D&D 5E CoS: Full of child peril and death, but lacking...

[S'mon]

It's not written into the adventure, but I don't see why it would be. We get to give the NPCs any personalities we want

CoS doesn't give its NPCs any personality?!
At least Paizo like to give their NPCs personalities - and even include romance etc. Guess Paizo
adventures aren't suitable for children, who should only be exposed to violence and horror, never romance.

 

[Duganson]

There are some things about Gothic Horror writing that are harder (but not impossible) to translate to the RPG medium. I'll be writing a guest blog about that at www.highlevelgames.ca but you're right that Victorian Romance/Sensuality is one of them.

I look forward to reading it. You are one of my favorite posters here and find your stuff lucid and entertaining.

Make one of the romance NPCs a Strahd apologist. This ties in with the way the Hickmans describe Strahd as an archetypical abuser...what makes those sorts of relationships last are the psychological ties between abuser and abused. Often this involves the abused making excuses or justifying the abuser's actions. However, that is a darker direction to go in that may stray uncomfortably close to real-world issues for some players.

And lastly, maybe someone thinks they can redeem Strahd by the power of love. Yeah, it's cheesy, so you'd have to pick the right NPC and do some thinking about how to portray it subtly, but the redemptive/transformative power of love (often ambiguously chaste/erotic) was a theme in Gothic fiction.

I'm considering wrapping these two notions together; I think Gertruda -- pulled to the Castle with its romantic, otherworldly presence -- becomes smitten with the Count. He actively strings her along, emotionally abusing her, and sends her into the world to act as a liaison to the PCs for his cordial visit. Her innocent and wide eyed belief that the Count will be redeemed by her love and his actions so far are completely justified by his tragic past ought to unsettle most parties.

Thanks so much!

Ease into it (In Dr. Krieger's Voice: like a latex gimp suit). In one of the campaigns I ran where I was comfortable enough with the group to include romance and sexuality, I started off small. I did little things like having the various pieces of art found in treasure hoards and the homes of wealthy patrons depict scenes of romance (the first one was a tapestry of an apprentice mage conjuring flowers to impress a girl), or the naked form (I recall one wealthy merchant NPC having a painting in his study called "Nymph in Repose." The young lady in the painting was naked, but she was posed so as not to be too revealing.), or lovers kissing or embracing.

@OP: I would also add that the sensuality of gothic horror is frequently a matter of environment and description. If you don't get a little active with environmental descriptions, then you're not emphasizing the atmospheric sensuality so common in the gothic horror genre. This is something that you can really play up with adventurers, because they often have to get very involved with the environment when searching for traps or secret doors. Describe the smooth coolness of the stone wall as they look for a secret door. And don't forget the verbiage. Don't simply describe it as the PC running his/her hand along the wall, describe it as caressing or brushing the stones.

And there's a lot of good stuff you can do with decoration and furnishings as well. Play with the ambiance. Softness, warmth, and the right level of lighting can all make a scene more sensual.

Some damn good advice by another favorite poster.

I did overlook the fact that mood and description set the sensual tone of Gothic Horror as much as the themes involved. Thanks! Its something I will actively incorporate during the game.


As for the Rape Metaphor of Bram Stoker's Dracula being transferred to this adventure and whether or not its called for, I am not opposed to it but I'd rather not have Ireena be passive and easily victimized (as I remember Mina Harker being). I'd prefer her to act as the bad ass that her picture on page 45. While the metaphor is distributing and repulsive, it characterizes The Count to a T and, if Ireena is actively opposing him, gives the PCs some great motivation. The metaphor is doubly disturbing if the PCs have met Gertruda as described above.

What are your guys' thought on these? Keeping in mind all the ideas and metaphors put forth are not overt (as so many posters here mistakenly think), are they enough to add that classic sexual tension found in Bram Stoker's Dracula, or is there another theme that would work better? Is the free love Vistani option too 'on the nose'? Is there a better theme in the Flesh Golem being built in the Abbey, ala Frankenstein?

