Table Of ContentBy Kenneth Hite, Michael Tresca, Fritz Baugh, William H. Stoddard,
Aaron Allston and Douglas Kaufman
Written by KENNETH HITE, MICHAEL TRESCA, FRITZ BAUGH, WILLIAM H. STODDARD,
AARON ALLSTON and DOUGLAS KAUFMAN
Edited and Compiled by LOTHAR WOTAN YOT
Illustrated by ABRAR AJMAL, GUY BURCHAK, BRENT CHUMLEY, ALAN GUTIERREZ, JOHN MORIARTY,
TONY PARKER, ROWENA, DAN SCHOENING, DOUGLAS SHULER, BOB STEVLIC, ROGÉRIO VILELA,
BOB WALTERS and MATT WILLSON
ISBN 1-99666-666-4 1 2 3 4 5 6 7 8 9 10
C
ontents
Contents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 The Use of Mascots . . . . . . . . . . . . . . . . . . .19 Intelligent or Mindless? . . . . . . . . . . . .39
About GURPS . . . . . . . . . . . . . . . . . . . . . 3 Ghostbusting For Big Bucks . . . . . . . .19 Genius Loci . . . . . . . . . . . . . . . . . . . . . . . . . .40
Revenant . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
GhostbustinG. . . . . . . . . . . . . . . . . . . . . . . . . . . 4 3 ..CharaCters. . . . . . . . . . . . . . . . . . . . . . . . .20 Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
About the Authors . . . . . . . . . . . . . . . . . . . . .4 characTer concepTS . . . . . . . . . . . . . . . . . . .20 Elemental . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Ghostbusting Skills . . . . . . . . . . . . . . . . . . . .22 Restoring Fatigue . . . . . . . . . . . . . . . . .41
Campaign in Brief . . . . . . . . . . . . . . . . . . . . .5 Monsters as Characters . . . . . . . . . . . .22 Devil-Beast . . . . . . . . . . . . . . . . . . . . . . . . . .42
Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Character Design . . . . . . . . . . . . . . . . . . . . .23 Outsider . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Character Hooks . . . . . . . . . . . . . . . . . . . . . .23 oTher GhoSTly abiliTieS . . . . . . . . . . . . . . . .44
1 ..ParanormoloGy.101. . . . . . . . . . . . . . . . . 6 Secret Advantages and Disadvantages 24 Malevolent Objects . . . . . . . . . . . . . . . .45
The Science of GhoSTbuSTinG . . . . . . . . . . . . .9 Ghostbuster NPCs . . . . . . . . . . . . . . . . .25 Ghostly Equipment . . . . . . . . . . . . . . . . . . . .46
What Are Ghosts Made Of? . . . . . . . . . . . . . .9 iconic characTerS . . . . . . . . . . . . . . . . . . . .26 Animated Objects . . . . . . . . . . . . . . . . . . . . .46
So What Are Ghosts? . . . . . . . . . . . . . . . . . . .9 Peter Venkman . . . . . . . . . . . . . . . . . . . . . . .26 Ghostly Skills to GURPS Skills . . . . . .46
A Short History . . . . . . . . . . . . . . . . . . . . . . .10 Ray Stantz . . . . . . . . . . . . . . . . . . . . . . . . . . .28 Ghostbusting vs . Monster Hunting . . . . . . .47
Ghostbusters International . . . . . . . . . . . . . .11 Egon Spengler . . . . . . . . . . . . . . . . . . . . . . .30 More Monsters . . . . . . . . . . . . . . . . . . .47
Time Line . . . . . . . . . . . . . . . . . . . . . . . .11 Winston Zeddemore . . . . . . . . . . . . . . . . . . .32
Slimer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 5 ..bustinG.Ghosts. . . . . . . . . . . . . . . . . . . . .48
2 ..Ghostbusters.international. . . . . . . . .14 The Prehistory of Ghostbusting . . . . . . . . . .48
The Ghostbuster Franchise . . . . . . . . . . . . .14 4 ..Ghosts. . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 Ghostbusting Methods . . . . . . . . . . . . . . . . .48
Training Your Team . . . . . . . . . . . . . . . . . . .14 GhoST claSSificaTion . . . . . . . . . . . . . . . . . .36 Ghostly Motives . . . . . . . . . . . . . . . . . .49
Exclusive Territories . . . . . . . . . . . . . . . . . . .15 Classes . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 Ghostly Spoor . . . . . . . . . . . . . . . . . . . .50
Starting Equipment . . . . . . . . . . . . . . . . . . . .16 Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Stafnfi g & Scheduling . . . . . . . . . . . . . . . . .16 Depreciated Terms . . . . . . . . . . . . . . . . . . . .38 6 ..equiPment. . . . . . . . . . . . . . . . . . . . . . . . . .51
Corporate Positions . . . . . . . . . . . . . . . . . . .16 The SpiriT cabineT . . . . . . . . . . . . . . . . . . . .38 GhoSTbuSTinG Gear . . . . . . . . . . . . . . . . . . . .51
