Epilepsy? Have You Tried Drinking Gladiator Blood? [Weird Rome]

I read a post the other day at the always-fascinating rogueclassicism blog that should be of interest to anyone gaming in a Weird Roman setting, or looking for a new twist on vampirism. No sparkling, hair gel, or abstinence, I promise. I recommend reading the full original article, but here's what I thought was most interesting:

Here's Pliny the Elder (trans. John Bostock)

Epileptic patients are in the habit of drinking the blood even of gladiators, draughts teeming with life, as it were; a thing that, when we see it done by the wild beasts even, upon the same arena, inspires us with horror at the spectacle! And yet these persons, forsooth, consider it a most effectual cure for their disease, to quaff the warm, breathing, blood from man himself, and, as they apply their mouth to the wound, to draw forth his very life; and this, though it is regarded as an act of impiety to apply the human lips to the wound even of a wild beast! Others there are, again, who make the marrow of the leg-bones, and the brains of infants, the objects of their research!

And Celsus:

Some have freed themselves from such a disease by drinking the hot blood from the cut throat of a gladiator: a miserable aid made tolerable by a malady still most miserable …

The post's author goes on to hint playfully at a connection between Julius Caesar's interest in gladiatorial games and his purported epilepsy, but any GM running a horror-tinged campaign can surely see the potential in this. Here, we have a form of vampirism still tied to superstition, but without any overt supernatural elements. It's one thing to locate and destroy vampires when you're dealing with immortal undead monsters with relatively well-known powers and weaknesses, but quite another when the monster you're looking for is an ordinary person who casts a reflection, can walk freely in the sunlight, has no fear of holy symbols, etc.

Your range of potential "vampires" includes everyone from family members pushed to extremes to find a cure for a stricken child to the sorts of unscrupulous persons hinted at in the end of the Pliny passage -- physicians and sorcerers conducting vile experiments in secret. The efficacy of any of these cures is up to the GM, of course. Rumor and superstition are powerful motivators all by themselves, and an unsuccessful "vampire" might simply be convinced that there's a flaw in their methods, or that they haven't found just the right victim.

Weird Greece: A Setting-sketch for Lamentations of the Flame Princess

Here's part two. I'm a little less happy with this one than the Roman setting-- I don't know if it's the nebulous semi-historical setting I chose (The Hellenistic Age might be a better fit for a gritty swords-and-sorcery feel, but I don't think I could improve on Paul Elliott's Warlords of Alexander) or what, but something just feels slightly off. Any comments or suggestions would be appreciated.

Weird Greece:

“A dead weight hung upon us. It hung upon our limbs-- upon the household furniture --upon the goblets from which we drank; and all things were depressed, and borne down thereby -all things save only the flames of the seven lamps which illumined our revel. Uprearing themselves in tall slender lines of light, they thus remained burning all pallid and motionless; and in the mirror which their lustre formed upon the round table of ebony at which we sat, each of us there assembled beheld the pallor of his own countenance, and the unquiet glare in the downcast eyes of his companions. Yet we laughed and were merry in our proper way-which was hysterical; and sang the songs of Anacreon-which are madness; and drank deeply-although the purple wine reminded us of blood.” -- E. A. Poe, "Shadow: a Parable" (1850)
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A Mythic Greek setting presents a unique paradox for gaming in a Weird Fantasy idiom. It is supremely suited for the conventions of fantasy roleplaying games-- wandering adventurers, a pantheon of gods, savage monsters to be fought and overcome, perilous quests into the underworld, etc. are a more natural fit to a Greek-inspired setting than a cod-medieval one. The gods, men, and monsters of Greek mythology are iconic and familiar. But this very familiarity and accessibility can be a serious obstacle for a Referee wishing to preserve the feeling of "the Weird" that informs LotFP. Throughout this setting sketch, I'll offer tips on how to exploit the unique flavor of a Greek-inspired setting while never losing sight of "the Weird."

The Setting: The ancient Mediterranean -- the last gasp of the Heroic Age, and the beginning of the degenerate Age of the Men of Iron. History is still fluid and murky, and legends may still be made of the deeds of such heroes as are born in these latter days. The gods still meddle in the affairs of mortals, but not so openly as they once did, and their semi- divine progeny are scarcely to be found upon the dark earth.

