Did you know that Halloween is a popular time of year for divination? One way that many people celebrate the holiday is to have their tarot cards read. In this three-part series of articles, FlamesRising.com turned to tarot card expert Paula Dempsey to talk about the history of the tarot. In this first article, she discusses its mysterious origins.

The History of Tarot: Origins

Once Upon a Time…

… in 48BCE to be exact, when the Roman Empire was at its height and Julius Caesar’s troops laid siege to the Egyptian city of Alexandria. The custodians of the Royal Library of Alexandria, one of the seven wonders of the ancient world, knew they didn’t have much time before enemy forces broke through and destroyed their precious scrolls forever. Fortunately they had made a plan. Decks of cards were small and portable, so they prepared special decks rich in symbolism carrying much of the spiritual and magical guidance from the Library, if one knew how to read them.

Foreshadows: The Ghosts of Zero is a 19-story anthology of dark science fiction intertwined with a 19-track album of songs and soundtrack music, created collaboratively by a veritable shadow gallery of speculative fiction authors and musicians, under the banner of the Very Us Artists, to be published by Blindsided Books.

In this essay Jeff and John LaSala tell us a bit about how the project got started and just what readers can look forward to as this project continues…

FlamesRising.com is pleased to present you with an essay written by Bob Fingerman, an author and artist with roots in the comic book industry. Fingerman has worked on a number of horror-themed works, including BOTTOMFEEDER, ZOMBIEWORLD: WINTER’S DREGS and the zombie graphic novel entitled RECESS PIECES. Just recently, his new zombie novel PARIAH was released from Tor Books.

In this essay, Fingerman offers us an insightful look into his personal experiences with the horror genre as a kid. Be sure to stay tuned for an exclusive preview of PARIAH and our review of his second novel.

Throughout Cthulhu Week we’ve discussed Mythos tomes in comic books, fiction, movies and more. We’ve even offered up a Campaign Frame for the Trail of Cthulhu RPG and vivisected elements of the Call of Cthulhu RPG as well.

Yet there is another Mythos RPG and game designer Sean Preston is here to tell us about his dark work on the game called Realms of Cthulhu…

Deconstructing Realms of Cthulhu

Hello there. I’m Sean Preston, and I’m a game designer, writer, editor, publisher, and an avid gamer as well. I like to talk and write about games (when not playing them) as much as most of us in this industry, but before we get going let’s have a compact. Since we’ll be talking about Lovecraft, it’s only natural that blood enters the scene, so let’s make it a blood compact. Shall we? My digital blood is being spilled before you, pixel by pixel. I trust you’ll smear some about at some point or other, so the compact is made. What I’ll be talking about is the philosophy of writing Lovecraftian horror for games. I shall not deviate. If I do, I pray the Hounds of Tindalos find a lovely angle from which to spring upon me in the dead of night. As for you, if you enjoy the article, share it about. Fair enough? Good. Now, let’s get started in earnest. The clock is ticking.

Kenneth Hite, author of Cthulhu 101 and other Mythos tomes of dark intent brings us a tale of the Call of Cthulhu roleplaying game from Chaosium.

Enjoy this contribution to Cthulhu Week, but don’t read too deep…we can’t be held responsible for what horrors are left behind…

In Call of Cthulhu, your character explicitly starts no better than any other. There is no leveling up, no percentile strength, no special class skills or feats separating your character from any other citizen of Arkham. Yes, your character may well gain magical powers and travel to exotic destinations, as in other roleplaying games. But such “improvements” come at a cost, at the cost of lowering your irreplaceable Sanity. In Call of Cthulhu, the player knows at the outset that his character, if played long enough, will go insane and die. That’s a very different proposition from hoping that your character will become the vampiric Prince of Pittsburgh or get a Helm of Command at 18th level. Of course if that was all it was, Call of Cthulhu would simply be nihilistic, an exercise in masochistic masturbation. At best, its characters would resemble the decadent aesthetes of Lovecraft’s short story “The Hound,” seeking ever more outré pleasures, or perhaps the shortsighted Tillinghast in “From Beyond,” accepting insanity as the necessary visa for interdimensional tourism. And in many of Lovecraft’s stories, this is the case — Lovecraft was, after all, a nihilist (albeit a gentlemanly nihilist) himself, who considered morality “mere Victorian fiction.” The object of terror, for Lovecraft, is terror.

Cthulhu Week continues with a new Campaign Frame for the Trail of Cthulhu RPG from Pelgrane Press written by game designer and author Robin D. Laws.

This series concept uses the Trail Of Cthulhu Campaign Frame format. The idea can easily be ported to your Cthulhu RPG of choice.

