English

Eerie Second Edition

A storytelling game of rural

horror for 1-4 players

Scott Malthouse
 English
EerieSecond Edition

“It is my belief that an awful lore is

not yet dead.”
- The Red Hand by Arthur Machen
 Writing and layout by Scott Malthouse
Art from the public domain

Creative Commons Licence

This work is licensed under a Creative Commons Attribution-
ShareAlike 4.0 International License.

If you wish to create and sell derivative work using the system,
please credit Scott Malthouse and include ‘Powered by the Eerie
Engine’ in the credits. Trollish Delver Games takes no responsibility
for any legal claims against your product. Text may not be directly
reused.

Powered by the

Eerie Engine
 Contents

The blood in the roots 6

Rural horror 8
What you need 10
The protagonist 12
Setting up the game 14
The story deck 18
Playing the game 20
Storytelling advice 24
Example of play: solo 26
Example of play: group 28
Playing safely 30
Play sheet 32
Scenarios 34
The beast on the moor 36
The lost river 38
Detox 40
A rattle of chains 42
The inn 44
England’s dark veins 46
Restoration 48
Of ancient times 50
Cuckoo 52
Plunge 54
Creating a scenario 57
Further notes on play 59
 The blood in the roots
From the heather-touched North Yorkshire Moors to the
rolling yellow fields of Somerset, England is home to
breathtaking natural beauty. But this ancient land also
harbours a veiled dread beneath the veneer of rural normality
- a haunted spectral landscape whose dark tales have been
offered in the corners of squat Tudor pubs on dreary nights.

The English countryside is haunted. Stand in the quiet of a lonely

wood as the leaves whisper their secrets in your ear and you will
realise that there's something not quite right here. The land is
shaped by stories of gnarled hags who enter villages to steal away
children, phantom coaches heard from the roadside, and black hell
beasts roaming the moors for their next victims. Tall stone
megaliths recall witches dancing on the Sabbath, engaging in
unholy acts and calm pools hiding beings who would seek to drag
wanderers to a dreadful end.

What is English Eerie?

English Eerie takes inspiration from English folklore, along with the
works of writers like M.R. James, Arthur Machen and Algernon
Blackwood to help players tell their own tales of the haunted
English countryside.

The aim of English Eerie is to tell your own tale of rural horror
through entries in your journal - just as many protagonists do in
horror literature. The Story Deck will be the engine that drives
your narrative, presenting scenes for you to flesh out and for your
character to overcome - all of which is recorded in physical journal
entries. As time goes on tension rises and the horror is ramped up
until the climactic end scene.

There are 10 scenarios at the end of this book that offer you an
inspirational framework to build a terrifying tale. You can choose
to play the game in a single sitting or to draw out the experience
over a series of nights. You can even play as a group with friends,
preferably on a night when the moon is full and the wind is
howling.

7
 Rural horror
When we talk about rural horror, we’re talking not only about
ghost stories and folklore set in the countryside, but the horror
inherent in the landscape itself. While many settings work for this
type of macabre genre, there is something about the English
country that makes it perfect for spinning ghoulish tales. There is a
deep, unsettled history in the hills, woodlands and valleys of
England - one of ancient bloodshed, blood-fuelled rites and
malicious machinations. A layer of folklore has enveloped this
spectral landscape, so much so that you cannot go anywhere
without recalling a story about an evil spirit living within a cave or
being told about a phantom or two who haunt the halls of a stately
home (‘to this day you can still hear footsteps on the landing’).

The works of renowned author M.R. James are dripping with tales
of rural terror - often set in manor houses deep within the country,
like A View from a Hill that evokes a land haunted by the accursed
dead. James’ tales were often set in small villages or coastal towns
where some evil is nudged awake by some hapless scholar.
Algernon Blackwood, who was much loved by cosmic horror writer
H.P. Lovecraft, too wrote about the cold, naked country and its
eerie inhabitants. In arguably his greatest work, The Willows,
Blackwood conjures a land that is at odds with humanity - one that
is ancient and where we only trespass. While The Willows is set in
Eastern Europe, the descent into madness the characters face
brought on by their natural surroundings can easily be placed in
England. In fact, the scenario The Lost River in this book is inspired
by this tale. You will also find inspiration in folk horror films like
The Wicker Man, The Blood on Satan’s Claw and A Field in Britain, each
films conjuring a sense of ancient dread in their own ways.

What is presented in English Eerie is a method of immersing

yourself (and your friends if you choose) as one of the characters
from these rural horror stories. Through the system you will craft
your very own tale, respond to the actions of others and unveil
clues that will lead you to the inevitable conclusion.

Like the characters in many a weird tale, yours may not survive, or
they may suffer a fate even worse than death.

8
 What you need
Play sheet
The play sheet is a character sheet and record of your terrifying
tale, allowing you to note down key characters and clues as you go.

Journal
If you are playing alone, you will need something to write in. A
journal or letter paper is perfect for writing your story.

Story deck
The 19-card story deck is the engine in which the game runs. It’s
made up of several types of cards: clues, secondary character
harmed, secondary character obstructs, environment obstructs and
Grey Ladies. As you play the game you will reveal cards from the
story deck to drive the narrative. You can use the official English
Eerie Story Deck or a regular deck of cards.

Spirit & Resolve tokens

Grab two piles of tokens (beads etc) of two different colours. These
are your Spirit and Resolve tokes. Spirit and Resolve takes the
narrative in new directions and determine the ending of the story.

10-sided die
You will need a ten-sided die (d10) in addition to the
aforementioned materials. This will be rolled at certain points in
the narrative to see how your character fares against story
challenges.

Candles (optional)
To add to the spooky atmosphere you may use candles to light your
play space, taking care to clear any fire hazards out of the way
before play.

Scenario
Finally, you will need a scenario to play. Scenarios provide a
structure for your narrative, giving you the general idea about
what’s happening, in addition to clues, obstacles and the tension
table. Scenarios can be found at the end of this book.

10
 The protagonist
In a game of English Eerie you become a protagonist in a tale of
rural horror, attempting to investigate the terrors that surround
you while diving deeper into the mystery. Throughout the
narrative your protagonist will be tested by secondary characters
(good and bad), the environment around them and the evil that
pervades their waking world. Just like in many of these classic
stories, things won’t necessarily end well for your character and
this is just fine. English Eerie isn’t about “winning” the game - it’s
about the story you tell.

To begin play, you must form the protagonist you will embody
when writing in your journal or playing with your friends. If you’re
playing as a group, you will all be telling the story of a single
protagonist. The protagonist will in part be determined by the
scenario you’re playing, as you will be using a different character
for each scenario.

Resolve & spirit

The protagonist has two attributes: Resolve and Spirit. These will
diminish as the story unfolds, helping your character keep their
wits and determining the final outcome of the tale.

Resolve represents the protagonist’s determination to continue

onward and to rationalise the irrational. Resolve is spent to help
your character overcome obstacles in scenes, testing their mettle in
the face of adversity.

• A point of Resolve can be spent before making a roll to gain a

+2 bonus to that roll, or;
• A point of Resolve can be spent after making a roll to gain a +1
bonus to that roll

Players may spend any number of Resolve points, but they

must choose to either spend them before or after rolling - they
can’t do both.

Spirit represents your character's thoughts, feelings and physical

12
well-being. As Spirit is reduced, your character falls into a spiral of
horror, doubt and harm. Ending a story with 0 Spirit does not bode
well for your protagonist, being either sent mad, killed or worse.

Each attribute has a number of points. To determine this, split 10

points between each, with a minimum of 3 in each. I.e. 6 Resolve
and 4 Spirit.

