are excited for the new edition you should follow the campaign now so you can back as soon as the campaign goes live!

As part of the new edition, we have commissioned a ton of new writers to create brand new scenarios for the game, as well as writing a bunch ourselves and updating a few of the scenarios from the first edition. They really are incredibly diverse – not just the writers themselves, but the fresh and exciting settings that they have brought to eldritch horror. I don’t think you’ll find a more unique and original set of cosmic horror scenarios anywhere (though the first edition of Lovecraftesque gives it a run for its money!)

The new scenarios come on cards, just like the rest of the game’s creative prompts, and provide pre-generated characters, locations and clues that you can use to create a story with a distinct flavour. These aren’t pre-plotted adventures, but rich ingredients that you deploy at the table to create your own eldritch mystery. Whenever you use them, they’re mixed in with some standard cards from the core game. As a result, every play through is different, and every scenario is infinitely replayable.

More than that, you can recombine the cards in the scenarios with each other and with those in the core deck to create scenarios of your own. With about 240 cards across the scenarios, it is an awesome bank of cosmic horror ideas and prompts.

Here is the full list of scenarios.

  • A Place In The Country by Lynne Hardy. The Norton Hotel Consortium plans to turn Rowan Hall into a luxury hotel and spa. But what mysteries lurk within the dilapidated hall and gardens? And why is its current owner so desperate to sell? 
  • A Witch’s Love by Michele Gelli. Caterina Sforza (1460~1509), ruler of Imola and Countess of Forlì, political leader and alchemist, was a tough cookie. She held hostage the Vatican’s conclave and she’s said to be a witch who had a well to dispose of bodies of “discarded” lovers. Can Caterina’s presence cross space and time? Can her love change the destiny of a team of archaeologists that are investigating her old castle?
  • Atlantis Swallowed by Becky Annison. Thousands of years ago and the sea levels are lapping at the heels of Atlantis. With greater technological prowess than anything a modern civilization has seen, they are confident they can hold back the waters. But a deeper rot has seeped in through the cracks.
  • Blow Ye Winds by Sasha Sienna and Jonathan Sims. In 1831, the British port of Peterhead processed the butchered blubber of over a thousand whales a year, hunted and killed off the coast of Greenland. Dr Andrew Campbell has left his landlocked life behind to serve as surgeon on the whaling vessel Sanguine, but his first voyage will not be an easy one as a strangeness begins to affect the ship.
  • Echoes of Vulcan by Darla Burrow. It is strange days in Pompeii. Phantoms walk the streets, doors open to tunnels where once they opened to courtyards, and birds fall dead from the sky. Something awful is coming, but what is it and how does it connect to the mysterious Cult of Mithras?
  • Ex Nihilo by Joshua Fox. A spaceship is sent to explore the last frontier of science by entering the black hole V616 Monocerotis “Mon”. The journey into the singularity is even more terrifying than expected.
  • Mr Giggles Comes To Dinner by Misha Bushyager. Your kid won’t shut up about their ‘imaginary friend’s’ exploits. So far, so normal, until you start experiencing them too.
  • Nothingness has a thousand endings by Bryan Thao Worra. In this scenario, the witness takes a step into the 1990s Southeast Asian refugee community in a working class neighborhood in the US to resolve a mysterious debt of uncertain consequences.
  • On Ilkla Moor Bah’tat by Becky Annison. Ilkley Moor is a dark and foreboding place for a young world war II evacuee miles from the city she called home. What lurks in the soothing waters of the suspicious Hydro Hotel and are the locals friendly or ready to offer her up on a plate?
  • The Chicxulub Horrors by Santiago Villa. In the coast of Yucatán where an ancient meteorite has created a gargantuan underground crater that is now a web of tunnels, a man disappears. During the art boom of the 1930’s in Mexico, painter and muralist Hervé Pelletier has gone missing and his wife, Amaranta Vera, has arrived at Chicxulub Puerto, a town nestled over the crater’s dead center, to look for him.
  • The Hidden Cabinet by Helen Gould. A scenario about whispered rumours, duplicitous politicians, and what really happens in the corridors of power. What will you find behind these closed doors?
  • The Sea Hungers by Thomas Manuel. It’s Bombay in 1728. As the East India Company recovers from a ferocious defeat at the hands of legendary pirate admiral Kanhoji Angre, a naive, young marine discovers a sinister plot involving sacrifice and spirals of blood.  
  • We serve and protect by Kenneth Hite. A long hot summer of protests rocks the streets of Chicago in the 1970s, and you rock with them. Until the cops pen you in, snatch you up, and take you to the precinct house, where worse things than rubber hoses wait in the basement. The Chicago Police Department serves and protects… but what inhuman entity do the cops who have you serve? What dark secrets do they protect?
  • Wolfshead by Joshua Fox. Sherwood, Nottinghamshire, in the 13th century. A hapless cutpurse robs the wrong person and finds themselves in possession of a strange item. Now they have the Baron’s men hunting for them – but that may not be the worst thing that stalks the night.
  • The Copycat Canal Murders by Becky Annison. Ritual murders spanning a century are investigated again in the age of DNA profiling and AI. Will the truth of the horrifying secrets on the foggy banks of the canal finally be revealed?
  • The Outer Gods by Nick Bate. The year is 23XX. Humanity has colonised the Solar System aboard reality-rending liveships, warding themselves against unearthly things hiding in the dark through ritual and prayer. Monette is one such liveship, a salvager investigating the sudden reappearance of a lost generation ship. What will they find aboard the deadship Yog-Sothoth?
  • The Siren’s Caw by W.H. Arthur. Every summer, visitors from London and beyond are drawn to the seaside resort of Brighton. Are they called here by the eldritch forces from beneath the waves, or is there something even more sinister from across time and space?
  • Through The Waters, Darkly by Josh Fox. A research and exploration base has been set up at the bottom of the deepest place on Earth: the Mariana Trench. The small team of scientists are isolated in the cold depths as they explore the last frontier of our planet. Isolated, yes: but not alone.

