How To Play: Kithkin of Lorwyn-Shadowmoor

Estimated reading time: 12 minutes

This article is a part of a How-To series aimed at both players and DMs (or whatever equivalent works for you). You will find role-playing, worldbuilding, and storytelling tips for you to make the most of the kind of game you’d like to play.

If you’re only here to see whether there are game mechanics you can use directly, I’ll save you the time and send you right to the mechanics section.

Last time I presented a quickstart general guide to the setting with its various special features. This article will concentrate on one of the tribes of Lorwyn-Shadowmoor, the kithkin. These stocky humanoids are either the plane’s most hospitable all-around good guys, or its furtive distrusting weird little hairless ewoks. It all depends on which aspect of the plane we’re talking about, and to some extent the time period.

Endure card art by Ralph Horsley depicting a bunch of tough-as-nails Shadowmoor kithkin. All rights reserved to Wizards of the Coast and/or other respective owners.

Before we get started I strongly suggest you do some reading both from official sources and this site. The summaries for each aspect of the kithkin – Lorwyn, Shadowmoor, and Eclipsed (the present-day state of the plane, after the fusing of its aspects) – are a good way to start. You can find a list of resources at the end of this article. To keep yourself informed of any further articles please subscribe using the form below:

Contents

  1. Period
  2. Game length
  3. Party setup
  4. Genre and Themes
  5. Mechanics

1. Period

Let’s get this figured out first. When will your game take place? The period will determine a lot, both on the general level and regarding each tribe. We can divide the known history of the plane into the following periods:

  1. Pre-Maralen
  2. Old blocks
    1. Lorwyn block
    2. Shadowmoor block
  3. Post-Oona
    1. pre-Invasion
    2. Phyrexian invasion
    3. post-Invasion (=Eclipsed set)

The time before the Lorwyn block is to a large extent carte blanche. You should adhere to the general principles and laws of the plane, but otherwise you can put a lot of your own stuff into the game. Just don’t mess too much with the balance of the plane (and Oona). Great Auroras happen every 300 years and at any given time only one aspect, Lorwyn or Shadowmoor, is present.

If you choose to play during either of the original blocks, you should take the story into account, but you should be okay running a parallel storyline. Which block you choose makes all the difference, as Lorwyn and Shadowmoor are exact opposites. Characters, kithkin included, will differ dramatically between aspects. Some options will simply not make sense, or be available at all. A game in Oona’s time is actually more true to the original idea of a dual plane with only one aspect active. Is this a plus? That depends. All of the periods have their pros and cons.

Post-Oona the plane goes through some tough stuff, with the Phyrexian invasion of course the worst of it all. The Invasion changed the plane most dramatically, and for the kithkin it means there’s a third subspecies available, the nomads. Also things can get complicated when there are both aspects present at once. Lorwyn kithkin can interact with Shadowmoor kithkin (the latter not very willingly), and players should be ready to have their characters flip into the other aspect, should they go into the wrong part of the plane.

2. Game length

Do you want to run a one-shot, a single adventure, or a sprawling campaign over months of game time and years of real time? Kithkin are a good choice for all of those, because they are easily understood and relatable. Sure, they have thoughtweft and all, but they are still the most humanlike.

With kithkin you should be aware of one thing, and that’s their communality. Kithkin will have lots of relatives, acquaintances, friends, and kinsmen. For a one-shot you probably won’t have to think too much about it. In a longer campaign this might require work both on the player’s and dungeon master’s side. If you want to do it by the book. Which I assume you do, because you’re reading this guide.

3. Party setup

You have a lot of options regarding your party composition, when it comes to kithkin. It of course depends on the era and the aspect you have available, or are aiming to focus on. Your choices include:

  1. All kithkin – the default for Shadowmoor, viable in other eras/aspects, but you’re missing out on the diversity of the plane’s species
  2. Mixed natives with Lorwyn kithkin (or nomads) – the most traditional party setup
  3. Mixed natives and outsiders – possible for later eras, when travel to the plane from other planes gets easier

These three main options leave a lot of space to manoeuvre in. The only restrictive option is a Shadowmoor all-kithkin party, where you probably wouldn’t be able to pull off any deviations. Maybe having a gwyllion join could work, but it’s not easy with the little xenophobes.