Fleshing out the protagonist

As stated, the scenario should give you an idea of what your
protagonist does as a career. On your play sheet you will find a
place to add details about your protagonist, including their:

• Name
• Occupation
• Short background
• Defining features (three)
• Fears (three)

If you’re playing as a group, go around the table and let each player
come up with a detail about the protagonist (you will be narrating
the tale of a single protagonist, even as a group). Each player
should also come up with a feature or object that defines the
character, such as a camera or long scar, up to three in total.
Similarly, different members of the group should come up with
their fears. Place the play sheet in a place where everyone can see
and refer to it as the story plays out.

For example, you choose to play the scenario The Beast on the
Moor. The scenario states that you are an intellectual in the year
1907, which gives you a steer on who your protagonist could be.
You decide that she is a well-to-do woman, a Classics scholar
from Cambridge called Hettie Lowry. She always wears her
mousy hair in a bun and wears a lot of primary colours. As her
background you decide that she has decided to take a break from
her academic career for a few months after the stress sent her
into a spiral of panic attacks. Her three defining features are her
hawk-headed cane, a crucifix necklace and a revolver (stolen from
her father). Finally, you determine her fears. You decide that she
is scared of blood, bats and loneliness.

13
 Setting up the game
English Eerie uses a deck of cards to help the story unfold. This is
the Story Deck. There are five types of story element card in the
Story Deck.

• Clue: Something that uncovers more about the mystery.

• Secondary Character Obstructs: A character other than the
protagonist hinders the investigation.
• Secondary Character Harmed: A character other than the
protagonist is harmed physically or mentally.
• Environment Obstructs: The protagonist is hindered by the
environment in some way.
• Grey Lady: A special card that increased the Tension of a
narrative.

Story Deck Narrative Track

Play Sheet Spirit & Resolve Tokens

X Card
14
SETTING UP THE STORY DECK
Put the Grey Ladies aside and shuffle all cards together. Split the
deck into three piles - the first two piles containing five cards and
the third containing six. Put a Grey Lady under each pile. Then
combine the piles into your Story Deck, with the largest pile at the
bottom.

STORY DECK WITH REGULAR PLAYING CARDS

You can play the game just as a well with an ordinary deck of
playing cards. Take 3 Queens of any suit - these are the Grey Ladies.
Then take the 4, 5, 6, and 7 of all four suits, and follow the deck set
up process as above. When using a regular deck of cards, each suit
represents a different story element:

• Hearts: Secondary character harmed

• Clubs: Secondary character obstructs
• Diamonds: Environment obstructs
• Spades: Clue

CHOOSE A SCENARIO
There are 10 scenarios in this book to select from. Pick one you
want to play. If you’re in a group a player may have made their own
scenario to play.

JOURNAL
If you are playing solo, you will need a journal to write in, in
addition to a lit candle if you have one. This latter element is for
atmospheric purposes - the game should be played in the dark by
candle or lamplight in the quiet of the night - where shadows dance
on the walls and where your imagination can take you to dark,
unsettling places.

RESOLVE & SPIRIT

Take your Resolve and Spirit tokens and deal out the required
number for your protagonist. For instance, if you had 4 Spirit and 6
Resolve, you would deal out 4 Spirit Cards and 6 Resolve tokens in
front of you. Choose a different colour for Spirit and Resolve.

15
 PREPARE PLAY SHEET
Create your protagonist based on the scenario’s synopsis and fill
out the Play Sheet.

Setting up for group play

If you’re playing with a group, follow the same set up as for solo
play, but ensure that everyone has access to all components.

In Group Play, you don’t need a journal as you will be narrating the
story between you, however you might want to make notes on the
Play Sheet as you go to remind yourself what’s happened in your
take.

Within a group setup, it’s advisable to review the safety tools in

these rules to make sure everyone is comfortable with the stories
you will be telling.

21
April 4 , 19
th
a ve
g I th ou gh t it best to le rs
ornin ds. M
ents of this m nd the groun
After the ev take a constitutional arou ead as I
h
the house and rdling cries echoed in my t was there I
od cu . I
Linley’s blo ugh the dead rose garden The gardener was
ro .
wandered th that I shall never forget who, judging by
g t,
saw somethin e remains of a tabby ca se, had been there
ov er th k co rp
hunched
fl ie s surr ounding its mee stroke the cat and
the cloud of oceeded to I
w h ile. T h e gardener pr s he would in life. Then
for a e, a me a
a soothing ton of the cat ca
speak to it in the dead, rotting mouth made me tremble.
m t
heard it. Fro n unearthly utterance tha me with green eyes.
se , a d glared a t
hateful noi d twisted an ead.
feli n e’ s h ea
T he e d
ald eyes of th
Horrible emer

16
 The Story Deck
The Story Deck is the engine that drives the narrative and pace of
the game. This section details each of the five story element cards,
with examples.

Clue
Clues provide some insight into the
nature of the horror the protagonist
faces. This could be an ancient map at
the back of a book case, or a candle that
is swiftly snuffed out in an empty room.
Clues offer an indication as to what the
horror is, where it can be found and
some of its features.

Environment obstructs
Environment Obstructs cards reflect
the power of the landscape, or
unfortunate occurrences that aren’t
directly brought about by other
characters. This could be a wild boar
on a rampage, or simply a thick fog
descending over the protagonist.
Because this is an obstacle, the Active
Narrator must roll equal to or above
the number of the card on a d10 to
gain a beneficial outcome.

18
 Secondary character harmed
Secondary Character Harmed cards
denote a scene where a character
other than the protagonist has
harmed physically or otherwise.
Scenarios don’t have a list of story
elements for this - players should look
at the list of characters and the
situation to determine how a
secondary character might come to
harm. They could be injured
accidentally or be attacked by a
lurking horror, for example.

Secondary character obstructs

The Secondary Character Obstructs
card is another obstacle that must be
overcome with a roll equal to or above
the number on the card on a d10. In
this scene, another character actively
gets in the way of the protagonist and
their goal. This could be through
violence, psychological coercion or
warning them away from a location.

Grey lady
The Grey Lady card is a turning point
in the story denoting a scene where
the tension rises. When a Grey lady is
drawn, consult the Tension Table to
see an outline of what happens. It’s up
to the Active Narrator to interpret
this in whichever way they choose,
but a Resolve point must be spent or a
Spirit point is lost.

19
 Playing the game
Flow of play
Games of English Eerie follow a similar flow whether you’re
playing alone or with a group. The basic framework of play is as
follows:

• Reveal a story element card from the Story Deck on the

Narrative Track
• Determine how the story element on the card affects the
protagonist
• Make a roll if an obstacle is revealed and spend Resolve
where desired
• Note down the outcome in your journal, or narrate the
outcome aloud to the group
• Reveal the next card on the Narrative Track

If you’re playing in a group, determine the first player to be the

Active Narrator. The Active Narrator reveals the card, makes any
rolls, determines the outcome of the scene, makes rolls to
overcome obstacles and determines how Resolve is spent. Other
players are encouraged to help out the Active Narrator by making
suggestions, but the Active Narrator always has final say. While
playing solo, obviously the sole player is always the Active
Narrator.

When it’s time to move on and reveal the next card, the player to
the left of the current Active Narrator becomes the new Active
Narrator. Pass a token around to remember which player is the
Active Narrator.

Revealing scenes and storytelling

English Eerie is played by revealing cards, which correspond to
scenes in your story.

Start the game by revealing the top card of the Story Deck and
putting it at the side of the deck in the play area. This is the first
scene and it starts the Narrative Track. The image on the card will
determine the type of scene your protagonist will be part of. Look

20
at the scenario you’re playing and read the list of story elements
that relates to the card you’ve chosen. You can use any of these
elements to help you create a narrative, but if inspiration strikes
you’re free to invent your own. If the scene involves an obstacle,
you will need to attempt to overcome it (see Overcoming Obstacles
below).