Lovecraftesque second edition launches on Backerkit crowdfunding tomorrow – Tuesday 10 October, at 11am ET / 4pm BST. Follow the campaign and be one of the first to back the new edition.

Lovecraftesque 2e has hidden UV art!

We’re ONE WEEK away from the launch of the Lovecraftesque 2e crowdfunding campaign and, to celebrate, I want to share with you a very exciting part of Lovecraftesque 2e which is *hidden UV art*. The new edition will come with a UV torch, and when you shine it on the box, board and rulebook you’ll see extra detail that was invisible before.

The cover of Lovecraftesque shows a lone figure investigating some weird-looking cocoons while a skull-like monster lurks behind them.

When you turn the torch on, extra detail is revealed: tentacles, egg sacs and a summoning circle centred on the figure.
A mock-up of what the UV cover will look like

We first saw this approach in the Italian edition of Lovecraftesque 1e by Narrattiva, and we’re stealing it wholesale. Every illustration will contain hidden details and the text itself will be splattered with sigils, blood stains and tentacles. Check out the Italian edition cover below – you’ll be seeing something very similar on the new edition’s rulebook.

The Italian edition of Lovecraftesque 1e

The art for this game is going to be SO GOOD. You’ve seen the awesome cover by our lead illustrator Vincent Sammy, who also illustrated Bite Marks. There’s more where that came from. Check out this gorgeously creepy illustration for the game’s board, also by Vincent Sammy – shown here with its UV art.

The board for Lovecraftesque 2e.

And we also have Paul Tomes creating interior illustrations for the book. We’ve long admired Paul’s style and we’re really excited to have him on board. Take a look at this terrific piece showing horror about to unfold in a mine. Again, there will be UV on this one, but you’ll have to wait to see that.