 

[Destro]

While I'm inclined to try to bring out darker themes of the genre from the module as written, I am trying to do this organically. I'll assume there's an adult reason for Gertuda being in Strahd's bedchamber and add appropriate detail to my descriptions. If the players or their characters want to explore that, I'll add appropriate colour.

I do, however, plan to add overt sexuality surrounding Lady Wachter's cult, mostly because book club members changing into robes to congregate in windowless basements seems like a good place for it. Again, I'll hint at things and let the players investigate as much or as little as they want.

In a similar grit vein, my players thought Kolyan Indirovich killed himself. They asked Ireena and Ismark, who denied it. Then one of the players noticed the jagged wounds on the wrists of the burgomaster's corpse... It doesn't change the plot but helps engage the players with the horror.

 

[Rhenny]

Oh boy. I'm sorry I didn't read this thread sooner.

In Bram Stoker's Dracula, the most erotic scene was when the three female vampire spawns set upon Jonathan Harker after he arrived at the castle. The descriptions of their "attack" were provacative, more sensual than destructive. I bet it would be pretty easy to add a scene like this to the campaign. But, be careful. If you do it right, all the players will want to experience the carnal lust that the vampires represent.

The "blood sucking" metaphor for sexual intercourse is powerful in Dracula. I guess it's up to a DM to decide if he or she will go there when running a D&D campaign.

 

[MechaPilot]

Some damn good advice by another favorite poster.

I did overlook the fact that mood and description set the sensual tone of Gothic Horror as much as the themes involved. Thanks! Its something I will actively incorporate during the game.

I've been called a lot of things, but "favorite" is usually not one of them.

Seriously, I'm glad you found my advice helpful. I will add that you need to be judicious about the added description. If you continually lay it on thick, the players may just get bored. Picking your moments is more of an art than a science, and it really is an acquired skill. My general rule of thumb is to play up the sensuality of the atmosphere whenever an important NPC comes into play for the first time (subsequent appearances will depend on pacing of the story and the need to play up the atmosphere), or whenever an important location is visited for the first time. With subsequent visits to important locations, you can often evoke a recall of the atmospheric sensuality described in the first visit by describing just a single thing that you mentioned on the first visit.

As for the Rape Metaphor of Bram Stoker's Dracula being transferred to this adventure and whether or not its called for, I am not opposed to it but I'd rather not have Ireena be passive and easily victimized (as I remember Mina Harker being). I'd prefer her to act as the bad ass that her picture on page 45. While the metaphor is distributing and repulsive, it characterizes The Count to a T and, if Ireena is actively opposing him, gives the PCs some great motivation. The metaphor is doubly disturbing if the PCs have met Gertruda as described above.

What are your guys' thought on these? Keeping in mind all the ideas and metaphors put forth are not overt (as so many posters here mistakenly think), are they enough to add that classic sexual tension found in Bram Stoker's Dracula, or is there another theme that would work better? Is the free love Vistani option too 'on the nose'? Is there a better theme in the Flesh Golem being built in the Abbey, ala Frankenstein?

I don't have the adventure yet, so I can't comment on those questions in an informed manner. Sorry.

 

[S'mon]

Lucy Westenra was passive and easily victimised. Mina Harker shows great fortitude and determination in not giving in to the vampiric curse. The love between Mina and Jonathan ultimately defeats Dracula, the predator.
She was always my favourite character.

 

[5Shilling]

An interesting discussion and I think the OP definitely has a point. Implicit sexuality - or the fear of it - is absolutely a part of the gothic horror. Looking at all the major works from Wuthering Heights to Jekyll & Hyde, they all have undertones of dysfunctional lust and passion. At the same time as the dysfunction though there is often the thrill of forbidden curiosity - watch the excellent The Company of Wolves based on the Angela Carter stories for ways that werewolves can be a powerful metaphor.

I think it is best applied as hints and metaphors rather than straight out, even more so at the game table (where real romance is either goofy or awkward).

Having said all this I think there are several cases already in CoS. they are just not highlighted much. As well as Strahd's various consorts already mentioned, we have Lady Wachter sleeping with her dead husband (if she tries to seduce a Ismark or a PC she could make an excellent female version of Bluebeard!) and we have Izek's "unwholesome" obsession with Ireena.