A Lorwyn aspected party should be easier to play with, regardless of the party composition. It might get more complicated if you include outsiders (characters from other planes), but that really depends on what you bring.

Whatever the rest of the party consists of, as long as you have at least two kithkin, keep in mind they have the thoughtweft. The original supplement doesn’t provide any guidelines how to handle this, so you have to either improvise, or take some inspiration in my thoughtweft solution a few paragraphs below.

4. Genre and Themes

What genres go well with kithkin?

Kithkin, especially in their Lorwyn aspect, fit nicely into most genres. You can have your classic heroic fantasy, but also stuff like crime and mystery, or even some war epic. If you set your game in the time of the Phyrexian invasion, you’ve got yourself a solid base for a horror game.

Shadowmoor kithkin are special in their paranoia, and so lend themselves especially well to horror games. Imagine a game where something haunts the doun, or stalks your all-kithkin party through the forest. You can play it nicely with the horror in question being a bunch of mischievous fairies, or a particularly playful elemental incarnation.

What themes to include?

As for themes to explore with kithkin, there are few as pronounced as community and belonging. The kithkin are very communal, and they take it to eleven in Shadowmoor. So to portray them right you should have this in mind all the time. The kithkin know each other, and probably have ties of varying warmth with everyone in their clachan or doun. A strong motivation for a kithkin character should be the well-being of their friends, and in better periods this might include members of other species.

Figure of Fable card art by Omar Rayyan depicting a kithkin farmer, and kithkin heroes from both Lorwyn and Shadowmoor. All rights reserved to Wizards of the Coast and/or other respective owners.

Shadowmoor kithkin have to be special again, because they have one additional theme to include, and that is fear. Fear of outsiders, in particular. They view the world in a very insular way, and this makes them very specific in a setting where everyone else interacts. They are very focused on their doun, but there’s not warmth inside their communities. There never is, when the members are gripped with fear and paranoia all the time. Doun above all, but the bonds are harsh and cold.

Regardless of the aspect of your kithkin, there are strong bucolic and rural motifs interwoven into all kithkin. The clachans/douns are canonically the size of really small villages, and the kithkin spend much of their time tending crops and caring for animals. Sure, that’s true for a lot of pre-industrial societies, but in Lorwyn-Shadowmoor kithkin are *the* rustic guys.

Last but not least, we have the kithkin nomads. I have only touched them lightly so far, but they are are not to be omitted. You will encounter nomads only in post-invasion era, i.e. if you’d like to bring Eclipsed to the table. As we know, the nomads are kithkin that severed their connection to the thoughtweft. This must come with a great sense of loss, even if it was to escape the horrors of the invasion. You could and should make use of this in your game, because the nomads aren’t to be simply “clanless” kithkin. They’re the ones who chose to lose their sense of belonging and identity to escape the shared pain.

6. Mechanics

We finally get to the part that you might’ve been waiting for the whole time. How to use kithkin in your D&D game. Sadly the official supplement doesn’t provide much. Or let’s rather say that the solution provided is really bland. But I won’t be reinventing the wheel, so we take the base halfling species and spice it up with some Lorwyn. Or Shadowmoor.

Surge of Thoughtweft card art by Randy Gallegos depicting a group of charging Lorwyn kithkin. All rights reserved to Wizards of the Coast and/or other respective owners.

Lorwyn kithkin

For a Lorwyn kithkin create a small-sized character with ability score increases Dexterity +2 and Charisma +1, basic speed 25 feet. Make them Brave and Nimble, same as a vanilla halfling. Ditch the rest of the traits, because we’re getting thoughtweft.

Thoughtweft lets you feel intense emotions of any kithkin within a mile. You don’t know the location of the kithkin you feel, but you know whether it’s someone close to you (and who). Like a parent, child, sibling.

You can send and receive short sentence (three to four word) messages to and from kithkin within 30 feet of yourself. It is as if speaking out loud, so you can’t send and speak at the same time.

You also gain the Kithkin Ambidexterity trait. As long as there’s another kithkin within a mile of yourself, you get the Dual Wielder feat.

Keep Out card art by Ron Spencer depicting a group of determined Shadowmoor kithkin guarding their doun. All rights reserved to Wizards of the Coast and/or other respective owners.