A cross section of a mine, with tiny figures dressed in high-vis. Lurking behind the rock face are enormous tentacles about to break through.
One of Paul Tomes’ illustrations for Lovecraftesque 2e

As always, commissioning art for games is my favourite bit about being a small press publisher. It’s always delightful to see our weird ideas turned into something gorgeous, and to support artists while doing it.

The campaign for Lovecraftesque 2e is here.

Lovecraftesque second edition is coming!

Check out the preview page and sign up for updates

We’re launching a new edition of Lovecraftesque, the classic storytelling game of creeping cosmic horror. Lovecraftesque creates chilling eldritch mysteries that keep the whole table in suspense right until the end: the story emerges over a single session as if by magic without any prep, planning or discussion. The first edition was critically acclaimed, won the Gioco Dell’Anno (Game Of The Year) award, was a finalist in the IGDN indie groundbreakers, and influenced a generation of mystery games like Brindlewood Bay, Apocalypse Keys and Bleak Spirit. We’re crowdfunding a new second edition boxed set, building on the lessons from the first to make an even slicker, more inspiring, easier-to-learn experience, with brand new art and a plethora of exciting new scenarios for the game. The campaign launches in October.

If you like the sound of that you can find out more and sign up for updates here.

Cute familiars and spooky mansions!

Familiar Friends is a cozy journaling game about the lives of witches’ familiars, and the silly adventures they get up to. It’s solo-first but it also works as a light GMless game for a gang of familiars. It’s a lot of fun! You can get it now by supporting the Black Armada Patreon – and of course it will be available on our itch store in a few months.

Ghost Hunt Live! is a game about TV ghost hunters staking out spooky mansions and uncovering the lives of the ghosts they find there. It’s a Lovecraftesque hack where your TV psychic will gradually discover the truth about a haunted place, ably aided by the crew of your TV show. GHL is on its way to the Black Armada Patreon imminently.

It’s a good time to join the Patreon – for a mere $5 you can get our previous release Polis, plus Familiar Friends and Ghost Hunt Live! when it releases. Not bad!

Wreck This Deck is available to pre-order

Wreck This Deck, the dark urban fantasy journaling game of demon summoning and deck crafting, is at the printers and shipping in the next few weeks. If you missed the crowdfunding campaign, you can pre-order it here.

Play Modena

This last week I’ve been away in Italy at Play Modena, Italy’s biggest gaming convention. I was invited by Narrattiva, who did the awesome Italian Ghostlight Edition of Lovecraftesque, and was at the convention as a guest. It was a pretty interesting experience and I’m going to give you the highlights.

First things first: how do you say “Modena”? This seems to be quite a difficult thing for English people. We get tempted to say “Moderna”, which is wrong. I’ve been studying Italian over the last year and it didn’t help at all. So: the word is pronounced “Moh – duh – nuh“, with a rhythm and emphasis similar to how you say “modelling”.

At the time of the convention Italy was suffering major rainfall and some of the worst flooding its ever had, right near to Modena, something I only started to become aware of as I travelled over. Modena itself seemed unscathed (and indeed fairly dry by British standards) but my hosts were coming from Forli, in the region most affected by the floods. This made life very difficult for them as their daily 1-hour commute became over 4 hours. The convention organisers very kindly put me up in a local hotel and I’m very glad they did because some of the Narrattiva team were surviving on 4 hours sleep a night. But although a gaming con is hardly the most important thing during a disaster like this (several people died), it did affect footfall and some events had to be cancelled. The Narrattiva team stoically (and rather impressively) got on with it and, on a wing and a prayer, managed to keep the show on the road.

Me with some of the Narrattiva team
The Narrattiva team were a very welcoming bunch.

My first day was setting up the stall before the convention. A different experience from what I’m used to – the Narrattiva team had a sort of Ikea-style build-it-yourself booth which initially seemed like madness but looked very good once built. Even if the chaos around the floods meant they needed to do things unconventionally – see the video below for what I mean!

