“The books are Lovecraftian spy thrillers. The best elements from both genres are thrown together with a sprinkling of long lost Nazis, terrorist cultists, other foreign governments wanting a piece of the action, as well as Her Majesty’s Civil Service.” added Cubicle 7’s Angus Abranson.

The Laundry is a branch of the British secret service, tasked to prevent hideous alien gods from wiping out all life on Earth. Players take the part of Laundry agents, cleaning up the mess after things go wrong or, sometimes, even managing to prevent the manifestation of ultimate evil. Agents have access to the best equipment they can get their superiors to approve, from Basilisk Guns to portable containment grids to a PDA loaded up with Category A countermeasure invocations.

I've only read "The Atrocity Archives" so far in the Laundry series (I've also read Glasshouse and Accelerando by Stross - they're more straight sci-fi - the former very similar to Culture novels, the latter very cyberpunk. Both great.)
so I've added "The Jennifer Morgue" and "The Fuller Memorandum" to my Amazon wishlist. I'll be taking The Atrocity Archives with me on my trip to Paris - Lord knows there's going to be a lot of downtime.

If you're not sure if you'll like them, then you can get a taster with some of the Laundry short stories.

• Overtime - a Christmas-themed novella.
• Down on the Farm - where do occult secret agents go to die?
• The Concrete Jungle - who just weaponised mythology?
• and for an apocalyptic American view, A Colder War.

Overall, it seems enchantingly similar to Delta Green but without the feeling of hopelessness that comes from being mostly alone in a universe that is cold, dark and hostile. It's gotten me interested again.

From the log of Karl Maclean, WTNE Controller

8am: New recruits have lasted 24 hours without injury or fatality. Void seems to have settled into a leadership role, and may make a decent long-term recruit should we choose to extend their contract. Seven seems somewhat unreliable and bears closer scrutiny - he's already made it into the media and seems to bask in attention. Kimono is more reliable but suffers from severe cultural disadvantages here in the US: this is somewhat counterbalanced by his immense powers. Trace is, as expected, insufferably young.

10am: Fifth recruit arrived today from Texas. While he looks good enough to eat, he's sadly lacking between the ears.

4pm: New team reports a lead on the whereabouts of the old team, due to a tip-off from The Chancer. A previously unknown exotic with dimensional powers trapped and abandoned them in another dimension, with seemingly no way of recovering. Kimono negotiated some kind of agreement with the guy, but it sounds like he was conned. I don't think Mr Canning will be happy, but then again, I doubt he'd be happy even if they brought back the old team safe and sound. I've e-mailed him.

7pm: Got word that we have a sixth exotic joining us tomorrow. No idea who she is or what her abilities are. Christ, it's like superhero kindergarten.

3am: Yes, Canning is not happy. Big fucking surprise. I'm drawing up permanent contracts just in case.

Character Generation
You create a character description consisting of up to 10 facts (maybe related to Quirks, Drive, Flaws) and underline 5 of them. These 5 things are your most descriptive traits which may be objects, skills, contacts, background items and can, in theory, be called into play at any time. If the timing seems inappropriate, the Narrator may require the sacrifice of a Story Point or a card of a significant value from the hand. This really only needs to be one paragraph.

Choose one more to be your Drive - the most fundamental ambition for your character. This is commonly related to the reason why the character is not content to stay home and sow crops or catch fish.

Choose one flaw. This can be physical, mental, spiritual or emotional. It may be how the character perceives the world or how the world perceives the character.

This character sheets is nicknamed a "Charagraph" mainly because Paracter sounds silly.

Traits : "Turi is a shell diver like all of her family. She is tall, thin and wiry and like most in the region is dark, with coppery-brown hair. She lives with her three brothers and her father - an arrangement which has made her tomboyish and she's a capable wrestler as a result. She carries a steel knife and a diving shell which allowed her to stay underwater for nearly 10 minutes. She has collected a small fortune in pearls and semi-precious stones from her diving exploits. She never knew her but her father claims her mother was a woman of influence from one of the big inland cities. Her family are somewhat devout to the Old One and still have a small shrine to her in their basement.
Drive : She is Driven by her desire to gain wealth and travel to see if she still has family in the cities.
Flaw : Due to an overdive when she was younger which caused her eardrums to burst, Turi is 40% deaf

Idea for card based play:
(You may want to look at the rules for IllusionDev) Everything has a opposition value. You have a hand of 5 cards by default. When you play one and win the conflict, you pick up one. Every task has a single resolution - one card draw blind against the pack. If you lose the conflict you do not pick up.

Optional Rules: Normal conflicts are just a comparison of the numbers, such as Jack versus a 4 in the example here.

The Face card rule would be that if you play a face card and win, you get to choose the outcome. So if Turi had played her 8 here, it would have been a normal win. If she plays the Jack and wins, she can give a narrative of the outcome!