The known world is divided into petty kingdoms and city-states, ruled by a collection of kings, queens, ruling councils, and tyrants-- the sort of upstart adventurers the PCs might aspire to, who have seized control by unorthodox means and now crouch on their troubled thrones, claiming descent from some god or hero. The great- walled city of Troy has fallen, and men will never again attempt to build on such a scale again. Even now, the PCs should encounter monumental, eerily-deserted ruins of the age that has just past, which dwarf in size and grandeur the squalid huts of their home villages. The large cities that remain should be grand, imposing, and in a state of gradual decline.

Everywhere, the signs of the gods' displeasure are evident. Women give birth to horrifying monstrosities in secret, which are kept carefully hidden or run free to despoil and ruin as they will. The roads are unsafe to travel, save in large, well-armed bands, being the haunts of brigands, monsters, and men who, living beyond the flickering light of civilization, have become little more than beasts themselves. The seas are treacherous as well, and mariners find themselves prey to reavers, petty wars between island kingdoms, and terrifying creatures of the deep, who multiply unchecked in waters far from the common trade routes.

The Themes:

Competition and Strife bring out excellence: Closely tied to the concept of arete (excellence) is the idea that someone, somewhere, must be the best at a given thing, and that one must constantly strive to be the best and be recognized as such. The Greeks applied this attitude toward all facets of life -- athletics, poetry, song, horsemanship, warfare, etc. In a properly Greek setting, there should be constant pressure between characters (PCs and NPCs-- even on the same side) to outdo each other in feats of daring, ingenuity, martial prowess, etc. The one who comes in second is to be pitied, but the one who does not compete is only worthy of contempt. On the level of clans, communities, and city-states, this often leads to years of protracted warfare, bitter feuds, populations slaughtered and enslaved and cities burnt to the ground.

Man is mortal, glory is eternal: Player characters, particularly in games like this, are rather fragile, especially when starting out. This is to their credit. The immortal gods cannot be valorous, as they can never risk death by their actions. That honor and distinction is left to mortals, like your player characters. The only way for them to achieve immortality is to perform deeds worthy of song. Play up the importance of kleos -- the glory spoken of by others. This should serve as a spur to action, and a few obols here and there to the right bards and minstrels will do wonders for their reputation.

The Age of Heroes is passing away, to be replaced by the Age of Iron: While many continue to publicly uphold the ideals of the past age, they do not hold them in their hearts as they once did. Honor and Glory are sacrificed for expediency. Sons rebel against their fathers, wives murder their husbands, strangers are turned away at the door or betrayed by their hosts. Emphasize the growing sense of lawlessness, danger, and decline. Will the player characters stand out as anachronisms-- boldly embodying the virtues of the Heroic Age? Or will they make the most of this unscrupulous new era?

The Foes:

The Gods The gods are superhuman, but not omnipotent, omniscient, or omnipresent. Like mortals, they are subject to the Fates. They are by turns benevolent, wrathful, perverse, lustful, petty, and majestic, according to their whims. While the gods may walk the earth from time to time, the PCs (and their players) should never be quite sure whether they have encountered one "in the flesh." Like Nyarlathotep, they assume many guises and masks as they go about their business on earth. Keep the gods offstage for the most part-- if they must speak at all, let it be through the cryptic, ecstatic utterances of Sibyls and Oracles. Since the gods are basically the personification of observable forces-- thunder and lightning, wine and drunkenness, love, lust and obsession, plague and sickness, the sea, etc., let the gods manifest through unusually strong or freak displays of these forces.

Monsters
As I mentioned before, the iconic status of the monsters of Greek Mythology make tempting antagonists, but their appearances, strengths, and weaknesses are so well known that "The Weird" is compromised through this familiarity. Use monsters like Medusa, the hydra, etc., sparingly if at all. Rather, use them for inspiration to create your own monsters in a similar vein. Many of them were formerly ordinary men and women, cursed by the gods for some real or perceived wrongdoing. When designing a monster in the Greek tradition, first think of a person, and then a transgression for them to commit. Murder? Rape? Incest? Unusual cruelty? Cannibalism? Refusing the advances of a god or goddess? (never mind that the gods themselves are frequent offenders in many of these areas themselves -- the laws of proper behavior are for mortals). Then think about the punishment and how this could manifest in the hideous monstrosity they've now become. A malicious gossip might now literally drip poison into the ears of her victims. A blaspheming poet might be given a voice that drives his listeners into a murderous rage. Each such monster should be singular and local to a particular area.