My first takeaway from the convention, on day 2, was that Italian gaming publishers are very showy. We had holographic displays on our booth, showing off the products Narrattiva produce. Next door was a massive table carved to look like a game board. Down the way, an area made up to look like a prison cell you could play Heroquest in. Massive battlemaps big enough to walk on, a room-sized Rubiks cube, and much more. They made UK conventions look a little boring. I’m honestly not sure how much of this is important and effective marketing, and how much is just an arms race of showing off. It does look very cool though.

A gorgeous wooden table carved into a game board.
So cool.

At the convention my main activities were signing books and running games. Honestly, I don’t think I’ve ever signed so many books. I came in thinking Italy was the place in the world where our games are most popular and the convention confirmed it, with more copies of Lovecraftesque sold than we’d normally do at home. I was frequently approached by very enthusiastic fans who wanted to tell me how much they loved the game, and by designers whose games we have influenced. It was a bit like being a minor celebrity for the week, and that was rather lovely.

As for running games, the flooding meant that the printouts and other materials I had hoped to have never materialised. But luckily I came to the convention armed with a prototype set of cards for Lovecraftesque second edition. These proved invaluable and worked even better than they have during online playtesting. The cards made everything smoother and easier to explain, and the prompts helped to grease everyone’s creative wheels. This was so effective that we managed to play a speed run in 90 minutes, which I think is a record for me. (I think the ideal run time for Lovecraftesque is more like 3 hours, but it’s very easy to cut this down if you need to.)

Playing Lovecraftesque 2e at Play Modena
I display my uncanny ability to close my eyes at the wrong moment.

Narrattiva had set up a 24-person “massive game” of Lovecraftesque (would have been 50 person but for the floods), which was a first for me. 7 or 8 individual games of Lovecraftesque were linked together. The premise was that the main character on each gaming table was the beneficiary of the same will: each character inherited a different house and also an item (which was provided as a physical prop in a box we had to open). There was also a “telegram” system where we could send messages to other tables if we wanted to. In the event, my table did a fairly ordinary (i.e. good, fun) game of Lovecraftesque, without making much use of the props or the telegrams, but I liked the idea of it and there was a certain buzz about playing the game in a room full of other people doing it at the same time.

Indeed my second big takeaway from the convention was the focus on play. Every booth in the convention had its own play area, and many “booths” were nothing more than a set of play tables. Organised play was a standard part of having a booth, and booking a session to play with me personally was part of Narrattiva’s sales pitch for the event. Offering massive/mega-games was an important part of the show. In the UK trade halls are essentially nothing but giant retail areas; they might be next door to a big play area, and the companies involved might offer games, but it all feels a bit separate. Given that we’re all interesting in gaming, presumably, to play games, this now feels a little odd. On a related note I heard from the organisers that they do something called “Play on tour” where they set up gaming tables at other (non-gaming) events around the country, including for example local festivals and scientific conferences. I would love it if we did that here in the UK.

Of course, there was also delicious food. I ate the local gnocco fritto, a kind of fried dough served with cheese and cured meat. Naturally there was also wonderful pasta. I had local wine (fizzy red wine served cold – unusual but very nice) and delightful limoncello brought to the convention by a fan of Lovecraftesque. I made myself into a typical Englishman by constantly asking for “un piccolo po di latte freddo” with my tea.

With the convention being in a peripheral part of town I only saw the centre of Modena on the morning before my return flight, but the convention organisers very kindly drove me in to have a little stroll around before rushing off to the airport.

Gorgeous Italian cathedral
Modena cathedral is striking in white stone.

I want to thank everyone at Narrattiva, particularly Michele, Pietro and Filippo (who acted as my translator on various occasions), and Matteo and Marco from the convention team, for being such wonderful hosts and managing to make my stay friction-free despite all the problems. I had a fantastic time and I hope to return one day.