Inmates

Setting: Play begins within the confines of Butler Hospital, a Providence, Rhode Island mental institution. This real-world facility was founded in 1844 and is still operational today. H. P. Lovecraft’s father, Winfield Scott Lovecraft, died there in 1898 after succumbing to psychosis in a Chicago hotel room.

Flames Rising is pleased to present you with a guest post from Silvia Moreno-Garcia, the publisher at Innsmouth Free Press. According to the “About Innsmouth Free Press” page, this webzine is “a fictional newspaper publishing faux news pieces – lovingly called Monster Bytes – in a Lovecraftian/Cthulhu Mythos universe, as well as original short fiction stories.” Uncover the sordid details behind these Monster Bytes, how Silvia fell in love with Lovecraft’s work, and how you can be a part of this Mythos-inspired ‘zine:

Every few months Innsmouth Free Press will get an earnest e-mail from someone who thinks Innsmouth is a real place. Oddly enough, it actually exists, at least in our collective minds.

Innsmouth Free Press is a zine that publishes daily articles, interviews and reviews about all things horror and speculative. Three times a year, we produce a free issue of Lovecraftian fiction.

Game Designer, David Hill jumps into our design essay series with some notes on the development of the Maschine Zeit RPG. David tells us about some of the cinematic inspirations for the setting of this new RPG as well as the goals that went into the initial development of the system.

When I advertise Maschine Zeit, I call it, “Ghost Stories on Space Stations.” I wanted to talk briefly on that. Over the years, there’s been this sub-genre of horror films that are fundamentally haunted house stories, set in science fiction environments. The sub-genre really got its chops with the release of Ridley Scott’s masterpiece, Alien. Looking around at various RPGs, I didn’t feel that the genre had been properly emulated, so that’s what I’d set out to do. What this resulted in was an RPG that, in my opinion, shares a number of conventions with popular games, while eschewing many.

FlamesRising.com is pleased to present you with the design notes for THE QUEEN OF CROWS, which is available at DriveThruHorror.com. This unique e-book was designed by Monica Valentinelli. In addition to her work here at FlamesRising.com, Monica is also an author and game designer who specializes in the horror and dark fantasy genres.

For more information about this project, be sure to visit VioletWar.com or Monica’s blog located at www.mlvwrites.com.

FlamesRising.com is pleased to present you with a guest post about writing and inspiration from New York Times bestselling author Yasmine Galenorn. At the end of the post, Yasmine is offering a chance for you to win a copy of BONE MAGIC from her Otherworld urban fantasy series. Be sure to check out our excerpt of BONE MAGIC, too!

When I think about what influences my writing, first I have to go back to childhood. I had a very rough childhood—there was no Brady Bunch like life for me when I was little. Besides problems with my stepfather, we lived in a house that was creepy as hell with a lot of black widows in it, and I’m convinced it was haunted. I was psychic even as a child and that sure didn’t help. So horror plays into my books, always, in muted tones and shades of gray.

FlamesRising.com is pleased to present you with an exclusive look at the writing process behind author Meagan Hatfield’s SHADOW OF THE VAMPIRE. Here, Meagan talks about her path to publishing and offers some insight on her writing process.

As the release day for Shadow of the Vampire inches closer and I chat with more interviewers and newspaper editors, I have realized the one question I dread the most, is unfortunately the most commonly re-occurring one… “What is your writing process?”

Now it seems like such an easy question on the surface. However, it can also be a fully loaded one. It’s like everyone thinks that since you are a “published author” you must have some cookie cutter, fail-proof way to write a book that will not only be stellar in quality, one that will sell and will be a procedure others can follow like an outline and use to create their own books. Um, I hate to burst that preconceived bubble, but…POP! There it goes!

The truth is, there is no one true way to write a book.

FlamesRising.com is pleased to present you with an exclusive look into the mind of Alex Bledsoe, an author who has published a series of horror novels with an unusual vampire character. Find out what Alex Bledsoe thinks about vampires, and why they are so meaningful to him as an author.

I’m a long-time fan of the vampire as a literary figure, and believe strongly that to realize its potential, that figure must function as a metaphor for something else. The standard tropes–blood drinking, aversion to sunlight and crosses, unending existence, irresistible sexual attraction–are simply gimmicks without the metaphor’s symbolic context to give them meaning. And what makes the vampire so special is that it can embody so many disparate things while remaining true to its essential nature.

Last week Eric posted his recent Interview with Joe R. Lansdale here at Flames Rising. One of the titles discussed in that interview was The Complete Drive-In published by Underland Press.

Flames Rising is pleased to present the introduction to this new collection. The Complete Drive-In is available now at Amazon.com.