Shadowmoor kithkin

To create a Shadowmoor kithkin, you will make a small-sized character with ability score increases Dexterity +2 and Wisdom +1, basic speed of 25 feet. You still get the Nimble trait, but you won’t get the Brave trait. Instead you receive 60 feet Darkvision, and mindweft.

Mindweft works as thoughtweft on steroids. You still sense intense emotions of other kithkin in a one mile radius. You can send and receive messages to and from any kithkin within 30 feet, and for members of your doun the range is 100 feet.

You can also use the Help action to aid any kithkin within range (30/100 feet) for a number of times equalling your proficiency bonus each day. In combat this could mean sending information about the enemy from a different perspective, revealing their weak spots. Outside combat you’re like a phone-a-friend.

Shadowmoor kithkin also receive the Kithkin Ambidexterity trait, giving them the Dual Wielder feat whenever they’re within a mile of another kithkin.

Protective Response card art by Gustavo Pelissari depicting a group of kithkin nomads. All rights reserved to Wizards of the Coast and/or other respective owners.

Kithkin nomads

Nomads are also small-sized creatures, and for ability score increase get to choose between Charisma and Wisdom for the +1 bonus. They get the Dexterity +2 as well, and their speed is 25 feet. The rest of the traits depends on the aspect they find themselves in. In Lorwyn they get Brave and Nimble, while in Shadowmoor they retain Nimble and get Darkvision 60 feet.

The nomads severed themselves from the connection with other kithkin. Therefore they have neither Thoughtweft nor Mindweft, and they also lose the Kithkin Ambidexterity trait.

What they get instead is the Closed Off trait, which gives them resistance to psychic damage, and advantage on saving throws against being charmed.

Kithkin nomads, being On the Move most of the time, also receive proficiency in survival.

Aspect Changes

As you all probably know by now, there are two aspects to the plane Lorwyn-Shadowmoor. For most of the plane’s history one has been dominant, but after Oona’s defeat, the aspects can shift and their affected regions migrate.

If you decide to play in such a period and happen to cross into the opposite aspect, native characters change, unless they have the necessary relics to stay in their own aspects. The characters remember nothing of their time in the other aspect, and their personalities change as well. You should have this in mind and prepare at least a rough outline of what would your character be like in the opposite aspect.

Mechanically I would handle it like this: your character retains all of their ability scores, proficiencies, class features, etc. What changes are the character traits. So a Lorwyn kithkin undergoing Eventide would lose the Brave trait, gain Darkvision, and replace Thoughtweft with Mindweft. And vice versa.

Conclusion

There you have it, my guide to playing the kithkin of the dual plane Lorwyn-Shadowmoor. I’ve touched both the fluff and the mechanics, and I believe the guide would help you create a fun and lore-friendly character. If you have any questions you’re welcome to write them in the comments section. If you haven’t subscribed yet, you should consider subscribing, because this is not the last of my Lorwyn-Shadowmoor How To Play articles.

The card illustrations were obtained on Scryfall and all rights to them are reserved to Wizards of the Coast and/or other respective owners.

The author is not affiliated with Wizards of the Coast or any other party mentioned in the text.

Dungeons to Dig Up

Estimated reading time: 4 minutes

This week’s post will be a short one. Not that I have nothing to write about, but I really want to focus on finishing a few things, while I’m distracting myself with swords.

Digging Better Dungeons

Those who visit this site regularly might have noticed my interest in dungeons. That’s nothing rare among Dungeon Masters, Game Masters, and other suchlike individuals. There are many approaches to creating and playing dungeons, and none of them is wrong, as long as everyone’s having fun. Some people like their dungeons to be challenging first and foremost. Others want an engaging story, brimming with emotions, that somehow takes place in a dungeon. Some want their dungeons to make sense.

You probably already know I belong to the third mentioned group, and I’ve started a series of articles dealing with various aspects of dungeons. There are still topics I want to look at, but I’ve set this series aside to work on other stuff. You can have a look at what I’ve finished so far on the list below:

German Inspiration

Recently I’ve had some contact with tiny fragments of the German role-playing scene. I’ve mentioned Roland several times already, and his feedback is one of the things that make me return to the dungeons. He also gives a lot of thought about the dungeons he’s designing, and it’s very interesting to see the process.