Why we’re using Backerkit for Wreck This Deck

We’ve done four TTRPG crowdfunding campaigns, starting with Lovecraftesque (first edition) in 2015, then Flotsam, Bite Marks and Last Fleet. All four were on Kickstarter. We’ve had some great success with Kickstarter. But for Wreck This Deck, we’ve decided to go with Backerkit, and I want to talk about why.

First a brief plug for Wreck This Deck. It’s a solo journaling game of demon summoning and deck crafting, where you trap demons in ordinary playing cards by defacing the cards: paint them, stitch them, burn them, scrawl on them. It had some great success when we first released it during lockdown and we’re now ready to give it a print edition. If you like the sound of that then you can pledge on our Backerkit crowdfunding page.

When we first started crowdfunding, Kickstarter was more-or-less the only game in town. Indiegogo was there, but it just didn’t look as attractive, and the campaigns on there didn’t seem to do as well. Kickstarter was an accessible, simple way to get into crowdfunding – and it rewarded its users with what seemed to be a pretty good throughput from people who were just browsing the site.

But Kickstarter has made some weird moves recently. From the resistance to recognising the union, to the flirtation with crypto, it’s simply not been presenting an attractive face to ethical publishers and backers. And for a long time, Kickstarter has seemed complacent: for years it wasn’t even possible to put alt text on images, despite us writing to them to complain about the accessibility implications. (This now appears to have been fixed, thankfully.)

Perhaps in response to the diminished reputation of Kickstarter, there has been a growing set of rivals. Projects using these rivals have seen mixed success. It’s always a risk to move from a popular marketplace into somewhere new. And so there’s a risk of a vicious cycle, with alternative platforms seeing poor outcomes, putting off creators from using them.

Enter Backerkit. This is a platform that already has a lot of understanding of the crowdfunding market. We’ve been using them since our first campaign to provide post-campaign support, tracking our backers, generating helpful post-campaign surveys, managing our digital rewards and so on. Their customer service is second to none: when I’ve had problems working out how to do something they will send me a custom-recorded video by one of their staff made just for me, showing me how to do the specific thing I wanted. Where our Kickstarter campaign pages have always been approved without ceremony, Backerkit actually sent us detailed feedback on the Wreck This Deck campaign page, enabling us to improve it. And their functionality is great.

Backerkit has launched a full-blown crowdfunding platform of its own and it’s shown some pretty good success stories. But much more important, they’ve shown that they know how to run a crowdfunding platform. Their setup is flexible, functional, and well integrated with the kind of tools you need to manage a campaign. And as previously remarked, they have great customer service – both for us as the publisher and you the customer.

It felt like a risky move. We are all too aware of the potential for our campaign to lose visibility because Backerkit is still a relatively small player, with less “passing traffic”. But we think it’s the right move at this time. And early results from the campaign suggest we’ve made a good call. Of course we’ll never know how it would have gone if we’d used Kickstarter, but for a zine campaign Wreck This Deck is doing incredibly well at nearly 350 backers after 1 week, and that’s included a fair bit of people coming from within Backerkit’s website.

Of course, we’re not saying Kickstarter is evil, and we may well use them in the future. So far the crypto flirtation hasn’t come to anything, and they’ve shown they can improve by (eventually) recognising the union and offering alt text on their images. This isn’t some kind of principle-driven rupture. But we do hope that we can be part of a greater move to diversify the crowdfunding market so we’re not all dependent on one big provider. Having that competition will likely be better for Kickstarter too, in the long run.

So anyway, that’s a little insight into why we’re doing this. We’ll be watching closely how well Wreck This Deck does with a view to deciding what to do with our next big project: Lovecraftesque second edition. Watch this space!

Lovecraftesque part three (episode 64)

Links to this episode on:

We continue our run of the new second edition of the classic indie horror game, Lovecraftesque.

Jonathan visits the Hotel’s resident doctor, whose curious questions – and the strange ambience – leave him feeling very uneasy.