Franchisee Rights . . . . . . . . . . . . . . . . .17 Spirit Meta-trait . . . . . . . . . . . . . . . . . .38 Proton Packs . . . . . . . . . . . . . . . . . . . . . . . . .51
Work Orders . . . . . . . . . . . . . . . . . . . . . . . . .18 Apparition . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Ghost Traps . . . . . . . . . . . . . . . . . . . . . . . . . .53
Code of Conduct . . . . . . . . . . . . . . . . . .18 Poltergeist . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Ecto-Containment Units . . . . . . . . . . . . . . . .54
GURPS System Design ❚ STEVE JACKSON Prepress Checkers ❚ MONICA STEPHENS
Managing Editor ❚ ANDREW HACKARD and WIL UPCHURCH
GURPS Line Editor ❚ SEAN PUNCH Print Buyer ❚ MONICA STEPHENS
Production Manager ❚ WIL UPCHURCH Marketing Director ❚ PAUL CHAPMAN
Art Director ❚ STEVE JACKSON Sales Manager ❚ ROSS JEPSON
Page Design ❚ PHILIP REED Errata Coordinator ❚ ANDY VETROMILE
Production Artists ❚ JUSTIN DE WITT and ALEX FERNANDEZ GURPS FAQ Maintainer ❚ STÉPHANE THÉRIAULT
All original Ghostbusters images and logos are copyright of their respective companies: Ghostbusters is ©1984 Columbia Pictures. The Real Ghostbusters is ©1986
Columbia Pictures Television and DIC Productions. Ghostbusters II is ©1989 Columbia Pictures. Extreme Ghostbusters is ©1997 Columbia Pictures Television and Adelaide
Productions. All Rights Reserved. GURPS, Warehouse 23, and the all-seeing pyramid are registered trademarks of Steve Jackson Games Incorporated. Pyramid and the names
of all products published by Steve Jackson Games Incorporated are registered trademarks or trademarks of Steve Jackson Games Incorporated, or used under license.
Trademarks and copyrights are cited in this document without permission. This usage is not meant in any way to challenge the rightful ownership of said trademarks/
copyrights. All copyrights are acknowledged and remain the property of the owners. This game is for entertainment only.
C
ontents
It’s Only the Wind . . . . . . . . . . . . . . . . .94 aPPendix.ii ..Player.handouts. . . . . . . . .110
Adventure Scenarios . . . . . . . . . . . . . . . . . . .95 Business Cards . . . . . . . . . . . . . . . . . . . . . .111
The Sump Thing . . . . . . . . . . . . . . . . . .95 Certicfi ate of Merit . . . . . . . . . . . . . . . . . . .112
A Gross of Gremlins . . . . . . . . . . . . . . .95 Customer Bill of Rights . . . . . . . . . . . . . . .113
The Disappeared . . . . . . . . . . . . . . . . . .96 Customer Invoice . . . . . . . . . . . . . . . . . . . .114
The Little House in the Wood . . . . . . . .96 Damage Release Form . . . . . . . . . . . . . . . .115
The Atheist . . . . . . . . . . . . . . . . . . . . . . .97 Entity Analysis Form . . . . . . . . . . . . . . . . .116
The Inheritance . . . . . . . . . . . . . . . . . . .97 EPA Operating Permit . . . . . . . . . . . . . . . .117
And the Rain Came Down . . . . . . . . . .98 EPA Temporary Permit . . . . . . . . . . . . . . .118
The Wreck of ’53 . . . . . . . . . . . . . . . . . .98 Franchise License . . . . . . . . . . . . . . . . . . . .119
The Vampire Brief . . . . . . . . . . . . . . . .100 Franchise Contract . . . . . . . . . . . . . . . . . . .120
Running Adventures . . . . . . . . . . . . . . . . . .102 GBI Standard Will . . . . . . . . . . . . . . . . . . .122
The Water Ghost . . . . . . . . . . . . . . . . .103 Job Application Form . . . . . . . . . . . . . . . . .123
Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Personnel Record . . . . . . . . . . . . . . . . . . . .124
Rewarding the Players . . . . . . . . . . . . . . . .105 Work Order . . . . . . . . . . . . . . . . . . . . . . . . .125
The Elephants’ Graveyard . . . . . . . . . .105
Looking for the Holy Grail . . . . . . . . .105 Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
By the Light of the Silvery Moon . . . .105
PKE Meters . . . . . . . . . . . . . . . . . . . . . . . . . .55 biblioGraPhy. . . . . . . . . . . . . . . . . . . . . . . . .130
Ecto-Goggles . . . . . . . . . . . . . . . . . . . . . . . .56 aPPendix.i:.other.Planes. . . . . . . . . . .106 Non-cfi tion . . . . . . . . . . . . . . . . . . . . . . . . .130
Slime Blowers . . . . . . . . . . . . . . . . . . . . . . . .57 Astral Plane . . . . . . . . . . . . . . . . . . . . . . . . .106 Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