The other German blog I’ve started following is Kritischer Fehlschlag. It’s operated by a group of TTRPG enthusiasts, and there’s a lot of stuff in there. What caught my interest immediately is the Erde & Wasser megadungeon project by Rackhir. My first contact with it was a newsletter email about the second zine being published, so I looked it up, and it’s looking great. Check out the Design Principles and you’ll see why I like it. There’s lot of overlap between our views, mainly in that the dungeon has to make sense. This is definitely something I’ll be watching closely and looking forward to updates.

What to expect?

I’ve already advertised it somewhere, but now it’s official – Digging Better Dungeons is the new name of the series. I’m really bad at giving estimates and promises when it comes to publishing schedule, but there are at least five articles I would like to add to my series. Two of them are in draft stages, the rest is just in side note stage for now. But I will finish them somehow. The first on the list is an elaboration of the Palimpsest Dungeon, a case study.

Video Game Shorts

This will be very short as well, it’s called “video game shorts” for a reason. Anyway, there’s one thing that’s extremely common in one video game genre, and I think underused in TTRPGs. The genre is platformer, and the thing is that enemies often send you towards doom. Without touching your HP, at least not in a significant way. Whether it’s by actually pushing your character off a ledge, or by one-shotting you and the in-game explanation being this.

By having the enemies use the environment in this way you can create danger where there normally would only by little of it. Small goblinoids get trivial at higher levels no matter their numbers. But if they throw you full-plated paladin into a pit, they’re much more dangerous now. Ogres are formidable foes for a low-level party, but later they’re just a large nuisance. Let your ogres fling the high-level party around and suddenly they’re another thing.

As with all things use hero-tossing enemies with moderation. And if your players take a liking to doing this to their enemies, maybe change the scenery a bit. Don’t let your campaign become Jedi Academy with force choke. But that’s another story.

Final Remarks

Once again I have to state that I’m not affiliated with any of the mentioned entities, and I receive no compensation for any promotion.

If you liked the article or any of the ones I linked, please subscribe! It’s the best way of letting me know you like what I do. Also tell your friends, they might be interested as well!

Swords everywhere!

Estimated reading time: 8 minutes

The title might be an exaggeration, but since it’s #swordtember, there’s bound to be lots of swords in many places. Even here. I promised to post more often, so here’s a summary of the last week.

Cooperative Curiosity

Mentioned last week, the fruits of collaboration between Roland (Dnalor the Troll) and me are finished and published. The whole thing started when Roland felt that I discarded curiosity as a motive for entering a dungeon, and we agreed to both write about our views of curiosity in TTRPGs.

Roland’s article An Ode to Curiosity – what drives us forward in the dungeon? is a fine one, and he makes many strong points. It is indeed an ode, and Roland manages to capture and describe the curiosity that drives both players and their characters forward, onwards to new challenges, secrets, and experiences. You should definitely check out his article, in which he uses many fine examples to prove the necessity and worth of curiosity. And while you’re there, browse through the rest of his blog as well, there’s a lot of interesting stuff in there!

Mine is a bit different approach, though I appreciate curiosity in many forms and in many aspects of a TTRPG game or setting. You can read my thoughts on the matter in the Motivated by Curiosity article. To sum it up, I believe the curiosity we usually see while exploring a dungeon is not sated by simply knowing. There’s always something it’s connected to. The knowledge has to have some use. Or it’s not knowledge the party seeks, but wealth, fame, and powerful artefacts. When they’re curious, it stems from those desires.

#Swordtember

As you might have noticed, I am doing the #swordtember challenge again. As usual there’s the “official” #swordtember prompt list by Faith Shaffer (who originally came up with the challenge), and several alternatives. Last year I combined the original with one of those alternative lists, and tried to come up with swords that combine two prompts. It wasn’t always easy.

This year I’m of course doing the official one, as well as one that’s mostly been made by my four year old daughter. You can see it below, and feel free to use the prompts, if you like them.

I post my rough sketches on my Bluesky account, until I can remake them into usable item sheets for D&D. The plan is to publish all of them, maybe batched together with the last year’s swords, but first they all need have passable illustrations, and descriptions. Below is an example of an extremely rough sketch and a first description draft.

A massive two-handed sword with a broad perforated blade. The perforations lighten the blade while keeping anything sticky from adhering to the sword. Ideally suited for slicing puddings, jellies, and blancmanges. Will also cut nicely through killer tomatoes and other soft murderous berries.