Once you have decided on what happens in the scene and

overcome any obstacles, write this down in your journal if you’re
playing solo, or narrate the outcome if you’re in a group. Then
reveal the next card and place it next to the previous card on the
Narrative Track. The new scene should relate in some way to the
last - it shouldn’t be a random scene.

OVERCOMING OBSTACLES
Some story elements in the scenario are known as obstacles. As can
be inferred, these are story elements that get in the way of the
protagonist, stopping them from achieving their goals. There are
two types of obstacles: secondary character obstructs and
environment obstructs. Each of these cards has a number on it.
When revealed, the protagonist must attempt to overcome the
obstacle standing in their way. To do this, the Active Narrator rolls
a d10. If the result is equal to or higher than the number on the
card, the protagonist has successfully overcome the obstacle. If the
result is lower, they are hindered in some way and must lose 1
Spirit. A hindrance is does not mean a complete halt to the
narrative - rather, it presents a new problem for the protagonist.
The player may spend a point of Resolve as detailed in the previous
chapter to help overcome an obstacle. If you’re playing in a group,
the Active Narrator has the final say in spending points.

DUPLICATE CARDS
Sometimes chance will have it that you will reveal two of the same
card in a row. This is usually fine, but the Active Narrator can
choose to hold the duplicate card and draw a new card for the
Narrative Track. On the next turn the held card should be played.

TIME
Every two cards revealed counts as a day in your journal. The only
time this isn’t the case is when the final Grey Lady is revealed. The
last Grey Lady represents an entire day in your journal. If you
are playing solo, it is recommended that you play the game over a
series of real nights, giving you chance to ruminate over the story
and come up with new ideas throughout the day. This also adds to
the immersion of the game.

21
 REVEALING A GREY LADY
Grey Ladies represent a notable event in the story and an increase
in tension. When a Grey Lady is revealed, read the Tension table in
the scenario to determine the event that occurs - starting with the
first event and moving to the second when the next Grey lady is
revealed and so on. This is usually left fairly ambiguous so you can
be as creative as possible when telling your story. To simulate the
creeping increase in horror, when a Grey Lady is revealed, the
Active Narrator must either spend a Resolve point or lose one
Spirit. If you cannot lose any more Spirit points, you still remain at
0 Spirit and must spend a Resolve if you have any remaining.

INCREASING TENSION
As the narrative moves along, the tension of the story will rise to
simulate the protagonist falling deeper and deeper into a realm of
terror and things becoming ever more hopeless for them. In the
game this is known as increasing tension. For every Grey Lady on
the Narrative Track, add 1 to the target number of any
obstacle. So a scene with a card number of 6 would increase to 8 if
there were two Grey Ladies on the Narrative Track already. Because
of this, failure is more common as the story progresses.

Ending the scenario

Every horror story must come to an end and rarely does this
happen happily. Once the final Grey Lady is revealed and the scene
resolved, count up your remaining Spirit points and refer to the
Spirit Table in the scenario. This will tell you how you can wrap up
the tale. Generally, if you have Spirit left, you will be presented
with a more positive ending, but if you have 0 Spirit you will be
doomed. There is no ‘bad ending’ - just the ending there needs to
be for your story. Feel free to change the ending based on your tale
- the Spirit Table is only a suggestion.

June 20th, 1945

I fear my road ends here.

They’re out there baying for
smashing the door. I can sm blood,
ell the acrid smoke of flesh
somewhere down the hall. burning
I’ve got no more fight left
forgive me. Forgive me. in me. God,

22
 Storytelling advice
Using the play sheet
There’s a very good reason for fleshing out your protagonist before
playing. All of those facets written on the Play Sheet should be
mined for inspiration during play, making it easier to understand
how your protagonist may react in a given situation and allowing
you to keep a consistent character throughout your tale.

BRINGING FEARS INTO PLAY

Good horror stories are often about the fear of the unknown.
Whether it’s the wendigo of Blackwood’s titular story or the little
people that Machen wrote about. Your protagonist is created with
three fears. These can be anything - a phobia of spiders, a fear of
the dark or being terrified of being alone. During play you can mine
these fears to bring your protagonist further into the story. You
can easily invent obstacles that directly relate to these fears, so if
your protagonist was deathly afraid of snakes and the Active
Narrator pulled an Environment Obstructs card, you may forego
choosing one of the environmental obstacles listed to have your
character fall into a nest of adders. You don’t have to use all of your
fears in a game - having three allows you to consider your options.
It should be noted that by using fears, the game does not seek to
minimise people with these fears. Overcoming these during play
with a good roll or savvy spend of Resolve can make for excellent
character building.

Example fears to help get you started:

• Agoraphobia • Loneliness
• Bacteria • Night
• Bats • Rain
• Blood • Snakes
• Claustrophobia • Strangers
• Darkness • Sun
• Death • Technology
• Dogs • Thunder
• Fire • Touch
• Heights • Trees
• Illness • Water

24
UTILISING DEFINING FEATURES
In English Eerie defining features can be anything that sets the
protagonist apart. This could be something as inane as ‘always
wears red’ to ‘carries around their mother’s ashes’. Each feature
tells you a little something about your protagonist. If they’re
carrying around their mother’s ashes could they be harbouring
guilt? Could they have issues letting go? You can ask yourself these
kinds of questions during play to build out a scene and how they
may react to a given situation. Defining features with emotional
weight can often be more interesting that a utilitarian object, like a
revolver. If you do want your protagonist to have a useful object,
think about the emotion behind it. Perhaps it’s an antique revolver
passed down from your father, or maybe it’s the gun that you used
to put down your own ailing dog.

Then again, a defining feature could give a good excuse for your
protagonist to get into trouble. Perhaps they’re terribly clumsy or
they’re a habitual liar. Consider features that grow narrative fruit
ripe for the picking during play.

Narration tips
DRAWING A BLANK
All the best storytellers have writer’s block every now and again,
and sometimes you just can’t think of a good idea, even with the
prompts you’re given. If you’re playing alone the solution is fairly
simple. Take a break and come back to it - your journal will always
be there when you need it. If you find yourself stumped in a group,
then it’s easier still, since you can ask everyone else for their ideas.
Don’t think that as the Active Narrator you need to come up with a
pitch perfect narration for a scene - build one with the rest of the
group. This is one of the joys of playing with others - it’s likely they
will have ideas you would have never considered.

CONSIDER THE ERA OF PLAY

Scenarios in English Eerie are set in different periods,
demonstrating that the terror in the roots of the English landscape
is far older than us humans can conceive. You don’t need to be a
historian to play, but consider the time the scenario is set. What
might be the common fears of the time? What are the technological
limitations? By all means, remove any unsavoury parts of history
that you don’t want to explore if you wish. But considering the
time the scenario is set can help enhance immersion even more.

25
 Example of play: solo
You are playing the scenario the Beast on the Moor. You decide to
start with 3 Resolve and 7 Spirit. After sorting out the Story Deck
and creating your protagonist, you light your candle and turn over
the first card, which is a scene where a secondary character is
harmed in some way. As this isn’t an obstacle, you don’t have to roll
so you begin writing in your journal. Looking at the scenario, you
select Lord Cunningham, who you are visiting to soothe his mind as
his has been raving of queer things recently.

I arrived at Cunningham Manor on Tuesday, a great early 19th

century building of pristine whiteness. The gardens are immaculate, the
roses coming through beautifully at this time of year. Knocking on the
door, I was greeted by a kindly lady I knew to be Mrs Bristle, one
of Christopher’s servants. As I was welcomed inside the grand
building there was a scream from the above floors. I bolted upstairs
to the location of the sound, finding Christopher on the floor, his back
against the wall, looking feverishly out of the window. “I saw it,”
said he. “I saw the beast.”