Outlaws, pirates, and brigands
These haunt trade routes and mountain passes, a symbol of the growing lawlessness of the world. Particularly memorable brigands will have some horrific trick to how they dispatch their victims. In the legend of Theseus, the hero must contend with Prokrustes, who stretches or amputates his "guests" in order to fit his bed, and Sinis, who tied his victims between two bent pine trees and then let them go, splitting them in half.

Beast-men and wild women. Encountered in wild places. These have forsaken civilization entirely and live like beasts, often (as in the case of satyrs) taking on the features of the animals whose behavior they have come to typify. Alternately savage and beguiling.

The Underworld
Wealth buried in the ground is the de facto property of Hades, and adventurers venturing beneath the earth are not only plundering the dead, but stealing the rightful spoils of a god.

The Soundtrack: Basil Poledouris- Conan the Barbarian and Conan the Destroyer soundtracks. Other than that, I'm outta suggestions. Any help filling in this section would be appreciated.

Literary and Cinematic Inspirations:
Euripides- Medea, The Bacchae, Hippolytus, H.P. Lovecraft- “The Tree,” E.A. Poe- “Shadow: A Parable,” Ovid- Metamorphoses, Homer- The Iliad and The Odyssey, Mary Renault- The King Must Die and The Bull from the Sea, Robert Graves- Hercules, My Shipmate and Eric Shanower's Age of Bronze comic book series, Appolonius of Rhodes- Argonautika.

Jason and the Argonauts (1963), Clash of the Titans (1981), Jim Henson's The Storyteller: The Greek Myths(1990), various Italian sword-and-sandal movies -- Hercules in the Haunted World (1961) is particularly stylish and useful, as director Mario Bava introduces an element of horror and creepiness), Iphygenia (1982) Troy (2004) (for the visuals, anyway)

Historical, Mythological, and Fortean Inspirations: Herodotus- The Histories, Robert Graves-- The Greek Myths (heavily influenced by J.G. Fraser's The Golden Bough, and packed with an odd blend of scholarly erudition and wild-ass theorizing, but the book's eccentricities only make it that much better for gaming inspiration), The Eleusinian Mysteries, the palace complex at Knossos, the citadels of Mycenae, The Oracle at Delphi, the Labyrinth, Pliny's Natural History, The Legend of Theseus, Orpheus and Orphic cults, The Trojan War, Atlantis, Circe, Medea.

Gaming Inspirations: GURPS: Greece, Mazes & Minotaurs and Tomb of the Bull King, Caverns of Thracia (Judges Guild), Mythic Greece for Rolemaster, AGON by John Harper, Age of Heroes (AD&D 2nd ed.), "Stealing the Histories" by Michael Curtis (article on using Herodotus as inspiration for sandbox campaigns-- Knockspell #4), "The Dungeon as a Mythic Underworld" by Philotomy, Jonathan Walton's notes for Argonauts (sadly, all that was released before the project fizzled into vaporware -- Daedalus #1 .


Weird Greece Kickstart Table (d4)

1. A local tyrant clings precariously to his throne. His claim to legitimacy rests on his alleged descent from a semi-divine hero of the Trojan War and founder of the tyrant's city. He will offer an exorbitant sum for the retrieval of the hero's armor, which he plans to display prominently in appearances throughout his capitol. The armor itself is huge-- larger by a half than the tallest man living, and is said to lie beneath a nearby cave, rumored to be one of the many entrances to the Underworld.

2. Women in a nearby village have been giving birth to monsters-- strange, pale, silent things with useless, elongated hands and feet, a set of pointed teeth, and the cold, black eyes of birds. What is the reason for the curse that has settled on the village, and how can it be broken?

3. A city is holding its Games when the PCs arrive. The material rewards (not to mention the fame) to be won are considerable, but the contestants are soon dropping dead from a mysterious sickness. Is this a case of poisoning? Sorcery? Some of course, will blame the PCs themselves...

4. The PCs find themselves shipwrecked on a mysterious island. The island's inhabitants (about 20 people in all) have constructed a tawdry replica of Troy out of driftwood, the hulls of other shipwrecks, and what appear to be human bones. They are all quite insane, and play out an endless drama of their own devising, drawing on elements of mythology and their own obsessions. The PCs, of course, will be cast in parts of their own. Do they attempt to play along, hoping to find a means of escape, or do they take their chances in the surrounding forests?

Weird Rome: A setting-sketch for Lamentations of the Flame Princess

Well, I might as well get started with some content.