D&D Feat Paths

The new Underdark-themed Unearthed Arcana offers, along with two subclasses, the option to slowly turn into a mindflayer. The Path of Ceremorphosis is a feat path, i.e. a set of feats that are chained and offer additional character development options.

This apparently isn’t a new thing, as The Kind DM kindly pointed out to me (and you can read his review of the UA Underdark Options here). WotC used the same mechanic in the Villainous Options Unearthed Arcana with their Path of the Lich and Path of the Death Knight in. I admit I haven’t been paying attention to those, but it seems this is something that’s been repeatedly done.

Why is this interesting to me? I have several such developments on my table, and so far I’ve played with creating special “technical classes” you would multiclass at the prerequisite level. This is similar to the way feats work, but sacrifices some levels of your main class. And since campaigns don’t always get you all the way to level 20, you could miss out on important stuff.

The feat paths provide a better option, in my opinion. You still get to progress in your class as usual, and you get the benefits (and other, less beneficial effects) of the feats you choose.

Anastasios, aka the Kind DM, also pointed out the feat path option is not ideal either, and I agree. But it’s better than technical classes, and better than just slapping new powers and mechanics onto a character. Things like this are better suited for classless point-buy systems, but then we would be playing a whole different game and blogging about that one, right?

Long story short, I will be working on a few of these feat paths. There are several I have in form of notes, and I’ll have to see if they’ll amount to two paths, or somewhere in the region of five.

Jack Vance & TTRPG

Jack Vance is one of my favourite authors. Even though he’s not in my Top 5, and I have read but a fragment of his body of work, I like the way he wrote. And his ideas are often worth reading even today, after decades of authors being influenced by him.

There’s an article on Jack Vance’s Influence on Dungeons & Dragons by Bill Ward on the Goodman Games site (home of the Dungeon Crawl Classics). It’s a good article summarizing all the stuff D&D owes to the visions of Jack Vance. As expected “Vancian magic” takes the spotlight, but not for the whole time. Bill Ward also focuses on the contribution Vance has (unintentionally) made to the image of the D&D thief class, later replaced by the rogue.

Ward names Cugel the Clever “the original murder hobo”, and I couldn’t agree more. Vance writes him in a way that it feels in character, even though as a DM you would probably hate your players for half of the stuff Cugel does. I bet many never heard of Cugel the Clever, yet they manage to re-enact him very well.

Even though Cugel is the archetypal murder hobo, I don’t remember him murdering that often. Characters in the Dying Earth series often choose other means of defeating their enemies. Disgrace and mockery are regularly viewed as more fitting, and perhaps even worse punishment than death.

There’s of course more to Jack Vance than Dying Earth, even though his other works probably didn’t influence D&D and by extension other TTRPGs as much. If you haven’t read anything by Vance (hard to believe, if you’re my target audience) you should definitely remedy that. The four volumes of the Dying Earth series are obligatory, of course. And I would also recommend one of his later works, the Night Lamp. It’s a bit slow at first, but then gains momentum and finishes with pretty much a Dying Earth vibe.

Last but not least, if you want to play a game in the Dying Earth setting by Jack Vance, you can check out the DCC modules presented at the end of the linked Goodman Games article. You should also check out Pelgrane Press, as they’re dedicated to publishing everything you need to bring Dying Earth to tabletop life. And if you want a really good deal, they have a bundle ending in about three days currently on Humble Bundle. The Dying Earth RPG Collection costs just short of 20 €, so I guess about $23-24.

Video Game Shorts

Every few years I have the urge to replay the Shadowrun games by Harebrained Schemes. I finished the original game a few years back for the third time, and I’ve started my second Dragonfall run recently. Of course I will have little time, so I might finish it somewhere around New Year.

I consider Dragonfall the best of the three, although they are all very good. What I want to focus on today is the way the game(s) build a sense of belonging, both inside the party and towards the broader community you become part of.

There’s a lot of characters, many minor, around your base of operations. It often take s a while until they become relevant, but you slowly become familiar with their stories. And you start to care about them. This is something that games (and to some extent other media, such as TV series) can’t quite pull off. A lot of the newer RPGs manage to do this with one or two characters, but rarely with a whole community.