The Hand or Trait rule says that you can increase or decrease your active hand by two by decreasing or increasing the number of traits you have. So, you can have seven underlined traits if you choose to only have a hand of three available to you. Or a hand of seven and only three underlines traits. Essentially hand + traits should equal 10.

Example: Turi has five cards in her hand: 8H, JC, 3D, 7D, 2S. She is fighting against a would-be thug who wanted to rob her of her hard-earned pearls. She wants the conflict over and done with quickly so she plays her highest value card, JC. The Narrator makes a draw for the thug and gets a 4 of Spades. She beats him handily and draws a card, 8D to replace her Jack.

If you win a conflict you pick up again. Advantages and flaws and difficulty are represented by additional cards being drawn and added to the first in a Blackjack fashion. If you have an underlined trait then you can play a SECOND card to bolster the first. If the area is covered by a flaw then the opposition gains an additional card draw.

Example: Turi is fighting again, this time 10 metres underwater, against a Reef Eel, a large and voracious predator. Normally this would give the Narrator the opportunity to draw TWO cards against her one. But she's a Shell Diver and has that trait underlined so it cancels out the additional draw. She plays her 8D and the Narrator draws from the deck for the Eel. 9H! Ouch. She's hurt but not down and doesn't get to draw another card. The Narrator will now decide if the Eel attacks again or retires back to it's hiding hole. If it attacks again, she only has 4 cards in her hand with which to defend herself.

For one-to-many conflicts: everyone plays their single card. And work out the conflict as normal. Most people and animals will be incapacitated or removed from the conflict with a single loss. Some non-players may rival the Player Characters in their ability to resist incapacitation by having an effective hand of 2, 3, 4 or more!

Example: Turi and her friend Tobin have confronted a hooded stranger who has just dropped something into the village well. All three make their plays. Juri plays a 7D, Tobin a QH. The Narrator draws for the stranger and gets a 9S. Turi is hurt and as she has not rested is down to 3 cards! But Tobin gets a good decisive strike and elects to have staggered the stranger. The Narrator has decided that the Stranger has an effective hand of 3 which means to be incapacitated, he needs to be defeated three times in conflict. Our heroes attack again: Turi plays an 8H and Tobin a 7C. The stranger draws....a 4C! This means he takes two hits, one from each, which brings him down to 0. He falls to the ground...

Story Points:
Everyone starts with one and these can be used to
retcon a narrative scene just played
change the outcome of any single conflict (any single play of cards)
change an item of background to fit
heal one Serious Wound instantly/quickly/turn it into a flesh wound that can be ignored.

Combat and being hurt.
Combat is the same as any other play. Being hurt - every time you lose a conflict you do not pick up a fresh card until you have had time to recuperate. In essence, lose conflicts five times and you're effectively incapacitated. NB: Your Hand represents how you cope with fatigue, setbacks, defeat and anything that tests your determination and willpower.

Wounds are represented differently. Anything less than a serious wound is dealt with using the Hand reduction described above. If, however a combat ends where the winning card was a face card (and the winner gets to describe the effect) the winning result was more than 10 points higher than the losing result then the loser ends up with a Serious Wound. Serious Wounds are like normal hand reductions but they have a longer lasting impact on the character as hand reductions are made back using sleep or recuperation. Serious wounds can only be removed by proper medical attention (which to all intents and purposes does not exist). A Serious Wound therefore is a potentially permanent and possibly fatal addition to a character.

Until healed, each Serious Wound represents a Hand reduction of 1 for every activity.

Optional Rules:

Soaking Wounds

It's possible to "soak" a wound by using Traits or Drive. Using a Trait means making a blind play against another blind draw by the Narrator. If the player wins the draw, then they may explain away the wound. If they lose they take a SECOND wound.
e.g. Ferren has a Drive which describes his hatred of the Saruch Ascendancy, a cult responsible for the death of his father. During a duel, he finds out that his enemy is a member of the Saruchs and when wounded he attempts to soak - rationalising that his drive to defeat the Saruchs gives him strength in battle. He will either ignore the wound or gain a second wound...but it may be worth the gamble.

If a Serious Wound is not bound then every week that passes the character received another Serious Wound. After the character has received three serious wounds, he or she is dead. If a serious wound is bound then in most cases the player can erase the Serious Wound after one month of play. (and it takes two months to remove two serious wounds).

If a character has three serious wounds and then elects to Recuperate rather than Die, then the character may survive but the player must describe how the wounds have permanently affected the character.

Anyone else have done something similar? Created a scenario out of a song? (And let's face it. this song is pretty much the entire inspiration for Desperate Housewives. Imagine the pitch - "It's like that Tom Waits track....but with boobs!"