I originally posted this to this thread on RPG.net, where MisterGuignol has done an excellent job of breaking down and delineating a slew of mini-settings for James Raggi's Lamentations of the Flame Princess RPG.  Since LotFP is skewed more toward the "weird fiction" of Howard, Lovecraft, Clark Ashton Smith, et al, establishing the proper atmosphere becomes very important-- to really play to the game's strengths, you need to establish a markedly different feel from the more "epic fantasy" tone of D&D 4th ed., for instance, and MisterGuignol's mini-settings provide vivid, easy-to-digest capsules of concentrated weird.  Anyway, someone asked for Greek and Roman settings with a weird slant and MisterGuignol generously gave his consent for me to actually get some use out of my Classics degree.  This will eventually be collected (along with all the other mini-settings from the thread) into a .pdf, but in the meantime, I thought I'd put my contributions up on the blog.

First up is Rome:

Rome: ad limites Imperii



“Inscriptions still visible in the sub-cellar bore such unmistakable letters as “DIV*.*.*. OPS*.*.*. MAGNA. MAT*.*.*. “ sign of the Magna Mater whose dark worship was once vainly forbidden to Roman citizens. Anchester had been the camp of the third Augustan legion, as many remains attest, and it was said that the temple of Cybele was splendid and thronged with worshippers who performed nameless ceremonies at the bidding of a Phrygian priest." -- H.P. Lovecraft, "The Rats in the Walls."

Here, the players are citizens of a powerful, expanding Empire. While it may appear stable and solid from the outside, fissures appear here and there in the fabric of Empire, growing wider and deeper as it grows in influence and dominion. A Roman or Rome-inspired campaign can easily accommodate themes from "The Weird North," "Pilgrims in a Strange Land," and "The Urban Weird," but Imperialism imparts a unique flavor of its own. With some tweaking, the Referee could substitute a later empire for the Roman model presented here-- imagine the film Gunga Din with Roman legionaries instead of British officers, for example, with the Cult of Cybele replacing that of Kali.

The Setting: The mid 2nd-century. Rome is at the height of her power, with her borders stretching from the scorching deserts of Arabia to the freezing, forested wastes of northern Britain. All roads lead to Rome and those roads are crowded with folk of every description. Players will encounter merchants and traders on the make, crafty slaves and uncouth freedmen, soldiers in gleaming array,, inscrutable Latin-mangling foreigners, bringing their strange customs and stranger gods into the Empire's very heart, aristocratic officers and administrators, burning with family pride, aghast at their own waning fortunes and the success of the upstart, lower-class "new men" who have flourished since the demise of the Republic. Here are prostitutes and actors, swaggering gladiators living in pampered servitude.

But this is all in the open. On the fringes and beneath the surface, outside the rigidly proscribed boundaries of fort walls, Roman roads, and social conventions, strangeness breeds and multiplies, and corruption and decadence take root. The plain, no-nonsense agrarian soul of Rome, the mos maiores (customs of the ancestors) that defeated Hanibal and brought the Greek city-states under Roman domination are themselves under constant threat. Women of good family, not content to be obedient daughters and chaste matronaeforsake their duty for luxury, admitting the embraces of slaves and freedmen. They abort their lawful and unlawful offspring, the better to enjoy enjoy unabated those pleasures to which they have accustomed themselves, and concoct poisons to serve their husbands when the latter become too dull or troublesome. They make a study of charms and curses to ensnare potential lovers and punish rivals and unwilling suitors. Young men, in defiance of their manly forbears, give in to softness and effeminacy,preferring poetry and music, silks and perfumes to the soldier's boot and the sober toga of a citizen. Both seek out strange new gods, imported from far-flung regions of the empire, and attend outlandish and unseemly rites in their honor, in their insatiable desire for novelty and stimulation.