My advice for DMs therefore is go play the games if you haven’t. You get tens of gameplay hours in great TTRPG video game adaptations, and can get inspired by the way the communities around the PC headquarters are written. Not to mention the rest of the very good writing. Dragonfall is really something.

I actuall never read too much into Shadowrun. There was a Humble Bundle with a complete ruleset for one of the newest editions a few years ago, but I still have to get to reading any of the books. I’m definitely looking forward to, there ought to be lots of inspiration there.

Oh, and for anybody interested, I’m making a chromed-up melee street samurai, after playing a pure mage last time. Glory will sit on the bench most of this run, I’m afraid.

Final Remarks

Once again I have to state that I’m not affiliated with any of the mentioned entities, and I receive no compensation for any promotion.

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Frozen Horrors

Liked True Detective: Night Country? What about the Thing? Let’s take a look at some other works in similar vein and I will briefly describe the setting or subgenre I call “Frozen Horror”.

Estimated reading time: 13 minutes

It’s been over a week since the Season 4 finale of True Detective by HBO, and it’s been a thoroughly enjoyable ride this past few weeks. Maintaining the high quality writing and production values of the series, the last season takes us to the fictional Alaskan town of Ennis. This is where you might consider stopping reading if you haven’t seen the show, yet. I’m not going to go into any details of the plot, but some technical spoilers might appear. And further down there might be spoilers for other works, so walk softly.

A few minutes into True Detective: Night County.
All rights reserved to HBO and/or other respective owners.

With the exception of Season 2 True Detective always contained elements of supernatural mystery. Season 4 ramps this up quite significantly and due it feels like a mystery/horror series rather than a crime series most of the time. The structure also seems very usable as an inspiration for a tabletop adventure. I can already see an outline with several dungeons and encounters.

Due to its setting there is a resemblance to other works, and I mean it in the most positive sense. The season fits into a category I call “Frozen Horror” and this article will cover that. I will share my thoughts about the characteristics, things that make it unique and that can be used in your game. Afterwards I will provide a short overview of some works that I consider Frozen Horror.

Frozen Horror themes

There are certain themes that are essential for the Frozen Horror feel and I will outline their potential for your games here.

Adverse weather

First of all it’s the adverse weather. We’re dealing with polar areas where outside temperatures fall deep below zero. While this is obviously not an insurmountable obstacle (even more so in a fantasy setting), it sets some rules and boundaries. To stay outside most of the time you need good winter clothes. What if you have no access to them for a reason? Or if they get torn to shreds by a monster attack? Many surfaces get slippery due to ice, and handling equipment without necessary precautions can also be tricky – swords can freeze in their scabbards for example, and some liquids can freeze in their containers.

Low visibility

Snow storms can be fatal even when properly clothed, and this can be used to control when and where can the party go, if you have need for such things. With snow storms there is also the danger of low visibility. All sorts of monsters can move at pike’s length unseen and unheard by the characters due to a raging snow storm. Distress signals, burning settlements, and magical effects can also be hidden by a storm.

Long periods of darkness

If your world is a planet with Earth-like properties or similar season arrangement there are regions where night lasts for weeks at specific times of the year. The resulting darkness of a polar night can be oppressive, depressing, and bring all sorts of trouble – light-sensitive monsters are free to roam, light-based magic might not work as well while dark arts might grow in potency, solar technology is effectively disabled. An interesting twist is the opposite state or polar day, but that has a whole different set of implications. Either way it sets a timeframe for the plot. Things might get better after the long night passes, or perhaps something has to be done before it passes, or even worse things will arrive.

Remoteness and isolation

Another heavily prominent feature of Frozen Horror is the remoteness and isolation experienced throughout the story. These works take place at the edges of settled regions, at remote outposts separated by barren wasteland, or during expeditions into unknown lands. Help and support is often unreachable due to distance, weather conditions, lack of suitable transportation, or a combination of all mentioned. This is even more effective if there’s a specific need that can only be fulfilled elsewhere – the cure for a condition, research capacities, “silver bullets” for a specific monster. As with darkness this might set a timeframe, though differently. A supply ship might arrive only in certain intervals, or mountain passes might be snowed in for a good part of the year.

Frozen secrets!