Man versus Man
This describes the quintessential struggle, the stuff of legend. Good versus evil, human versus alien, hero versus monster, rebel versus tyrant, civilised man versus the savage; the most accurate description might be the struggle between two directed intelligences. These games are easy to play because the adversary is present and real. They have motivations and malevolence. They are Hans Gruber to your John McLain, Lector to your Starling, the Stay-Puft Marshmallow man to your Venkman.

We fight them because they represent the things that are wrong in this world, and they are flashy, obvious wrongs - whether they're stealing millions of dollars with a funny accent, killing Gary Oldman or trashing Manhattan (although we're unsure that killing Gary Oldman is a crime). We feel a sense of satisfaction seeing them put down (even if we know they may return).

Man versus Nature
Some of the best adventure stories are those told from the point of view of a single protagonist where his conflict lies not with the righting of wrongs or the marching of armies, but in the struggle against nature itself. Whether you're weathering a Perfect Storm, trying to survive the Day After Tomorrow or even just making your way through a post-Zombie epidemic Dawn of the Dead, the environment you are in is challenging enough to make a compelling story.

One of the memes of Zombi, was that the walking dead were not your enemy, other people were your enemy. This was borne from every movie:- you can hide away in your fortress and the mindless zombie hordes can beat upon your door but it requires intelligence to breach your defenses. This isn't to say that nature cannot be a harsh enemy. It is mindless but merciless. It can be witnessed when you travel from place to place, be it the cold of the snow-bound mountains, the drought of the desert or the cold emptiness of the vacuum.

Man versus Self
If religion is to be believed, we struggle with this every day. When we consider physical attraction, we encounter the most base 'animal' parts of ourselves. The acknowledgment that another human is attractive goes back to our pre-sentient days and when we continue on our way, we have successfully mastered the animal. This extends obviously to the personal wars against addiction, fetish, desire, greed, sloth and rage. We control ourselves and, as a result, these ideas are possible to play out in a game.

These were most recently examined in the World of Darkness games by White Wolf: I interpreted them as Lust (Vampire), Rage (Werewolf), Pride (Mage), Sloth (Changeling), Envy (Wraith). Though these games it was possible to spend a lot of time engaging in 'versus self' gaming as the player articulated the internal struggles of their personal demons. They are the Louis in LeStat, Hulk's Banner, Star Wars' Han Solo.

Seeing as my gaming group plays nothing but BRP so far (Delta Green, Gaslight, RuneQuest) and we're potentially starting an ORE game, it seems quite timely.

Any attempt to speak or make light of the events at Black Rock was met with a silent contempt from the others and a sharp look from their commander, Anaxippos. There was no place for levity in their hearts and only when they could see the townsfolk of Queenscliff, the people going about their day to day routine, could they finally relax.

Hesiod would continue to mutter to himself and complain of broken sleep for weeks for it was his gladius that cut down an ogre-child. Turtle too, having slain a handful of ogres and corrupted militiamen, looked haggard and drawn and not even his favoured strumpet could silence the cries in his ears. Del, having faced death and survived, was outwardly triumphant but every night would clutch and claw at the night air until his commander ordered him to stand down and he could lose himself in the oblivion of drink and stop the dreams.

Of the file, Zakary seemed most stoic. His anger at finding the Hazia farm was perhaps eclipsed by the remorse he felt at the slaughter but he seemed to have grown in the experience. His thoughts would stray to the thought of the solitary baboon, now carrion, and the people who burned in the fallen Temple of Yelmalio. The lesson was learned that with Chaos, there could be no retreat, no surrender, no ground given.

Anaxippos involved himself in the routine of drill and practise. He marched in full armour, weighted with stones. He fought shadows in the noonday sun as if the light of Yelmalio might cleanse him. And no-one could tell if the salty rivulets that ran down his body were just sweat from exertion.

News of the massacre at Black Rock spread quickly and it became known as an accursed place. Cries were heard for a full company, with Rune Lords and High Priests to be sent from the Sun Dome to cleanse it of whatever great wrong had been committed.

But that is another story.

[See the Actual Play report on RPG.net.]

Melo Yelo, the Yelmalion Baboon

I'm going to be putting content here and there.

We're playing inhabitants of a world where Magic and the Gods are real. We accept the truths we see. Visions and dreams have meaning and while the appearance of a half-man-half-goat brandishing a sword might shock the delicate sensibilities of a Victorian gentleman or a Air Force Deserter, to a Templar of the Sun Dome it's just something that needs killed and burned.

It's a very different experience. We must play as if we are confident in the world, we do not express surprise at the Morokanth and we should be well-informed about the behaviours of the rare but dangerous dinosaurs that roam the plains.

They use the same system but the method of play is exceedingly different.