Adventure Writing Primer: Liminal

Horror as an Adaptable System for

Modern Horror
Introduction
Liminal Horror as a system works extremely well for bringing modern horror to the ttrpg table.

The core rules are built on the chassis of Carin (and by extension Into the Odd & Knave). This
foundation allows for easy to engage with rules that allow people to generate characters quickly,
and jump into play.

Liminal Horror intentionally took something that worked well and made a few adjustments
(modernization of equipment and language, taking away scars and adding the stress/fallout system
based on the damage/scar system). This document showcases what design aspects make LH works
well for general ttrpg horror, and what aspects adventure designers can tweak to help reinforce the
specific themes/genres of horror and the weird.

This document acts as a draft for the overarching concepts and ideas. Over time (in multiple
forms) I will expand these, adding more examples and specific steps on how to adjust
variables to best meet your adventure's needs. Use this as a primer.

Liminality of characters
Liminal is often used to talk about types of places. As I have designed adventures, run games, and
talked with other designers, it has become clear that Liminal Horror is not in reference to a place,
but the characters themselves.

Characters embark on a process of change as a direct result of the horrors they are forced to
grapple with. This transition from "normality" to the weird is the main function of Liminal Horror's
core design. Exposure to monsters, stress, fallout, and being forced to make increasingly difficult
choices results in characters that may or may not survive, but will undoubtedly be changed through
play.

For more information see a talk I participated in: Writing & Designing Non-Cthulhu Horror | Virtual
Horror Con 2022

Setting/Place
The spaces in which these stories are told are extremely important to many types of horror. The
cabin in the woods, the mall outside of time and space, a dark hospital. These places function as
another character that is just as important as the big bad.

Even seemingly mundane spaces are important for modern horror as they are instantly relatable to
the players. Using the schemas of those at the table we are able to imagine these spaces with vivid
detail. It is then when you introduce the weird, strange, and horrifying that the juxtaposition hits
players (and their characters).
For more information watch Empty Rooms: Architecture and Horror Panel

Liminal Horror and Cops

A value that was not made explicit when writing the core text, but is fundamental to its conception,
is that Liminal Horror is written as to not be playing law enforcement (cops, FBI, military). The
themes inherent in playing as extensions of those types of systems are problematic, exploitative,
and uninteresting.

Reframing as people interested in the paranatural, people in over their heads, journalists, writers,
etc is a more fruitful of an outlet.

Any piece of media that you love that is centered around being a cop can be reframed in a ttrpg
context as being an investigative journalist of some sort. Columbo as an eccentric writer always
looking for the truth to the mystery is more interesting, while also not needing to benefit from a
system designed to oppress. Now take your journalist Columbo and throw him at a lich.

Take playing the store clerk that sees something that cannot be believed. The journey that has
them stumbling forward into horror beyond imagining, and seeing how that character ends up is
much more worthwhile story than a cop trying to jail the shadows.

So if your inclination is to frame the characters as cops, military, or something like that, I ask that
you take the time to think of what framing it differently could do for the story. Law Enforcement,
military, and government agencies have their place in LH, but it is to act as a natural friction point
and adversary. They pose themes worth exploring, just not with players being on the side of
oppression.

Reinforcing Specific Themes/Genres in Horror

As I've designed official modules for Liminal Horror, I've found that the versatility of the core system
allows for aspects to be prioritized or adapted to reinforce specific genre desires.

Variables Index
Character Gen (backgrounds, starting equipment) - recommended start for all adventure
writing
Party Composition (party questions/framing, entanglements)
Stress (its use and ways to adjust)
Fallout (creating your own to tie to your specific brand of weird) - second place to go if writing
an adventure
Modular Rules (examples of some I've created as a means to support different genre set
pieces)

Character Gen
Tailoring your Character Generation is the first aspect I would recommend if you are aiming for a
specific genre/theme in your adventure module.

The most straightforward adaptation you can do is to create custom backgrounds, getting to know
your character questions, and starting gear that specifically aligns with your module. This can help
give an extra level of immersion in the composition of the party.
Below are three different, specific examples of approaches you can take. They have varying degrees
of restructuring from the core text.

From Funnels
From The Bureau
From The Mall

From Funnels

For the Appendix introducing Funnel Rules I simplified the character generation procedure by
cutting down the amount of questions, and having each background include two items related to
the background.

Journalist (Audio Recorder, Camera)

Store Clerk (Lighter, d6 Mini-baseball bat )

One option you could do is choose a specific set of thematic backgrounds with accompanying
starting equipment. 6 options should suffice for most tables and give you a range. The more options
you provide also help by informing the Facilitator and players the types of characters that would be
in this setting. What you include in a table is an act of lore/worldbuilding. 1 2

From The Bureau

For The Bureau Josh Domanski and I tailored the character gen (renamed Personally Identifiable
Information (PPI) Policy - p. 5) to be a streamlined version of the process in the core text. We
included references to Liminal Horror's questions as an option but embedded a majority of the
flavor in the Operational Experience (renamed backgrounds).