The Themes: Graecia capta ferum victorem cepit et artis intulit agresti Latio --"Conquered Greece took captive her savage conqueror and brought her arts into rustic Latium."- Horace, Book II, epistle i, lines 156-157. Even as the Empire conquers the world without, she is conquered from within. While the Empire's strength is far-reaching and overt, dangerous elements from conquered territories work their way insidiously into the Imperial bloodstream, coursing along the arteries of Rome's roads all the way to the Empire's very heart. This is an inescapable consequence of the Empire's success, as those very qualities that once defined Rome's national character prove vulnerable to the onslaught of foreign influences as she acquires new territories and dominions. While many find Roman ideals desirable (as well as the benefits of citizenship) the attraction goes both ways, as the influx of wealth and novelties (in religion, dress, etc.) prove irresistible to a populace raised on stark, rustic ideals. Play up the "strangeness" and "otherness" of everything "non-Roman" and the constant tension between the rough-and-ready, hard-headed, practical Roman ideal, and the cultured, Greek-speaking, cosmopolitan ideal of the polished urbanite. How much polish can one acquire without a loss of virtue and good sense? Which elements from the cultures of subject peoples can be safely and usefully acquired, and which lead inevitably toward corruption, decadence, and madness?

Others (I can well believe) will hammer out bronze that breathes
with more delicacy than us, draw out living features
from the marble: plead their causes better, trace with instruments
the movement of the skies, and tell the rising of the constellations:
remember, Roman, it is for you to rule the nations with your power,
(that will be your skill) to crown peace with law,
to spare the conquered, and subdue the proud. - Virgil, Aeneid VI lines 847-853 trans. Kline

While the PCs themselves may be dutiful servants of Empire or (more likely) a gang of violent misfits-- who else goes adventuring for a living?-- the Imperial mandate exists as an ever-present stamp on their daily lives. Unusual eloquence, artistic skill, and more arcane arts are often considered somewhat suspect, at best. Slaves, freedmen, women, and religious and ethnic minorities operate, to some extent, outside the mainstream of Roman public life, and adventurers (by their very nature being unusual and extraordinary) often find themselves the victims of injustice, indifference, and suspicion from a society which stresses assimilation, tradition, and conformity. Emphasize the gulf between the PC's expected roles (gender, social status, ethnicity) with the iconoclastic realities of the adventuring life.

Patrons and Clients-- the ties that bind. While many bemoan the current state of the patron/client relationship, it's still a powerful force in society. Loyalty to one's patron and (to a regrettably lesser extent) responsibility to one's clients and dependents informs everything from political and family life to religion. Roman religion, after all, is merely an extension of this relationship toward the divine-- an arrangement between worshiper and deity in which the former provides honors and sacrifices and the latter provides protection and favor, in turn. When this relationship breaks down in any of these contexts, the forces unleashed are often violent, corrosive, and unpredictable.

Applicable Themes from Other Settings:

Civilization versus the Wild—make the outpost a place that the characters have a vested interest in defending. Make it clear that the outpost is civilization's first and best line of defense against something monstrous that could spell doom for all humanity. Imperil their community; make them scramble to protect the life they know.

Class warfare—the town is home to barely-repressed social resentments. The poor and the rich hate each other instinctively, the old money has a vested interest in keeping the middle and working classes from gaining too large a share of cultural capital, the disenfranchised minority is kept at the menial, abject fringes of society. If your group has the stomach for it, you might even work racial tensions into this heady brew of contention.

Discipline is survival—the only way to persevere against the savagery of the new world is to remain stoic and disciplined in the face of chaos. Rigid adherence to law and order requires that the colonists forge their souls from cold iron to weather the misfortunes of this strange land.The beacon of civilization is surrounded by barbarism—the colony's survival is a fragile thing. Natural dangers, bloodthirsty braves, and supernatural threats encircle the colony and any venture into the forest is a likely suicide mission. While the subjugation of the wilderness will necessarily entail some loss of life, the greatest threat is that the colonists will abandon their civilized ways and fight savagery with savagery.

Many of these themes are already familiar to readers of Weird/Pulp Fiction-- particularly in Howard (the corrupting, softening effects of civilization) and Lovecraft (the threats to civilization from barbaric and/or decadent forces), and these concerns are mirrored in Tacitus' "noble savages" portrayal of the Germans and Juvenal's xenophobic portrait of foreigner-infested Rome in the Satires. Referees and players must decide how much of this reactionary attitude they wish to stress in their games.

The Foes:
Barbarian Hordes from the North - Huge, uncouth, and undisciplined, yet possessed of certain simple virtues that Rome herself has lost. The implacable foe is feared and hated but respected, and the Romanized native accepted to a certain extent, but perhaps viewed with some suspicion and contempt.

Barbarians from the East-- Cowardly, devious, and deadly. In war, they strike with lies and arrows from fleeing horsemen. In peace, they seduce and corrupt with their decadent ways and strange gods.

Sorcerers and Mountebanks- pretty much foreign by definition. At best, they will merely cheat you. At worst, their powers are real and harmful to all involved.