After writing this, you turn over the next card - an environmental
obstacle with a 6. You consult the obstacles in the scenario and
select ‘a thick fog blocks all vision’. Of course, you could have come
up with your own obstacle, but decided on using the scenario for
help. Because it’s an obstacle, you must roll a d10 and try to get 6 or
more. You decide against using Resolve, as you don’t have much,
and roll a five. You have failed, losing 1 Spirit.

Seeing my friend on the floor, a pathetic mess, I walked to the

window where he was pointing a shaking finger. To my
astonishment and, quite frankly, dread, a thick mist had begun to roll
over the moors. Not five minutes ago had I been out in the sunshine
admiring the garden, but now I could see nothing past the pane. The
fog would not lift for several hours and by that time any trace of
what Christopher had possibly seen had disappeared.

26
So ends your first day. The next day you come back to your journal
and turn over the next card, which is a clue scene. You choose
‘claw marks’.

Breakfast in the morning was pleasant - bacon, sausages and egg - a

perfect start to the day. I must admit that my dreams were plagued
with strange sights and sounds - curse that dreaded fog last night
and my friend’s ravings. He seems much better today and he told me
that we could go out walking. After we had eaten I slung on my
boots and put on my cap before leaving. As I left, I turned and
noticed a series of large gouges in the main door - they almost seemed
to be claw marks, as if from a large cat. I did not point this out
to Christopher as I knew it would send him running up to his room
again, but it preyed on my mind.

Now we can see the story taking shape. You reveal the last card of
the day - a Grey Lady. Consulting the Tension Table, you see that
you’re going to witness the eyes of the beast across the moor.
Because it’s a Grey Lady, you must spend a Resolve or lose a Spirit.
You decide to spend the Resolve.

We walked for much of the day, taking in the rolling hills, the sun
shining happily upon us. Evening quickly came and I noticed that
Christopher was becoming concerned, so I suggested we head back to the
manor and fix up some tea. Just then, out of the dark of the copse of trees
to the east I witnessed two bright objects like burning coals staring right
at me, into my soul. Suddenly a black mass moved in the darkness of the
trees and was at once gone. I put the phenomena down to a trick of the
light and perhaps a fox hunting its next meal. I admit that the vision
shook me, but I paid it little attention as I walked back to the manor.

The story continues from there, with the player revealing new
cards and using the obstacles and characters in the scenario to
build up a terrifying tale.

27
 Example of play: group
You are playing the scenario the Beast on the Moor with a group.
After running through the safety tools and creating a protagonist,
you become the Active Narrator. You read out the synopsis to the
rest of the group and put the scenario were everyone can see. The
first card you pull is an Environment Obstructs (6), which you place
on the Narrative Track. Checking the story elements you tell the
group you’d like to choose ‘the trees appear to whisper to you’. The
others agree, and because it’s an obstacle you roll a d10 beating the
6. You narrate aloud:

On my first morning at the manor I decided to go for a walk

through the nearby woods, knowing there were several fungi species
native to the area that I would like to sample. After half an hour
traipsing through the mud a strange thing occurred. I could have
sworn I’d heard voices in the trees, like whispers from the leaves. I
checked and there was nobody around so I put it down to the breeze
rustling the hawthorns. Sometimes my imagination can get the better of
me.

You pass the turn over to the player on your left, who pulls a
Secondary Character Harmed card for the afternoon scene. They
have a bit of trouble coming up with an idea so ask the others what
they think. Someone else looks at the list of characters and
suggests that Mr Douglas, the butler, returns from his errands with
a great gash on his hand. The Active Narrator agrees and says:

The front door burst open and the butler came lumbering in, clutching
his arm. While he seemed to be hiding it, I noticed blood on his shirt
and caught a glimpse of a wound on his hand. He shuffled to the
kitchen quickly without as much as a moan. What could he have
done to injure himself like this?

28
The next day dawns and the next Active Narrator draws a
Secondary Character Harmed card. They decide to hold this
because it’s a duplicate and draw a new card - Secondary Character
Obstructs (7). They choose ‘A character is apparently driven to
lunacy’. They decide that the protagonist tries to speak to Mr
Douglas about his injury, but the butler has lost his mind. They roll
a 6 and spend a Resolve point to overcome the obstacle.

The next morning I was eager to see how Mr Douglas was after
his ordeal. He had kept to himself the previous night and I noticed
he had yet to leave his rooms. After knocking on his door to no reply
I opened it gingerly. Inside I found the butler chattering to himself
on the floor, his knees up to his chin. I rushed in and calmly spoke
to him. His eyes were wide and fraught - I could not understand
what had happened to him, but after a while he seemed to become
at ease with me. Perhaps later I could get some information.

The next Active Narrator plays the held Secondary Character

Harmed card for the afternoon scene. They immediately know
what they want to happen.

I was taking lunch when I heard a bang and a scurry of feet

down the stairs. The door flung open and there, panting, was Mrs
Bristle who was in quite a state. I inquired as to what was the
matter and she told me that Mr Douglas had began raving and had
struck her in the side before leaving the manor hastily. I quickly ran
to the window to see the butler limping away into the woods. I
told Mrs Bristle I would go and investigate.

29
 Playing safely
English Eerie is a game of creeping dread and outright terror. When
you’re playing alone it’s easy to decide where your limits are, but if
you play in a group some players may have different ideas about
what is acceptable in horror than you. This section discusses how
to best play safely so that everyone can enjoy the game.

DISCUSSING BOUNDARIES
It’s a good idea to start any group game by discussing candidly
what kind of subjects are off the table. As a rule, English Eerie
doesn’t recommend anything involving sexual violence or violence
done in a gratuitous nature. Certain players might have phobias
that others need to be aware of, or triggers based on real
experiences. These boundaries should be noted down beforehand.

THE X CARD
Either use the card marked X in the English Eerie deck, or grab a
piece of paper and draw an X on it, placing it within reach of
everyone in the play area. This is the X Card, a useful tool originally
created by John Stavropoulos for flagging if anything in a scene is
upsetting to a player. If a scene crosses any of the previously
discussed boundaries, or a player is uncomfortable about a scene,
they can pick up the X Card and show the group, or simply give it a
tap. You don’t have to give any explanation as to why you’ve used
the X Card. The Active Narrator should edit the scene that has been
‘X Carded’ and the players can discuss how else the scene could
play out. You can find out more about how to use the X Card here:
http://tinyurl.com/x-card-rpg

Ensure that at the start of any game you explain the X Card and
how it’s used. Of course, you’re not forced to use it in your games,
but it is highly recommended, particularly when dealing with
horror themes.

DEBRIEFING
After the story has ended, it’s a good idea to check on everyone to
make sure they are okay. Some people may have been too nervous
to make their concerns heard and may not have used the X Card
when they would have liked. You can even do this during the game
after a particularly horrific scene. Take a break and grab a drink -
let the group decompress before diving back in.

30
 PLAY SHEET

Spirit Resolve

Name
Occupation
Background

Fears Defining features

1. 1.

2. 2.

3. 3.

English
Eerie
Second Edition
Scenario notes
 Scenarios
Each scenario is split into sections called story elements. The first
story element the Active Narrator should read is the synopsis,
which outlines the situation the protagonist finds themselves in,
showing where the tale takes place and the era it’s set. Do not read
the Tension Table or Spirit Tables before you’re supposed to (the
former being when a Grey Lady is drawn and the latter being when
the story reaches its conclusion).

LOCATIONS
This section lists possible places where scenes can be set. The list
isn’t exhaustive and you should feel free to invent your own
locations, but if you’re stuck for a setting check the Locations
section.

SECONDARY CHARACTERS
This is a list of other characters that form the narrative, along with
a brief description of their personalities. Whenever a Secondary
Character Harmed or Secondary Character Obstructs, use this list to
choose which would be logical for that scene.

CLUES
This is a list of clues to choose from when a Clue scene is revealed.