It might be nice, amongst all that, to have at least one "pure" romance that the players want to see work out (maybe Ismark and Ireena if they discover they are not related?). Of course such a pure romance in Ravenloft will, ultimately, be completely doomed...

 

[Rhenny]

...

And there's a lot of good stuff you can do with decoration and furnishings as well. Play with the ambiance. Softness, warmth, and the right level of lighting can all make a scene more sensual.

Yes! Piano and table legs that are smooth, slightly curved and tapered as they get closer to the ground, like a naked leg. I've read stories of how even the design of such furniture in the Victorian period was suggestive enough so that people used longer table cloths and skirts to hide the legs.

Lots of velvet and lace too.

 

[Rhenny]

An interesting discussion and I think the OP definitely has a point. Implicit sexuality - or the fear of it - is absolutely a part of the gothic horror. Looking at all the major works from Wuthering Heights to Jekyll & Hyde, they all have undertones of dysfunctional lust and passion. At the same time as the dysfunction though there is often the thrill of forbidden curiosity - watch the excellent The Company of Wolves based on the Angela Carter stories for ways that werewolves can be a powerful metaphor.

"Wuthering Heights" by Kate Bush*

Out on the wiley, windy moors
We'd roll and fall in green
You had a temper like my jealousy
Too hot, too greedy
How could you leave me
When I needed to possess you?
I hated you, I loved you, too

Bad dreams in the night
They told me I was going to lose the fight
Leave behind my wuthering, wuthering
Wuthering Heights

Heathcliff, it's me, Cathy
Come home, I'm so cold!
Let me in-a-your window

Heathcliff, it's me, Cathy
Come home, I'm so cold!
Let me in-a-your window

Ooh, it gets dark, it gets lonely
On the other side from you
I pine a lot, I find the lot
Falls through without you
I'm coming back, love
Cruel Heathcliff, my one dream
My only master

Too long I roam in the night
I'm coming back to his side, to put it right
I'm coming home to wuthering, wuthering
Wuthering Heights

Heathcliff, it's me, Cathy
Come home, I'm so cold!
Let me in-a-your window

Heathcliff, it's me, Cathy
Come home, I'm so cold!
Let me in-a-your window

Ooh, let me have it
Let me grab your soul away
Ooh, let me have it
Let me grab your soul away
You know it's me, Cathy!

Heathcliff, it's me, Cathy
Come home, I'm so cold!
Let me in-a-your window

Heathcliff, it's me, Cathy
Come home, I'm so cold!
Let me in-a-your window

Heathcliff, it's me, Cathy
Come home, I'm so cold!

Heathcliff, it's me, Cathy
Come home, I'm so cold!


* It is haunting (just like Emily Bronte's writing)

https://www.youtube.com/watch?v=0s4AfAdaKVs

 

[Jester David]

CoS doesn't give its NPCs any personality?!

It gives them all the major NPCs personality traits, bonds, and flaws. So they're pretty succinctly characterized. The rest get small lines whenever it fits, with some receiving a lot of character and others less so.

At least Paizo like to give their NPCs personalities - and even include romance etc. Guess Paizo
adventures aren't suitable for children, who should only be exposed to violence and horror, never romance.

Pathfinder was initially a legacy game for people who wanted to remain playing 3.5e, and thus it was aimed at experienced (and thus adult) players. And, because they not longer had to follow WotC's conduct rules, I think they went a little farther and dipped a toe into "mature themes". Which is fine for a smaller company.
But this has definitely bit them in the bum a few times as they've become bigger and moved to being the entry point for the hobby. The Pathfinder Society intro module First Steps was criticized repeatedly for it's content and had to be replaced.
Still... they're not the mainstream company and more off to the side. So they can go more risque.

Of course, it's also worth noting that CoS is the first adventure WotC has done in house in like three years and they're still learning how to do adventures again. Paizo walked into Pathfinder with three Adventure Paths under their belt and years of adventure experience.