And last but not least, there’s no Frozen Horror like one with frozen secrets! Whether it is some kind of disease or monster trapped in the ice, or forgotten structures and technology, it’s a classic. The ice might be thawing naturally, or there might be deliberate attempts to release or discover whatever it is that is frozen. Of course not everything that’s frozen is a menace, sometimes it’s the exact opposite. There might be technology, knowledge, or some power that the party needs. But there might be other things frozen with the desired goal, not as much desired.

A good Frozen Horror doesn’t have to include all of these themes, but often it does. Some of them are specific for a certain environment, some can occur elsewhere. You can be very remote and isolated in a desert, and a desert storm will provide low visibility, but there will be no natural long-term darkness (assuming an Earth-like world) and certainly no frozen secrets.

Next there are some examples that I have tried to keep short and without spoilers. There are certainly other works that could be given the Frozen Horror label, and I will be glad to read about them in your comments.

  1. At the Mountains of Madness (1936)
  2. Who Goes There? (1938) and Frozen Hell (2019)
  3. The Thing (1982)
  4. The Thing (2002 game)
  5. 30 Days of Night (2007)
  6. The Thing (2011)
  7. Fortitude (2015-2018)

At the Mountains of Madness (1931)

The H.P. Lovecraft novella deserves to be mentioned first, as it’s the one that many others have taken inspiration from. It’s also one of the best works by HPL, and it should be on your reading list if you want to base your setting or adventure on Frozen Horror.

A modern illustration for the novel. All rights reserved to François Baranger.

At the Mountains of Madness tells the story of an Antarctic expedition. An accidental discovery leads to mysterious disappearances and deaths, and ultimately the protagonists find themselves in a lost city. Eons forgotten, the city reveals unsettling secrets, some of which are still alive and dangerous. Narrowly escaping with their lives (but not sanity) the heroes witness things too terrible to describe.

I’m being vague on purpose, because I really wouldn’t want to spoil this to anyone. Go read the novella as soon as you can, it’s public domain already! Lovecraft wrote it later in his career, so he already had an established mythos to reference and draw upon.

One can find themes of isolation and remoteness, and secrets frozen in the ice in At the Mountains of Madness. Even if Lovecraft wasn’t their creator he used those themes expertly. And as I mentioned before, he influenced further works immensely.

Who Goes There? (1938) and Frozen Hell (2019)

Who Goes There? was written by John W. Campbell and published in 1938. In 2018 an original longer manuscript was found and released in 2019 as Frozen Hell. I haven’t read either, but the new release is on my list. Since I can’t offer my own views, I’ll keep it short and only remind that this is the work The Thing was based on. When I get my hands on a copy of Frozen Hell, I’ll either update this post or maybe write a new one. Leave a comment if you have read it!

The Thing (1982)

For me this is it, the perfect example of Frozen Horror, and a top notch horror movie overall. I have seen different opinions, stating that The Thing is overrated. What do those people expect from a great horror movie that they didn’t find in the Carpenter masterpiece is a mystery to me. But hey, I don’t like some generally-accepted masterpieces either, so I accept it with only a little grudge.

The outpost at night with MacReady's cabin in the focus
MacReady’s cabin in the night. All rights reserved to Universal Pictures and/or other respective owners.

The 1982 adaptation of Who Goes There? by J.W. Campbell is set in Antarctic on a remote scientific base, where suddenly things go very wrong (these vague descriptions are a pain, but I wouldn’t like to spoil too much). There’s a lot of psychological horror, body horror made with perfect practical effects (certainly for the time), and an ambiguous ending. The setting ticks off all the hallmarks of a Frozen Horror, with remoteness and isolation, bad weather conditions, and frozen secrets being the most prominent.

It is perfectly adaptable to tabletop gaming, as many have done already. There is also a sequel video game and a prequel movie. If you liked The Thing, check them out as well, or at least read the following paragraphs.

There has also been an earlier adaptation of Campbell’s novella in 1951 under the title The Thing from Another World. I have not yet seen the movie and as with the book I don’t want to rant about it basing my knowledge on what I read on the internet. Therefore until I have the opportunity I will only mention it. As always comments if you’ve seen it are welcome!

The Thing (2002 game)

Intended as a direct sequel to the Carpenter movie, the game picks up right after the ending. It chooses one possible explanation for the ending as canon and elaborates from there.

Wallpaper from the game. All rights reserved to Konami and/or other respective owners.