ENVIRONMENTAL OBSTACLES
When an Environment Obstructs card is drawn, consult this list to
see how the scene might play out.

SECONDARY CHARACTER OBSTACLES

When a Secondary Character Obstructs card is drawn, consult this
list to see how the scene might play out.

TENSION TABLE
The table is listed in order from 1-3. When a Grey Lady is drawn,
consult the number corresponding with the number of Grey Ladies
now on the Narrative Track.

SPIRIT TABLE
Once the final Grey Lady scene has resolved, refer to the Spirit
Table based on the amount of Spirit your protagonist has
remaining. Only look at this at the end of your tale.

35
 The beast on the moor
The date is 1907. You take on the role of an antiquarian visiting a
friend in an old manor house in Derbyshire. Your friend, Lord
Christopher Cunningham, is ailing of late and his mind is
deteriorating. He raves much about sounds on the moors, strange
lights and a shape that he swears he has seen cross his window on a
few occasions. You have decided to stay for a week to look after
Christopher and help soothe his mind.

LOCATIONS
• Manor: kitchen, library, chambers, cellar, stables
• Old well
• Woodland
• Moorland

SECONDARY CHARACTERS
• Lord Cunningham, a solitary noble who lives alone, save for a
few servants, in his Derbyshire manor. He is potentially
becoming a danger to himself with all these tales of strange
goings on.
• Mrs Bristle, a middle-aged plump serving woman who dotes
on Christopher. She is worried about his state of mind and
often sits with him while he sleeps.
• Mr Douglas, a butler who looks like he’s built for a fight. He
doesn’t seem to care much for his lord, and puts in the least
effort. He is in love with Ms Enfield.
• Ms Enfield, a serving girl of twenty years old. She is a
superstitious type and encourages Christopher when he spouts
his lunacy about odd sounds and shapes in the night. Mrs
Bristle isn’t fond of her ways and believes she’s got ‘the devil in
her’.

CLUES
• A scratch mark on the outside door
• A bizarre howl coming from the moor
• An ancient text that is unreadable
• An old newspaper clipping about lights above Golden Wood
• A savaged cow on the field

36
ENVIRONMENTAL OBSTACLES
• A thick fog blocks all vision
• A slippery stream blocks your way
• The trees appear to whisper to you
• An animal trap on the ground
• The trapdoor is jammed

SECONDARY CHARACTER OBSTACLES

• A character assaults you with a weapon
• A character blocks your way out
• A character attempts to talk you out of going somewhere
• A character leaves you lost in the wilderness
• A character has apparently been driven to lunacy

TENSION TABLE
1. You witness the fiery eyes of a being in the dark on the moors
dart across the landscape
2. Lord Cunningham is nowhere to be found. They say he went
out into the wood
3. A black beast with saucer eyes confronts you in the dark

SPIRIT TABLE
If you have 1 or more Spirit remaining: You have lived to tell the
tale of the beast on the moor and all your faculties are in check.
You may have found a method of ridding the world of this foul
beast, and perhaps one day you return to do just that.

If you have 0 Spirit remaining: Your last entry details your

thoughts after fleeing the beast on the moor. You are raving, your
world has been turned upside down. You are convinced that
someone in the manor or in the area is responsible for this beast.
You will find them and put an end to them.

37
 The lost river
The date is 1921. You take on the role of an explorer and
adventurer who has decided to go with three friends on a boating
holiday down the River Eden in Cumbria. The plan is to take a
canoe from the river’s source in Mallerstang and sail down to
Carlisle, covering around 90 miles in distance. Despite the first few
days being pleasant, with little in the way of weather trouble, on
the fourth day a mist descends and the world suddenly becomes
rather hostile.

On the fifth day you find that the environment isn’t how you had
expected it. The land around you is barren and bleak, with not a
soul to be seen. You take camp nearby and in the morning find
your canoes destroyed. It will be several days before they can be
repaired, so you will have to wait it out in this eerie landscape.

LOCATIONS
• River bank
• Inside tent
• Campsite
• Tree copse

SECONDARY CHARACTERS
• Mary Jones, a feisty independent lady with a taste for
adventure. She has accompanied you on many an expedition,
and while you are fond of her you have found that she can be
unpredictable.
• Geoffrey Rose, a long-time friend and ally from the war. You
have both seen atrocious things and are both still coming to
terms with the horrors of the trenches. You get the feeling it
has affected Geoffrey more than it has you.
• Ivy Prairie, an American who moved to the Lake District after
the war. She is an unknown quantity in the group, having been
introduced as Mary’s friend (although there is seemingly more
going on with the way they look at each other).

CLUES
• The sound of rain outside, despite it being dry

38
• A ring of dead crows
• The sound of distant piping in the air
• The stars don’t look right - it’s the wrong hemisphere
• A large rip is found in the side of the tent

ENVIRONMENTAL OBSTACLES
• A heavy rain falls, causing you to take shelter
• You walk into a bog, beginning to sink
• Crows descend and peck at you
• You feel pulled towards the river
• Your supplies have rotted away

SECONDARY CHARACTER OBSTACLES

• A character refuses to come out of the tent
• A character leaves in the dark
• A character pins you to the ground
• A character points a revolver at their head
• A character tries to talk you into staying here

TENSION TABLE
1. In the morning, three strange symbols are etched into the mud
outside your tents.
2. One character throws themselves into the river as a sacrifice.
3. Three impossibly tall, dark beings are seen at the other side of
the river.

SPIRIT TABLE
If you have 1 or more Spirit remaining: You manage to create a
raft from driftwood, and although it is rudimentary, you are able to
sail down the river. After a day of floating, you fall asleep. You
awake on an embankment in Carlisle, helped up by a local farmer.

If you have 0 Spirit remaining: Your last entry details the beings
that you have seen. They are the watchers of this dark world. You
realise that you are no longer in England, but in some kind of
pocket where these ancient beings exist. There is no hope for you.
You must make yourself a sacrifice.

39
 Detox
The date is 2017. You are reluctantly joining a friend on a trip to a
digital detox camp in order to go back to nature and leave any tech
at home. The camp is situated in the Yorkshire Dales in the
springtime in the middle of nowhere. After arriving at the camp
you are greeted by the charismatic George, who presents himself as
a self-styled spiritual guru. While he seems quite eccentric, he is
harmless enough. Or so you think.

LOCATIONS
• Food cabin
• Sleeping cabins
• Woodland
• Woodshed
• Lake

SECONDARY CHARACTERS
• Gemma Watson, a lifelong friend who has recently found her
spiritual side. She is quite naive and has gone along with fads
as long as you have known her.
• George, you don’t know his surname, or if he has one, but he
has a winning smile and a gentle demeanour. He is warm,
welcoming and clearly loves his work. However, there’s
something about him that just doesn’t sit right.
• Brianna Gable, George’s protege who obviously idolises him.
However, he seems jealous of anyone talking to him.
• Zack Salt, a thirty-something punk with a foul mouth. He has a
tough outer shell, but wants to improve his life. He often
spends time on his own.

CLUES
• A book called The Bringing of Rains written in what appears to
be code
• A machete
• A scream from the nearby wood
• A buried femur
• A bag of dried mushrooms

40
ENVIRONMENTAL OBSTACLES
• A deep dug out pit
• A heavy downpour
• A mad ram attempts to gore you
• A falling branch from above
• Poisoned food

SECONDARY CHARACTER OBSTACLES

• A character confronts you about “looking at George like that”
• A character strikes you with the blunt of a hatchet
• A character steals something from you
• A character breaks down into a sobbing fit
• A character attempts to kill another character

TENSION TABLE
1. A human skull is found in the wood
2. Someone saw George wandering into the woods last night with
a machete
3. You confront a large wicker effigy. Campers are being forced
inside. There is a smell of smoke in the air

SPIRIT TABLE
If you have 1 or more Spirit remaining: You escape from the cult
and end up in a sleepy village. After battering on a door you are
brought inside by an elderly couple where you recount your tale. In
the morning you get the train home, a nervous wreck. You will no
longer trust anyone.