When considering different candidates for the “Girls of Gore,” you can’t help but think of the women in BUFFY: THE VAMPIRE SLAYER. Although there was a movie that predated the popular television show, most people think of Sarah Michelle Gellar’s version of the blonde high school student who has a natural talent for killing vamps. With the help of her friends, Buffy overcomes evil time and time again.

Buffy is often at odds with herself, her friends and her family, because she is the reluctant heroine. She doesn’t want to be the slayer, but she does it anyway. She is a very “human” character, unlike some of the ever-so-perfect pulp heroes that seem to have it all. Buffy doesn’t have it all, because it’s difficult for her to find love while kicking all kinds of ass.

Twenty-six years ago horror fans were introduced to arguably the most complex and unique addition to the pantheon of slasher-era icons – Freddy Krueger. He was no stiff mute in a mask, maliciously misusing garden tools as a violent catharsis to purge his mommy-issues. No, Freddy had panache.

First and foremost, Freddy could talk – a simple differentiation that opened up vast new areas to cover that were not navigable to his peers. And Freddy inhabited dreams, another seemingly small difference that yielded an incredibly creative set of rules with which to play for Freddy and his victims alike. Most importantly, there’s the bladed glove – his handcrafted implement of death designed to both terrify and eviscerate sleepy Springwood teenagers. Anybody can pick up a machete or a large kitchen knife and perhaps clear some brush or prepare dinner, but Freddy’s glove had a singular horrible purpose and it, along with his dusty fedora and dirty red and green sweater, is now iconic on a global level.

*cue ominous music*

They’re creepy and they’re kooky… Mysterious and spooky…

My first nomination for the Girls of Gore series went to Eve from THE MENAGERIE, the world’s first female (and vampire). In this edition of Girls of Gore, I’d like to turn your attention to the lovely Morticia Addams, who is definitely more than what she seems. Now, you might think that Morticia is just another pretty goth that’s all dressed up with nowhere to go, but you’d be wrong. Dead wrong. She may dress in the finest, black gowns and take extra care of her appearance, but Morticia is definitely a Girl of Gore. Why? Well, read on.

Our game design series continues with a new essay from Bill White telling us about his fantasy RPG, Ganakagok.

Ganakagok is a fantasy where characters are members of a tribe that lives in a night-time world on an island of ice who must deal with the coming of the Dawn and the changes it brings. Play involves the use of a deck of cards to generate situation, prompt narration, and inspire characters; each session produces an authentic-seeming myth of an imaginary people.

Designing Ganakagok

When people ask me what my game Ganakagok is about, I say, “It’s a fantasy.” I tell them that it’s about a people called the Nitu, who live on a starlit island of ice in a world where the sun has never risen. They live in darkness, revering the Stars, honoring their Ancestors, and marveling at the handiwork of the Forgotten Ones, who long ago wrought Ganakagok into its current form.

Eddy Webb, Alternative Publishing Developer at White Wolf Publishing, brings us a new design essay today. Eddy tells us how New Wave Requiem was developed, what some of the challenges were and how the project came together.

Finding Horror in the Eighties

New Wave Requiem started as a joke. A bunch of us were clowning around in the Vampire office (where both the developer and art director had their desks) and joked about all the vampire movies in the eighties. The idea stuck in my head long after the conversation ended, and it led to me spending hours doing research, watching movies and constantly rewriting an outline until I really felt that we could do a Vampire product on America in the 1980s and still have it be a horror game.

Author M. Joseph Young has joined our ongoing Horror Design Project here at Flames Rising and tells us a bit about writing horror elements for his Multiverser RPG.

Multiverser Horror

Some people think that horror is easy: dial up the kill rate, and soon every character is terrified.

What, though, if the characters are immortal?

This was the fundamental question we had to face in writing horror scenarios for Multiverser. Player characters are “versers”. Death is the doorway to take you to the next world, and the next world is where the next adventure awaits. Dial up the death rate, and for the verser it becomes a game of choosing how to die, how to end the horror and get somewhere nicer. Thus if we were going to create horror scenarios, we were going to have to figure out how to frighten someone who is completely unafraid of death. That meant understanding fear, and its more fundamental causes. Here are a few of the things we learned. Each has value.

As a horror and dark fantasy writer and fan of the genre for years, I’ve noticed certain horror tropes that are used time and time again. For example, in supernatural horror you will almost always see the pentagram used as a satanic symbol and the story will typically revolve around the Catholic religion. In slasher flicks, typically there’s always one modelesque female who ends up getting slaughtered viciously in a gory bloodfest. Vampire stories range from the horrific to the romantic, but almost always center around a Master Vampire who is deathly allergic to sunlight. I’m sure you can name several horror tropes that you recognize, but do you know where these tropes began?