A trip to the town’s sinister-seeming library reveals a strange piece of history.

If you are interested in Lovecraftesque you can find the first edition of the game here: https://blackarmada.com/product/lovecraftesque/

If you would like to be notified when the second edition crowdfunds, you can join the Black Armada mailing list here: https://blackarmada.com/black-armada-mailling-list/

Our players are:

  • Joshua Fox https://twitter.com/armadajosh or https://dice.camp/@armadajosh
  • Becky Annison https://twitter.com/BeckyAnnison or https://dice.camp/@BeckyA
  • Eadwin Tomlinson
  • Nick Bate https://twitter.com/ickbat
  • Sue Elliott https://twitter.com/SuefaceTM

Black Armada create and publish TTRPGs here: https://blackarmada.com/

Nick creates and publishes TTRPGs as Ickbat here: https://ickbat.itch.io/

The music is Orange Button by Esther Garcia.

Lovecraftesque part two (episode 63)

Links to this episode on:

We continue our run of the new second edition of the classic indie horror game, Lovecraftesque.

Jonathan sets out on a relaxing fishing trip to the nearby abandoned lighthouse, ably assisted by Davey, the local guide. But his restorative excursion quickly takes an unpleasant turn as the two men uncover something deeply disturbing in the old building.

If you are interested in Lovecraftesque you can find the first edition of the game here: https://blackarmada.com/product/lovecraftesque/

If you would like to be notified when the second edition crowdfunds, you can join the Black Armada mailing list here: https://blackarmada.com/black-armada-mailling-list/

Our players are:

  • Joshua Fox https://twitter.com/armadajosh
  • Becky Annison https://twitter.com/BeckyAnnison
  • Eadwin Tomlinson
  • Nick Bate https://twitter.com/ickbat
  • Sue Elliott https://twitter.com/SuefaceTM

Black Armada create and publish TTRPGs here: https://blackarmada.com/

Nick creates and publishes TTRPGs as Ickbat here: https://ickbat.itch.io/

The music is Orange Button by Esther Garcia.

Lovecraftesque part one (episode 62)

Links to this episode on:

We continue our run of the new second edition of the classic indie horror game, Lovecraftesque.

Jonathan sets out on a relaxing fishing trip to the nearby abandoned lighthouse, ably assisted by Davey, the local guide. But his restorative excursion quickly takes an unpleasant turn as the two men uncover something deeply disturbing in the old building.

If you are interested in Lovecraftesque you can find the first edition of the game here: https://blackarmada.com/product/lovecraftesque/

If you would like to be notified when the second edition crowdfunds, you can join the Black Armada mailing list here: https://blackarmada.com/black-armada-mailling-list/

Our players are:

  • Joshua Fox https://twitter.com/armadajosh
  • Becky Annison https://twitter.com/BeckyAnnison
  • Eadwin Tomlinson
  • Nick Bate https://twitter.com/ickbat
  • Sue Elliott https://twitter.com/SuefaceTM

Black Armada create and publish TTRPGs here: https://blackarmada.com/

Nick creates and publishes TTRPGs as Ickbat here: https://ickbat.itch.io/

The music is Orange Button by Esther Garcia.

Lovecraftesque session zero (episode 61)

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We start our run of the new second edition of the classic indie horror game, Lovecraftesque.

This is the game setup, where we decide on our setting, the English seaside town on Whitby; our main character, the disgraced dilettante Jonathan Cochrane; and create the locations and NPCs that will feature in our story.

If you are interested in Lovecraftesque you can find the first edition of the game here: https://blackarmada.com/product/lovecraftesque/

If you would like to be notified when the second edition crowdfunds, you can join the Black Armada mailing list here: https://blackarmada.com/black-armada-mailling-list/

Our players are:

Black Armada create and publish TTRPGs here: https://blackarmada.com/

Nick creates and publishes TTRPGs as Ickbat here: https://ickbat.itch.io/

The music is Orange Button by Esther Garcia.