If you have 0 Spirit remaining: Your last entry tells of how you
managed to scramble away from the effigy, recounting seeing
campers being burned alive within the wicker shell. After you
write, you fall asleep and wake up with a shadow looming over you,
machete in hand. “You will join us” says the figure.

41
 A rattle of chains
The date is 1878. You have received news that your dear uncle has
passed away. With this sombre news comes a silver lining - he has
bequeathed you his estate in Derbyshire in his will. Living in the
middle of London, you have longed to leave the city life for the
serenity of the country, so within the next month you have packed
and left for Derbyshire to start your new life. While your small
London residence was fine for a single person, you find yourself
alone in a vast eight bedroom manor house. However, soon you
find that you’re less alone than you think.

LOCATIONS
• Chambers
• Library
• Study
• Coal shed
• Kitchen
• Rose garden
• Cellar

SECONDARY CHARACTERS
• Wilfred Batley, your driver who lives in the village down the
hill. He is soft-spoken and religious.
• Emma Trotter, a kindly baker from the village who delivers
your bread in the morning. She may know more about the
history of the manor than she lets on.
• Mary Tallow, your newly-hired cook. She is young, naive and
not the smartest tool in the box.
• The Chained Spirit, a ghostly presence who can be heard
shaking chains in the dead of night.

CLUES
• Footsteps running through the halls in the night
• A fireplace lights itself
• A map of under the manor is found
• A threat appears in blood on the walls
• Translucent slime is found on the cellar door handle

42
ENVIRONMENTAL OBSTACLES
• A wine bottle flies out in your direction
• The walls drip blood, covering all exits
• The fireplace erupts into a blaze
• The floorboards give way
• The door is suddenly locked from the outside

SECONDARY CHARACTER OBSTACLES

• A character won’t stop crying
• A character locks you in the cellar
• A character pleads you not to go outside
• A character sustains severe injuries
• A character threatens to burn everything

TENSION TABLE
1. There is a scratching at your chamber door
2. You witness an apparition of a woman hanging from a branch
of the oak outside a window
3. You discover an ancient tomb under the foundations. There is
something down there waiting for you - and it wants blood.

SPIRIT TABLE
If you have 1 or more Spirit remaining: You scramble out of the
tomb and into the fresh air. The manor begins to crumble and in a
flash it implodes, leaving nothing but a patch on the ground.

Several months later you are back in London, living in a small flat.
Every now and again you swear you see something standing over
your bed, watching you sleep.

If you have 0 Spirit remaining: You awaken in a white, padded

cell. A kindly nurse peers down at you and smiles. “It’s time for
your walk,” she says with caramel tones. You find yourself nodding
and hobbling alongside her. “Don’t leave me in the dark again,” you
say weakly, “It awaits me in the darkness.”

43
 The inn
The date is 1968. It’s late autumn in the Cotswolds, a vast area of
countryside near Bristol and Oxford. You and your business
associate Rebecca Theckey are travelling to the picturesque village
of Bibury in search of property development opportunities in the
area. You are staying in the Faversham Inn, a quaint cosy bed and
breakfast run by an elderly couple called Marjorie and Arthur
Taylor. You are to stay in the village for two weeks in order to
secure a much-needed contract for your business, otherwise you
will fall into liquidation.

After a couple of nights in the Faversham, you and Rebecca begin to

hear strange noises in the dead of the night - soft thumps and
groans, seemingly happening somewhere in the inn. There is
something not quite right here.

LOCATIONS
• Room 8
• Bar
• Local shop
• Your room
• Barn

SECONDARY CHARACTERS
• Rebecca Thackey, your business associate and long-time
friend. She is sarcastic, acerbic and you suspect she has a
problem with drugs.
• Arthur Taylor, the soft-spoken co-owner of the Faversham. He
often carries a picture of his son, who died in the war.
• Marjorie Taylor, the other co-owner of the inn. Marjorie is
cold, distant and doesn’t enjoy talking to others.
• Emma Busby, an accountant who came to the Faversham to
get away from her husband. She is often seen with a tall man
with a wide-brimmed hat.

CLUES
• The room is unnaturally cold
• An occult symbol is hidden behind a painting

44
• The sound of running on the landing
• A distant moan, coming from below
• Arthur has a tattoo of a strange symbol on his wrist

ENVIRONMENTAL OBSTACLES
• Unseasonal snow blocks you in
• You slip on blood
• A door is sealed shut
• Something is chanting - it’s mesmerising
• A blackout occurs

SECONDARY CHARACTER OBSTACLES

• A character prevents you from going somewhere
• A character keeps you from seeing something
• A character becomes disorderly
• A character is inconsolable
• A character threatens another character

TENSION TABLE
1. Another character talks about hearing terrible chants from the
cellar
2. Rebecca goes missing
3. You discover one or both of the co-owners feeding something
resembling their son in the cellar

SPIRIT TABLE
If you have 1 or more Spirit remaining: You escape, despite
being harmed. You drive - not in a particular direction - you just
drive into the night and don’t look back.

If you have 0 Spirit remaining: You pass out after witnessing this
being and the hosts’ involvement in these horrific activities. You
awaken on a table, a grotesque thing glaring down at you. You
cannot move, you cannot speak. There is no final entry. You are
devoured.

45
 England’s dark veins
The date is 1931. You have decided to Summer in the Kentish
countryside where you’re renting out a cottage that once belonged
to an archaeologist friend who has since passed. You’re bringing
along your friend Gillian Moore, a philanthropist, and her adult son
Basil, a student.

You’re struck by the strange documents laying around the cottage

containing scrawl and drawings about ‘little people in the hills’.
After two weeks in the cottage you’re subject to stranger and
stranger sights. You’re eager to find out more about what your
friend was researching.

LOCATIONS
• The cottage
• The Tavish household
• The hills
• A shallow cave
• Local museum
• Library

SECONDARY CHARACTERS
• Gillian Moore, a friend from childhood and colleague. Gillian
has a severe case of nerves, which has grown worse in the
cottage.
• Basil Moore, Gillian’s brilliant, but lazy, student son. He’s been
dabbling in astrology lately, much to his mother’s chagrin.
• Arnold Tavish, the caretaker of the cottage. He lives just a
mile away and always seems delighted to see you. When drunk
he talks at length about the ‘hill people’ and their awful grins.
• Ivy Tavish. Arnold’s long-suffering wife.

CLUES
• A slab of granite etched with an unknown language
• An ordnance survey map with three local hills marked
• A small, jagged tooth
• A scrabbling beneath the floorboards
• A mauled cocker spaniel in the hills

46
ENVIRONMENTAL OBSTACLES
• A cave-in
• Darkness falls far too soon
• A door is locked
• Something is chanting - it’s mesmerising
• A wild gale blows

SECONDARY CHARACTER OBSTACLES

• A character tries to put you off the trail
• A character is drunk and abusive
• A character has a screaming fit
• A character conspires against you
• A character traps you in a dark place

TENSION TABLE
1. A cave is discovered, its walls scrawled with markings
2. A squat, humanoid is seen in the hills
3. The lair of the little people is discovered, and they’re hungry

SPIRIT TABLE
If you have 1 or more Spirit remaining: You barely escape with
your life as you’re pursued by gnashing teeth. Some of the others
probably weren’t so lucky. On the one hand, this discovery could
make you famous. But on the other, you can’t stand to even think
about the evil that lurks in the hills of England, digging their
channels deep into its bare heart.