In this 3rd person team-based action game you are Captain Blake, an US Special Forces operative sent with his team to investigate. Being an action game it offers a lot of shooting and jump scares. I remember when it was new I couldn’t play it myself because of the tense atmosphere and scariness, and instead watched as my dad played the game.

Even though it lacks the slow burn psychological stuff of the movie, the game gets many things right in my opinion. The events of the game don’t collide with what the movie started, or at least as far as I remember. I’ll have to play it myself for a deeper analysis, so expect an article on the game itself in the future. Meanwhile you can check this post by Syfy for some background information and plot synopsis, if you like.

30 Days of Night (2007)

Let’s take a break from The Thing and the Antarctic for a while and visit Alaska again. Based on a comic book 30 Days of Night takes place in Barrow, Alaska (now Utqiaġvik) during the polar night. The local events take a wrong turn after the arrival of a sinister cargo on a ship. The long polar night is central to the plot and you can make a guess what thrives in the long dark.

Oil plant in Barrow, AL
Barrow’s oil plant after night has fallen. All rights reserved to Columbia Pictures and/or other respective owners.

Once again the themes of remoteness, isolation, long period of darkness, and severe weather take the lead. After the movie a miniseries prequel (2007), sequel (2008), and also a direct-to-DVD movie sequel (2010) were made, but I haven’t seen those. The ratings make me a bit uneasy about spending my time on them, but do leave a comment if you have seen them!

The Thing (2011)

A prequel rather than remake to the 1982 Carpenter movie of the same name. I find it commendable that in an age of cheap remakes the creators instead elected to make a tie-in with the original movie. It is up to everyone’s judgement whether they succeeded.

The story is set right before the events of Carpenter’s Thing at another research station, this time Norwegian. You can watch the 1982 movie right after this one and the story will continue almost seamlessly.

Helicopter arriving at an antarctic base
All quiet at the Norwegian base. All rights reserved to Universal Pictures and/or other respective owners.

In my opinion it is not bad. There’s not exactly the level of mystery and suspense as in the 1982 movie, and it’s more predictable as far as I remember. There are similar themes, similar progression, you are aware that this has to do with the other movie all the time. Don’t expect any great novelty or originality, but it does what it aims to and it really feels more like a loving homage than a cash-grab remake.

Fortitude (2015-2018)

I have saved this one for the last, because it is one of my favourite shows, and also one that the latest True Detective series reminds me the most. Fortitude is set in a fictional town of the same name in Svalbard. The inhabitants are employed mostly as scientists, miners, or fishermen, plus the necessary services.

The first season is mostly a crime investigation show with little hints of mystery. With the second season Fortitude goes full mystery/horror with supernatural elements, and this is the season I find both most fun to watch and most usable TTRPG-wise. The latest True Detective series reminds me of this second season in a good sense, as I mentioned before. There is also a third season, but it’s inferior to the first two. It feels like an attempt to tie things up after being scrapped by the producers. What I find the worst about it is what happens to the characters. Formerly complex characters are flat in the last series and behave stupidly. And also it seems the creators tried to make everyone look bad. I’d say you can safely leave the third season out.

Two persons rappelling into an icy cave
What lies below the ice? All rights reserved to Sky Atlantic and/or other respective owners.

Fortitude has a great atmosphere overall and uses the themes I wanted to talk about really well. There is severe weather, darkness, isolation, various political and social tensions as well, and of course frozen secrets. The supernatural is well interwoven into the “normal” problems of an arctic settlement. The cast is very good and the characters and their motivations are well-written (until Season 3). As with True Detective: Night Country, there is a lot of potential for someone who would like to turn it into a tabletop adventure (or campaign).

Final remarks

What I call Frozen Horror (and you might call it differently) offers a unique experience, lately revived by the fourth season of True Detective. I have put some of my thoughts on the topic into this article, as well as some examples I would recommend. Of course there is more to each of them than the things I described – The Thing is a different story than 30 Days of Night. In this article I tried to point out some of the similarities that lie mainly in the environment and setting. I am eager to read your thoughts on this matter and perhaps your suggestions for other movies, TV shows, video games, etc. The more inspiration, the better.

I will also prepare separate articles about some of the media mentioned here. Requests and suggestions will be happily considered. If you found this post interesting, it would be great if you could share it with your friends. Comments are welcome, and don’t forget to follow the blog or our social media accounts for more content!