Each Operational Experience (The Bureau p. 6-7) had a short description of the background (2-3
sentences) that hinted at why they were in the Monolith. They also alluded to potential
complications and goals for the character. Each OE also included 2-3 items as starting equipment.

FINALLY FOUND YOU: You’ve spent years searching for answers. But this is it, you finally
know where to find them. Take: Leather Jacket (1 armor), old photograph (The Bureau p. 6)

GHOST HUNTER: Ever since your show was canceled, you’ve been trying to go legit. They
haven’t returned your calls, but there’s no harm in showing up in person. Take: Spirit box,
thermal camera, EVP wrist recorder. (The Bureau p. 6)

COMPLIANCE OFFICER: Records show that the Bureau has missed the last 51 annual safety
inspections. This oversight simply cannot stand. Take: Inspection form,flashlight (d6), all-in-
one measurement/testing tool. (The Bureau p. 7)

This option expands on the custom background/equipment combo by baking in more implied
world building and characterization with the short prompt. Creating backgrounds that have a blurb
and equipment can be a way for you to reinforce the setup and give players a starting point that
has some built-in stakes.

You could take it a step further and add some more in depth characterizations to the prompts
to give a tailored setup.
You could give (either to each of them or have a roll table) each character a hidden goal/drive.
 

From The Mall:

For The Mall I rewrote the entire character generation for Liminal Horror from the ground up. A
web-based version can be found on the Liminal Horror website.

I started by having players add to the mall (setting) as a means of building shared vision for the
space. They then dove deeper into their characters, specifically answering:

Why Are You At The Mall?

How Does Your Character Feel About The Mall?

The starting gear was rewritten to be mall themed, with little notes to reinforce the setting (like what
uniform they wear if they are an employee, etc).

Creating a custom procedure for creating a character can be a great way to modify character gen to
produce a specific style of starting character. It puts not only the characters into the space of being
a part of the setting but helps prime players. A simple framework could be:

Step 1: Adding to the setting (mall, town, organization)

Step 2: Ability Scores & HP (standard core rules)
Step 3: Investigator Details (use this section to ask guiding questions that establish the
characters' connection to the setting)
Step 4: Starting Gear (write a starting gear table that aligns to the tone and theme of the
scenario)
Step 5: General Info (age, look, name, final touches)
Step 6: Entanglements (see the following section for details)

back to Variables Index

Party Composition
"An elite team composed of lone wolves, nerds, thieves, marginalized, heretics and enemies of the
academic bureaucracy." - Shin Gojira 2016

Getting to the heart of what brings the party together is another variable that can be adjusted to
reinforce theme, tone, and setup. Sometimes it's implied based on setup (The Mall has people as
customers or employees) or is it more open to interpretation (The Bureau has a few questions that
can be influenced by people's Operational Experiences - but serendipity can easily be the culprit).

Party composition is often made up of:

Party Questions
Entanglements - Connections
Entanglements - Bonds

Party Questions

One way to adjust the system for your module is to create a unifying setup that brings the party
together. Liminal Horror Party Questions introduces some options that could bring the group
together. You could write in a specific unifying prompt for the scenario.
For Bayocean one of the options I will be using as a frame for the pamphlets is having the PCs
together making a radio show/podcast on the area. This framing gives a starting unification of the
group and will allow for some context/equipment at the impetus. While not necessary for the flow
of the scenarios, providing an option for Party composition can be worthwhile.

Entanglements - Connections

Having players create at least one NPC that they have a connection to is a fantastic way to bring
them deeper into the setting. In The Mall players create (or choose) an NPC that their character has
a connection with. This gives an immediate thread for the Facilitator to tug on, building stakes and
creating narrative buy in for the characters. (Spoiler: I would often use one of the NPC connections as
the first victims of the monster in The Mall, establishing what's at stake immediately after things break
bad)

Entanglements - Bonds

While in the core text this is listed as optional, for The Mall I made it a built in step for players. It
begins to create a web of connection and gives a starting point for characters in relation to each
other. This is also great because of how play impacts and changes these relationships (remember,
the Liminal Horror is how characters change in the face of these events, and often it is not for the
best).

back to Variables Index

Stress
Stress is a great resource for Facilitators. It allows them to put characters at risk, and can help
control pacing. Since it is a modular addition specifically for Liminal Horror,
altering/adjusting/removing stress is something that is completely possible.

Stress serves two functions:

1. To be a non-physical threat to players - directly in relation to the weird

2. It is the means in which Fallout is triggered, thereby permanently changing characters through
the weird.

Depending on the themes, tone, and need in your adventure, you can adjust how stress gets used.
It will be important to make the adjustment explicit for the Facilitator (and support them in
explaining it to players).