If you have 0 Spirit remaining: Surrounded, you fight for your life
against rows of gnashing teeth. If anyone is with you, they don’t
stand a chance. To think, an ancient lineage of human-like beings
living in the veins of the country, hidden for aeons. And remain
they will as you slip, breaking your leg. They swarm over you,
clawing at your flesh. This is how it ends.

47
 Renovation
The date is 2020. You and your partner have quit the rat race to
follow your dream of owning a house in the country. You’ve moved
into a temporary home on the renovation site of an old estate
dating back to the 1700s, which was barely habitable until you
poured your savings into fixing it up.

A month into renovations strange things begin to happen. A

builder goes missing without a trace. Odd sounds can be heard
echoing in the walls. The architect is behaving erratically. You’ve
put your life into this so are determined to see it through, no
matter what.

LOCATIONS
• Estate: east wing, west wing, chambers, kitchens, wine cellar,
library, gardens
• Horse shed
• Your temporary home
• Lisa’s office
• Statue garden

SECONDARY CHARACTERS
• Sam Roberts: Your partner and love of your life. They packed
in their hedge fund management job to live out a dream In the
country. They’ve recently been complaining about terrible
dreams.
• Derek Moss: A high flying architect with a drink problem.
Despite being a fairly relaxed chap, recently his behaviour has
been off.
• Lisa Henry: The forewoman on the project. Despite being
married, she has eyes for Derek.
• Bob Chapel: One of the builders. His best friend, another
builder on the project, has gone missing and he wants answers.
• Dawn Locket: A TV producer who is in talks with you to create
a show documenting the renovation. She’s staying near the
grounds for a month. Her job is on the line after a number of
screw ups.

48
CLUES
• A false wall disguising a hidden chamber
• Voices inside the walls
• The blueprints have been scrawled on in blood
• The dimensions of a room aren’t what they should be
• Goetic scrawlings and words of demonic summoning

ENVIRONMENTAL OBSTACLES
• The floor spontaneously ignites
• An overpowering stench of brimstone
• Electrical cables go haywire
• The ceiling collapses
• A carpet of rats

SECONDARY CHARACTER OBSTACLES

• A character puts themselves in imminent danger
• A character tries to force feed you something grotesque
• A character is inconsolable
• A character delves into demonic magic
• A character transforms into a beast

TENSION TABLE
1. A magical tome is discovered bound in human skin
2. A half-man, half-goat is seen in the building
3. A demon brings about hell on Earth

SPIRIT TABLE
If you have 1 or more Spirit remaining: The beasts of the pit
have claimed the house for their own. With all your wits and
resolve you avoid a hellish fate, either harnessing magic to seal
away the devils or simply by getting out. Years after the ordeal you
can’t count the number of priests you’ve seen, but none of them
can console you. Hell, very few believe your story at all.

If you have 0 Spirit remaining: A doorway to hell has opened and

the denizens of the pit crawl forth. All humans in the vicinity have
either been transformed into hell beasts through magic, or have
had their souls dragged to hell. You face down a guardian of hell
itself and know this is where you story ends. If only it were that
simple. You feel your soul leave your body as you plunge into the
inferno.

49
 Of ancient times
The date is 2098. England is a sprawling sheet of steel, it's hills and
valleys but a glimpse in a textbook. Within the megacity, biomes
have been set up that capture parts of what was the English
countryside, places only the wealthiest members of society go for a
break.

You have won a competition with four others to visit the Whitby
biome. The weather is regulated by a computer and several hard
light holograms are around to cater for your needs. All competition
winners are staying in a manor house near woodland, overlooking
a coast complete with simulated waves crashing on the rocks.

But soon you find that there’s something even older than the soil
lurking here. And it’s awakening.

LOCATIONS
• Manor: Chambers, drawing room, chancel, gardens, kitchen,
library, sitting room
• Woodland
• Temple ruins
• Standing stones

SECONDARY CHARACTERS
• Vey Wexler: A hacker who rigged the competition to win. He
doesn't really want to return to normality.
• Arfan Olen: A socialite, gambler and daredevil. He used to race
speedcars before his legs were torn off and replaced with
mechanical ones.
• Doris Hitch: A teacher from the scum levels. Interested in old
pagan gods. Distrusts Vey.
• Alana O'Nine: A retired detective with a bionic eye that sees
heat. She is mourning her recently deceased wife.
• Tulip: A hard light hologram servant. Her programming
restricts her from harming others.

CLUES
• A ruined temple in the forest

50
• A large ivory horn
• A bloody handprint
• A looping hard light hologram chanting an ancient name.
• An old map of the forest marked with an X.

ENVIRONMENTAL OBSTACLES
• All communications fail
• Laser beams sear flesh
• Thick fog that whispers your name
• A swarm of flies erupts from the ground
• A crude animal trap ensnares you

SECONDARY CHARACTER OBSTACLES

• A character holds another hostage
• A character sneaks into your room
• A character threatens someone with a knife
• A character sabotages a transport
• A character removes a cyber implant

TENSION TABLE
1. A hard light hologram is talking to someone that isn't there
2. A grinding noise is coming from the wood
3. An old god awakens in their lair

SPIRIT TABLE
If you have 1 or more Spirit remaining: You find yourself
running for your life. There's nobody but you, you need to get to an
exit. A silver grav car descends from the sky, hissing open. The
gloved hand of a security officer grabs you and pulls you in. You're
taken to a facility where you are questioned endlessly about your
experiences. After several days you're let go. But even months later
you've noticed spy drones hovering around you.

If you have 0 Spirit remaining: You're the last left alive. You're
being hunted. Crossing the field you see a humming grab car
descend from the sky towards you. But the engine malfunctions
sending it spiralling towards the ground, into the dirt. No, this was
your only way out. There were no survivors. You hear something
behind you. There is no hope.

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 Cuckoo
The date is 2021. You’re a presenter from a popular television
programme that covers rural affairs, and with a small team you
have ended up in Perthshire, in a small village called Kensham
Green. Your producers have set you up to meet a local
ornithologist, Brie Walker, who has supposedly discovered a new
species of bird. You’ll be interviewing Brie about her discovery and
hopefully catching the bird on film for the very first time -
something that will help your career.

But upon arriving in Kensham Green you find the ornithologist has
vanished from her home. What’s more, there are strange rumours
about where she has gone and what she was doing before
disappearing. The local constabulary, consisting of two officers,
have all but given up, but for the sake of your show you take it
upon yourself to get to the bottom of the mystery.

LOCATIONS
• Brie’s cottage
• Brie’s bird watching den
• The woods
• Cave
• Stream
• Police station

SECONDARY CHARACTERS
• Sharon Levy: A local constable, moved from the city beat
because of a corruption scandal. She hates her life here and
despises the locals.
• Aaron Gordon: Brie’s friend and local butcher. They want to
help out in any way they can, but may know more than they’re
letting on.
• Bruce Fairfield: A camera operator on your team. The dark
unearths horrifying memories of his time deployed in the
Middle East.
• Jennika Patel: A junior police officer with dreams of becoming
a detective. She’s headstrong and determined, and has a
simmering dislike for Sharon.

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CLUES
• A voice recorder containing a strange whistling sound
• Sketches of a winged being in charcoal
• A viscous black bile that emits a disgusting stench
• A camera trap and a blurry recording
• A human finger

ENVIRONMENTAL OBSTACLES
• A slippery ravine
• Mushrooms with hallucenogenic spores
• A feral, mishapen fox
• Creeping vines
• A wasp nest

SECONDARY CHARACTER OBSTACLES

• A character uses bureaucracy
• A character goes missing
• A character forbids you from going somewhere
• A character makes an attempt on your life
• A character ties you up

TENSION TABLE
1. Brie’s binoculars are found, covered in blood
2. Carvings on tree stumps serving as warnings
3. A winged creature attacks

SPIRIT TABLE
If you have 1 or more Spirit remaining: You’re in dire straits but
likely have an ace up your sleeve, or someone comes to your aid at
the last minute as the winged creature attacks. It’s a scene that will
haunt your waking dreams for the rest of your life. The papers soon
print news of you quitting the show.

