Horror on the Orient Express is a campaign boxed set published by Chaosium in 1991 for the horror role-playing game Call of Cthulhu. In this adventure, the player characters use the Orient Express to search for pieces of an artifact, while a cult tries to stop them. The original edition won two Origins Awards and received positive reviews in game periodicals including The Unspeakable Oath, White Wolf, and Dragon. A revised and expanded edition was published in 2014, which won three ENnie Awards.
Da der Kampagnenband wirklich nirgendwo für einen vernünftigen Preis erhältlich war, kaufte ich schließlich die englische PDF der zweiten Edition. Während der Kampagne jagen die Spieler im Europa der 1920er Jahre einem Artefakt hinterher. Mit dem Orientexpress fahren die Ermittler alle wichtigen Stationen von London bis nach Konstantinopel ab, allerdings haben Sie nur wenige Gelegenheiten, überhaupt den Luxus des Zuges zu genießen. Denn das Erste, was man als Spieler bzw. Spielleiter wissen sollte: Ein Großteil der Kampagne findet nicht unbedingt im eigentlichen Zug statt. Dennoch ist der Orient-Express ein zentrales Element, und jedem Spielleiter steht es frei, die Fahrten entsprechend auszuarbeiten.
Horror On The Orient Express Pdf
Like comedies, westerns, horror films, and science fiction, the crime film has inspired dozens of volumes of critical commentary. It is difficult to write a coherent history of criticism of the crime film, however, especially because of its tendency to split into subgenres whose import is apparently only distantly related. The project of genre theory itself has depended throughout its history on the ascendancy of such critical methodologies as the structuralism of Tzvetan Todorov, which allows the systematic analysis of generic conventions, and the revisionist historicism of Rick Altman, which uncovers economic motives for the rise and fall of specific Hollywood genres. In the same way, critical responses to the crime film and its numerous subgenres have divided according to which modes of academic criticism have been fashionable from moment to moment: auteur criticism, mise-en-scène criticism, thematic criticism, structural criticism, psychoanalytic criticism, economic criticism, critical interrogations of race or gender or identity politics. Overlaid on these categories, however, is a different, surprisingly rigid series of categories dictated by the different crime subgenres themselves. The gangster film, the first crime subgenre to provoke serious commentary, tends to generate discussions of Hollywood mythmaking. Though this thematic strand continues in discussions of film noir, it is complemented by an equally strong thread of mise-en-scène criticism. 2ff7e9595c
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