Dead Man Stomp (Starter Set) - Module Review for Call of Cthulhu
A crime drama set against the Harlem Renaissance with a smidge of cosmic horror.
TL; DR: Dead Man Stomp is well placed as the capstone for Call of Cthulhu 7e’s Starter Set on paper. It combines elements taught in the two previous adventures, Paper Chase and Edge of Darkness. The 1920s Jazz theming and Harlem’s prominence also make it unique. However, the module is dragged down by an easily missed hook and spots impinging on player agency.
Full Review
In Dead Man Stomp a necromantic trumpet wreaks havoc through 1920s Harlem as the mob chases its witless owner. It’s a great concept. The 7e module even includes a well-placed discussion of racism in 1920s America and suggested sound track. Unfortunately, unlike its Starter Set brethren, I can’t recommend Dead Man Stomp out of the box.
From here, I’m going to rip into Dead Man Stomp’s flaws and features. Then fill back in my recommendation after running Dead Man Stomp multiple times. But, like my previous reviews, spoilers ahead.
A Railroading Start
Dead Man Stomp starts with the Investigators waiting for someone at Small’s Paradise, a swanky speakeasy, when their tablemate, an irritated accountant, is murdered by the mob and subsequently reanimated by the silver trumpet. Not that that’s a problem, the accountant is trampled back to by spooked patrons moments later. No combat necessary.
Unfortunately, the opening scene is a microcosm of Dead Man Stomp’s issues.
It blatantly denies player agency. As written, an Investigator gets a Spot Hidden check to notice the hitman before the assassination, but no chance to stop or catch them. Which is frustrating. (Also, Dead Man Stomp could have side stepped the issue by starting with the gun shot.)
It uses red herrings with no pay off. The original hook (looking into an artifact) doesn’t matter. The actual hook is the resurrection pointing toward the silver horn. Which, without the Keeper stepping out from behind the screen, isn’t obvious enough for players to figure out. (They’re more likely to focus on the assassination.)
The internal logic doesn’t always work. Part of me questions why the hitman didn’t use a silencer. Or, more importantly, it isn’t clear how mobsters figured out the horn’s abilities. (Infact, the boss remaining credulous is a plot point.)
In short, the opening scene isn’t worth keeping. It’s cleaner for the players to be paranormal investigators hunting the silver trumpet after reading about in the morning new paper. Or, in a larger campaign like the Starter Set, at the behest of another.
This also works into one of my philosophies in design: “Clear is better than dramatic. Both is best.” In this case, zombie apocalypse is ultimately more exciting (and harder to ignore) than someone getting knocked off. Just not initially. (I have had players ask some version of “why is that my problem?” before.)
Finding Leroy
The investigation to find Leroy works as written, where the Investigators to the speakeasy, police, and locals to find Leroy. The section’s goal is to point the Investigators toward the Fayette funeral, where Leroy is set to play, while adding foreshadowing about the mob.
I also make the mob’s boss, Bonato, well-known for his occult ties. Which explains why the mob is interested in the trumpet and raises the stakes. Bonato wants to unleash the trumpet’s full power for his own personal gain, damning anyone in his way. Plus, the mob has guns.
If you want to add some more mythos to Dead Man Stomp, have the mobsters’ hangout serving, maybe named, Night Milk. It’s whisky tainted by Shub-Nigoroth’s, which can potentially set up Blackwater Creek as your group’s next adventure. (Provided, of course, your group visits the hideout.)
The Funeral & Beyond
The action port of the Fayette Funeral, where Leroy unwittingly awakens the corpse, is fun. What happens afterword isn’t. Since, having finally caught Leroy, it’s reasonable for the Investigators to take the silver trumpet. Maybe help Leroy “safely” resurrect his dead fiancée.
Dead Man Stomp disagrees. The module wants Leroy and the horn to be abducted by the mob the second he leaves the investigator’s reach. The players’ action be damned. Instead, they’re supposed to:
Follow the mobsters back to their hideout,
Watch as they kill one of their own,
Then test the trumpet,
Watch the zombie more people,
Allow Leroy to escape with the trumpet.
And, finally, the Investigators can catch up with the horn, once Leroy is moments away from using to “resurrect” his dead fiancee.
In short, a series of cut scenes where the Investigators can’t succeed. That’s frustrating for the Keeper and player. Though I sympathize with the attempt to add a tragic moment at the end where the Investigators talk Leroy down, or get swarmed with zombies for attacking him. And there is good guidance for what happens after.
The trick here is making the players’ successes and failures the direct consequences of their actions within the given situation. Here’s how I do it.
Adding Player Agency Back to the Climax
My rework begins before the funeral. I ensure the players know the mob is coming after Leroy and there’s a time limit. Usually through an off-handed or worried comment about “police” looking for Leroy. Maybe a tossed room.
Once the players figure out where the Fayette funeral is, they need to make a Drive or Luck check to arrive before Bonato and his cronies. Maybe with a penalty die for particularly slow groups or ones that take a side trip. Then, depending on success level use one of the following.
Failure. The Investigators arrive just in time to hear the horns, see the zombie rise, and watch mobsters clonk Leroy, stealing the trumpet. Whereas a Fumble adds zombies, who Bonato had gunned down and raised to make escape easier.
Success. The Investigators arrive moments before the mobsters but after the first zombie is raised. Or, with a Hard Success or better, before even then, giving the players an attempt to steal the trumpet or talk Leroy into handing it over. Either way, Bonato arrives to take the trumpet before the players can get away Scott-free. Likely including some stealth, a fight, and/or a car chase.
I also give Bonato a Rat-thing familiar, which can grab the silver trumpet. Its small size makes it harder to hit, especially when you’re not trying to shoot civilians. Plus, I want to weigh this encounter in the mobsters’ favor, as their goal is to retrieve the trumpet and retreat. Not kill the Investigators.
If the gangsters get away with the silver trumpet, the players have a couple of avenues. They can either track down the mobsters’ hideout or engage in a car chase. The latter example includes the former as a backup option while allowing for an Investigator to flex their Drive Auto skill. Either way, once the players have the trumpet and escape, the module is over.
Closing Thoughts:
Dead Man Stomp is a rough but salvageable one-shot with good ideas. Many alterations can be made to suit your group’s needs, too. For example, new players benefit from a more obvious plot. You can also emphasize Leroy and his past for a more tragic take. Or, if your group prefers something pulpier, lean into Bonato’s mobsters.
Thank you for reading and have a great day! Next week I’m going to move on to one of my favorite Call of Cthulhu adventures, Missed Dues.