If you have 0 Spirit remaining: This is a discovery that could go

down in history, but you won’t live to tell the tale. The creature has
you where it wants you and its young are famished.

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 Plunge
The date is 1946. After the war you have moved to the coastal
village of Tewsburgh in North Yorkshire with your significant
other.

However, after a few months living in this idyllic village it’s

apparent that something is amiss. Some of the locals are
disappearing. There are whispered warnings of a pool in the nearby
wood. Lately a child has vanished but her parents seem afraid to
talk about it. What’s more is that you occasionally find pond weed
strewn on the pavement around the village. The children in the
playground sings songs of Jenny Greenteeth, the witch that pulls
bad boys and girls into the depths below.

There’s something rotten in Tewsburgh, and you’re getting to the

bottom of it.

LOCATIONS
• Your house
• The Fox and Hound pub
• The maypole
• The wood
• The pool

SECONDARY CHARACTERS
• Albie Morris: Owner of the Fox and Hound and legendary
curmudgeon. He’s lived here all his life and has the far-off stare
of a man who has seen more than he bargained for.
• Heather Loxley: Mother of Danielle Loxley, the missing child.
She hangs corn dollies from her window and always has a
flower in her hair. She keeps a jar of pond water by her bed.
• Jennifer Bowler: A local teacher - strict as they come. She’s
viciously protective of children and the knife in her skirts
certainly isn’t pristine.
• Harry Wheeler: A young soldier who returned last year. He’s a
minor celebrity in the village. He can sometimes be seen
standing in the middle of the village at night, staring at the
wood.

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.

CLUES
• A wet hand print on a locked window
• A shaking patron with pertinent information
• A trail of pond weed
• A shadow moving through the village
• A child’s shoe

ENVIRONMENTAL OBSTACLES
• Filthy drinking water
• Ensnaring pond weed
• The feeling of being plunged in icy water
• Feeling incredibly sleepy
• Cracking a twig underfoot

SECONDARY CHARACTER OBSTACLES

• A character is drawn somewhere, seemingly out of their
control
• A character is drowning
• A character is frozen on the spot in fear
• A character is reckless
• A character curses you

TENSION TABLE
1. You dream of something crawling through your window
2. Two people with mottled, wet skin are seen at night
3. Jenny Greenteeth, the witch of the pool, attempts to drown
you in her pool

SPIRIT TABLE
If you have 1 or more Spirit remaining: The clammy, bony hands
of Jenny Greenteeth are all over you, fighting to pull you under the
murky surface. Through luck, ingenuity, or last minute help you
escape your watery grave. But there’s no defeating her. She’s part
of the landscape. You leave the village for the city and never look
back.

If you have 0 Spirit remaining: The murky waters are your final
resting place. Jenny Greenteeth has claimed her latest victim. The
villagers will have peace but for a while.

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 Creating a scenario
Once you have experienced all the scenarios in this book, you may
feel the desire to concoct your own eerie scenarios. Fortunately
this is a simple task (and a lot of fun to do). Here are some tips on
doing just that.

THINK OF A BROAD THEME

Your theme forms the overall feel of your scenario and will help
you choose its ingredients. Many rural horror tales are about
ancient, unknown things, or the folly of humanity when it comes
up against knowledge it can’t comprehend. You might use folklore
as a theme, or cults, or jealousy.

THE SETTING
Stories in the English Eerie are always set away from an urban
environment. Urban locations are safe, there are people there who
can help. Nature is terrifying and solitary. Small villages, grand
manors, haunted woodlands, whispering marshes and crumbling
churches are all good examples of settings. While it’s “English”
Eerie, you don’t have to set your scenario in England at all. There
have been some great stories told in the Spanish and Californian
wildernesses. As well as the place, think about the time the
scenario is set and what that could mean for the overall story. A
medieval England is going to have a different feel than a Victorian
or futuristic era.

THE ANTAGONIST
An antagonist in English Eerie doesn’t necessarily mean an evil
person or creature. Rather, it’s the force at the heart of the
mystery. This force should be harmful to the protagonist, but it
should be hidden. An antagonist could be a monster from folklore,
a pagan cult, a ghost or simply a terrifying location.

CREATING A CAST
The secondary characters are vital to a good horror story. Think of
between four to six of these and give each a quirk. These are aspects
that define that character. They could be constantly drunk, an
anarchist, or obsessed with crosses. It can also help give some of
your cast relationships with each other to help drive the narrative.

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They may be arguing spouses, illicit lovers or a jealous ex. Tie them
into your overall scenario framework but leave things open for
interpretation. Rather than stating that someone is in league with
the antagonist, perhaps they have a clue that could be interpreted
as that.

THE TENSION TABLE

Each element of the Tension Table will inevitably happen during
your tale. Your first point should be something that gives a small
hint as to the nature of the antagonist. Claw marks in the door, a
strange smell coming from the basement, a voice in the darkness.
The second should be even more extreme of a clue, upping the
stakes, such as a character going missing, a glimpse of a creature or
the discovery of a new location. The final point is the showdown -
the antagonist reveals itself - the horror manifests. There’s no
going back after the last tension point arises - the protagonist’s
world has changed irrevocably.

THE SPIRIT TABLE

As you’ll have gathered, the Spirit Table is split into two
consequences - one if your protagonist has one Spirit point or more
remaining, and one if they haven’t. When you’re creating your own
scenario to play with your group or to play yourself it’s not
necessary to write these out like the scenarios in this book. Instead,
when it comes to the resolution, either discuss with the group what
the outcome could be, each taking it in turns to add an element of
the narrative, or come up with your own idea if playing solo.
Having Spirit remaining calls for a more positive outcome (but
never wholly positive). The protagonist will still be negatively
affected by their experience, but they have survived to tell the tale.
For the 0 Spirit outcome, either the protagonist has met their end
(in which case, describe how this happens) or they have become so
scarred that they will no longer be able to participate in society.

STORY ELEMENTS
Once you have the above, you can start to put together your
ingredients - clues and obstacles. Make sure these generally fit with
your overall theme and protagonist, but don’t overthink them.
Even more random elements can make for surprising turns in
narrative during your game.

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 Further notes on play
The artefact
When the game is over, part of the beauty of English Eerie is that
you have an oral or written narrative that can be told or read by
others. Solo games using a journal leave behind a physical artefact -
a diarised story that feels like it’s directly out of an M.R. James
story. You are encouraged to write in prose, perhaps with a
fountain pen, to help create this final illusion of a tale that has
escaped fiction and has come to live in your home. If you wanted to
take it further, take photographs and newspaper clippings that
could fit in with your tale and tape them into your journal. Write
down lists of addresses, fake phone numbers and other notes to
make it feel like you’re genuinely delving into a mystery and
recording everything you find. Turning the game into a kind of
LARP (Live Action Role Play) can be a lot of fun.

Using props
In a group game you can enhance the mood with the use of props,
particularly when playing historical games. Looking at some of the
clues beforehand can give you inspiration for your props, such as a
dagger, newspaper clippings, candles, tarot cards, or clothing. That
way, when a clue is found you can pick it up and pass it around,
enhancing the mood and immersion.

Setting the mood

Lighting can be incredibly effective when playing alone or with a
group. Candles or a lantern in a low-lit room can help send shivers
up your spine as you watch the shadows dancing on the walls.
Don’t forget music, either. Background music can help with the
mood and tension. Scenarios set in the 1800s can be accompanied
with some haunting classical melodies, while early jazz like Jelly
Roll Morton fits well into the 1920s. Alternatively, there are many
chilling soundscapes that can be found online to set a creepy
atmosphere.

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