The Ancient Gods of Conquered Peoples, and their Cults-- While Rome has co-opted and conflated many of the gods of the conquered, some are not so easily tamed or assimilated. The ancient Etruscan gods of Rome's deposed kings, worshiped in secret by citizens of certain lineages; The Great Mother Cybele, whose castrated priests are an unnerving sight as they wind their way through the streets in bizarre processions... Certain cultists of Bacchus might fit into this group, as the rites have been at times suppressed in the ostensible interest of public order and decency. What other nameless cults and orders observe their rituals throughout the empire-- inimical to Rome and her allies?

Witches and wicked women-- From withered, disgusting crones collecting the bones of dead children to beautiful adulteresses skilled in poisons, curses, and love-draughts, these represent a total rejection of feminine modesty and decorum, and leave chaos and evil in their wake. Unlike the barbarians, these women are all the more dangerous because their wickedness is masked by an outward show of venerable age or respectability.

The Soundtrack: Peter Gabriel- Passion and Passion Sources, HBO's Rome Soundtrack.

Literary and Cinematic Inspirations:  Apuleius- The Golden Ass (sex, violence, casual cruelty, and witchcraft!) Petronius- The Satyricon (featuring, among other things, depraved cultists, tasteless spectacle, thieving and con-artistry, more sex, violence, casual cruelty and witchcraft, and a story about a werewolf) Catullus- LXIII (a shift in tone and style from his “Lesbia” poems-- this is an exhilarating and terrifying account of the goddess Cybele and her consort Attis, and his ecstatic self-castration), The Book of Acts, the satires of Horace and Juvenal, R.E. Howard- "Men of the Shadows", "Worms of the Earth," "Kings of the Night," misc. novels by John Maddox Roberts, the "Roma sub Rosa" series by Steven Saylor, H.P. Lovecraft- "The Very Old Folk," Richard Tierney- The Drums of Chaos and The Scroll of Thoth: Tales of Simon Magus and the Great Old Ones, Shakespeare- Julius Caesar and Titus Andronicus

Fellini's Satyricon, Centurion, The Eagle, HBO's Rome, I, Claudius (both the BBC miniseries and the Robert Graves novels I, Claudius and Claudius the God).

Historical and Fortean Inspirations:*Lead cursing tablets, the vanished 9th Legion, Lucan- Pharsalia 6.588-830 (A Thessalian witch reanimates a dead soldier), Magic, Witchcraft, and Ghosts in the Greek and Roman Worlds by Daniel Ogden, Phlegon of Tralles' Book of Marvels (A 2nd century Charles Fort's account of “prodigies”), Georg Luck's Arcana Mundi: Magic and the Occult in the Greek and Roman Worlds, Mystery Cults (Mithras, Isis, Cybele), Lucian of Samosata-- “Alexander the False Prophet” (a hatchet-job on a 2nd century con-man and founder of the prophetic cult of Glycon-- a human-headed snake worshiped today by Alan Moore), Etruscan tomb-mounds and divination with sheep's livers.

Gaming Inspirations: Cthulhu Invictus for Call of Cthulhu, Jason E. Roberts' FVLMINATA, Paul Elliot's Zenobia, Requiem for Rome for Vampire: The Requiem (set in the Late Empire, but the long intro by Ken Hite is pure gold), Paul Czege's Bacchanal.

Weird Rome: Kickstart Table (d4)

1. The PCs are stationed at a distant outpost of the Empire. The province is officially subdued, but can the supposedly Romanized new auxilleries be trusted? And what of their still-barbarous cousins beyond the fort wall? Will they put aside their squabbling and unite? You can't think about that, now, as the garrison commander has just been found murdered in the settlement's new forum in broad daylight.

2. The PCs must journey to visit an important friend or patron, but the road to his villa lies beyond bandit-infested hills and lonely roadside graveyards. And what of the old Etruscan tomb-mounds that dot the landscape, and the sounds that issue forth at night?

3. The PCs are guests at a lavish party held by a wealthy local freedman. As the night wears on, the entertainments become more bizarre and grotesque, and reality blurs with strange, fevered visions. How to leave, and how to find the way home again through now-unfamiliar streets? What was in that wine?

4. A friend, family member, lover, or important contact of the PCs has disappeared while visiting the provinces. Why are the local authorities so evasive, and what's the meaning of those strange, nightly processions?