Possible Adjustments

In Place of Stress: One adjustment could be introducing a variable in the place of stress (or to
go alongside it). In The Mall, there is a mechanic called Whisper Cards. For this module the
trigger for Whisper Cards would replace getting stress. This only occurred for the player taking
an action. So while other characters got stress in a situation, the one taking the most risk got a
Whisper Card instead. This mean while stress was still in play (especially for attacking HP and
establishing stakes) Whisper Cards become the main conduit for the weird. (This decision was
to reinforce the being replaced theme of the module, and was a way to integrate a modular
rule - see below).
 Drop Connection To Fallout: Another adjustment could be to drop the connection to
Fallout. Having stress simply be a risk akin to physical damage. This removes the characters
being shifted by the weird, but maintains the resource tension by giving another avenue to
impact HP and decrease stats. In a straight slasher style module I could see omitting fallout
(see the Fallout Considerations below).

Shift to a Build Up System: One other option is to have Stress build up over time, accruing
until something happens (with the trigger being specific to a modular rule created for your
scenario - see below).

Note: Liminal Horror explicitly is designed to avoid playing into stigmatizing mental
health. If you create a new stress trigger that is not Fallout it needs to not step into
historical tropes of sanity systems and its ilk. If there's a mechanical impact to rules, be
careful what you name it.

back to Variables Index

Fallout
Fallout is the rule that directly entwines Liminal Horror with the weird. When designing Fallout, my
intent was to use it as a means of entangling characters. It functions as a narrative progression (and
sometimes mechanical one) and makes explicit how characters have changed as a result of the
stress caused by the weird.

The generic Fallouts written for Liminal Horror are fun and each provide a different narrative hook
that could have sessions built around them.

If you are writing your own Liminal Horror scenario, one of the first things I recommend doing to
reinforce your intended theme/tone/monster/etc is create a few adventure specific Fallouts. This
align the weird that happens to the players to the horror being written in the adventure.

For the Mall

I wrote Fallouts that relate to the Children of Ammon infecting the Carpenter Mall:

01: You hear the choir's song, its melody is an ever-changing constant. ▶ Increase your CTRL
by 1d4.

07: Sounds begin to manifest visually. At first, they are just shapes and colors, but they slowly
start to become more distinct. Their form is unlike anything you've ever seen.

For The Bureau

We leaned in to Fallout as a major facet of the themes of corruption. The Shadow is invading The
Monolith, and as characters get closer to the goal they become infected by shadow, getting
stronger (hopefully strong enough to overcome the Director) but potentially losing themselves in
the process:

02: Halo of Black Flame: It forms over your head, faint at first, but the longer you spend in this
place, the more pronounced it becomes. Roll d4 and add it to your CTRL (max 18).
 07: Arm of Night: The flesh from your right arm sloughs off and is replaced by sharp angles
made of shadow (acts as a d8 weapon).

11: Maggot Warren: Maggots made of shadow burrow in your flesh. They grant a limited ability
to manipulate shadows. You can move 150lb objects up to 100ft. Every time you use this the
burrowing of the maggots causes d4 Stress to anyone that sees.

Fallout can be a thing that is shifted or omitted (see Stress, Possible Adjustments above), but it is
also one of the easiest ways to strengthen the connection between the system, the weird, and your
scenario. Character Gen and Fallouts are two things I always adjust for my Liminal Horror
adventures and are the first places I recommend people look at when trying to write their own.

Modular Rules
One of the things that I have loved doing for Liminal Horror is creating modular rules/procedures
that can be used in both campaign play and short for adventure writing.

What I have found is that since there is a strong central ruleset, you can adjust modular rules to
meet needs of play, adding and removing them over time based on the story being told.

For The Mall I used Whisper Cards as a modular rule that specifically reinforced The Thing/being
replaced/not knowing who has been replaced. If I were to continue after the events of the
adventure, I may drop the Whisper Cards and stay with the core rules, adding a different modular
rule if the need arose.

This adaptability can be leveraged in your own writing. Creating rules/procedures that specifically
reinforce a tone/theme/event sequence can elevate play but doesn't break the table or narrative.

Some examples of other modular rules that I've put out (or are planning on putting out):

Item Tags
Time Procedures
Funnel Rules (for running a level 0 meatgrinder)
Voidcrawl Procedure (a turn based integration of overloaded encounter die for explore dark
and neglected spaces)

Some ones that are in the cue to come out:

Whisper Cards (a generic way to use them as a corruption/replacement mechanic)

Doppelganger rules
Flashback mechanic
Car Chase
Confessional Booth (like on reality tv)

These can be in addition to the core rules, or adapted to replace/work alongside stress & fallout. If
there is a complicated or genre specific thing that happens (especially in relation to character
change), creating a custom rule or procedure can be a great way to really tailor the system to your
adventure.

I use the term modular because it truly is. Liminal Horror is built in such a way to facilitate telling
interesting horror stories from a multitude of genres.
1. Vi Huntsman did a great video on table entries and how they can act as way of understanding the world: The Good, The Bad and the
Aleatory - Roll Tables Part 1 - YouTube ↩

2. John Battle does a great dive into how bits and pieces presented in a text (like table entries) help build an understanding of the world -
which then can lead to roleplay: The Descent into Roleplaying - YouTube ↩