Flight Suits . . . . . . . . . . . . . . . . . . . . . . . . . .58 Boogieman’s Realm . . . . . . . . . . . . . . . . . .107 Comics . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Khaki versus Tacky . . . . . . . . . . . . . . . .58 Dream Worlds . . . . . . . . . . . . . . . . . . . . . . .107 Filmography . . . . . . . . . . . . . . . . . . . . . . . .134
Anti-Slime Suit . . . . . . . . . . . . . . . . . . . . . . .59 Ecto-containment Unit . . . . . . . . . . . . . . . .108 Television . . . . . . . . . . . . . . . . . . . . . . . . . .137
PKE Badge . . . . . . . . . . . . . . . . . . . . . . . . . .59 Ethereal Plane . . . . . . . . . . . . . . . . . . . . . . .109
Atmospheric Ionization Analyzer . . . . . . . .59 Flip Side Dimension . . . . . . . . . . . . . . . . . .109 index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Aura Video-Analyzer . . . . . . . . . . . . . . . . . .59
Ghostbusting Equipment Chart . . . . . .59
convenTional Gear . . . . . . . . . . . . . . . . . . .60
Useful Gear . . . . . . . . . . . . . . . . . . . . . .61 About GURPS
unconvenTional Gear . . . . . . . . . . . . . . . . .62
Common Wards . . . . . . . . . . . . . . . . . . . . . .62 Steve Jackson Games is committed to full support of the GURPS system.
Uncommon Weapons . . . . . . . . . . . . . . . . . .63
Our address is SJ Games, Box 18957, Austin, TX 78760. Please include a self-
Silver Weapons . . . . . . . . . . . . . . . . . . .64
addressed, stamped envelope (SASE) any time you write us! We can also be
Creating Gear . . . . . . . . . . . . . . . . . . . .66
reached by e-mail: [email protected]. Resources include:
Occult Readings . . . . . . . . . . . . . . . . . .67
Equipment List . . . . . . . . . . . . . . . . . . .68
Pyramid (www.sjgames.com/pyramid/). Our online magazine includes
Pack Units . . . . . . . . . . . . . . . . . . . . . . .68
new GURPS rules and articles. It also covers the d20 system, Ars Magica,
7 ..VehiCles. . . . . . . . . . . . . . . . . . . . . . . . . . . .70 BESM, Call of Cthulhu, and many more top games – and other Steve Jackson
Ecto-1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70 Games releases like Illuminati, Car Wars, Transhuman Space, and more.
Ecto-2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 Pyramid subscribers also get opportunities to playtest new GURPS books!
Ecto-3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
New supplements and adventures . GURPS continues to grow, and we’ll
Non-Ectos . . . . . . . . . . . . . . . . . . . . . . . . . . .74
be happy to let you know what’s new. For a current catalog, send us a
Alternate Ectomobiles . . . . . . . . . . . . . .75
Ghostbusting Vehicles Chart . . . . . . . .75 legal-sized or 9”x12” SASE – please use two stamps! – or just visit www.
warehouse23.com.
8 ..Ghostbuster.hq. . . . . . . . . . . . . . . . . . . .76
e23 . Our e-publishing division offers GURPS adventures, play aids, and
Choosing A Site . . . . . . . . . . . . . . . . . . . . . .76
support not available anywhere else! Just head over to e23.sjgames.com.
The Hood . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Errata . Everyone makes mistakes, including us – but we do our best to
Map: GB HQ - Basment & 1st Floor . . . . .78
Map: GB HQ - 2nd & 3rd Floors . . . . . . . .78 fix our errors. Up-to-date errata sheets for all GURPS releases, are available
on our web site – see below.
.9 ..PlanninG.a.CamPaiGn. . . . . . . . . . . . . . .80
Internet . Visit us on the World Wide Web at www.sjgames.com for errata,
Ghostbusting Campaigns . . . . . . . . . . . . . . .80
updates, Q&A, free web forums, and much more.
Campaign Length . . . . . . . . . . . . . . . . . . . . .80
Narrative Structures . . . . . . . . . . . . . . . . . . .81 Bibliographies . Many of our books have extensive bibliographies, and we’re
Boundaries . . . . . . . . . . . . . . . . . . . . . . . . . .83 putting them online – with links to let you buy the books that interest you! Go
hiGh-powered horror . . . . . . . . . . . . . . . . .85 to any book’s web page and look for the “Bibliography” link.
runninG horror . . . . . . . . . . . . . . . . . . . . . .86 GURPSnet . This e-mail list hosts much of the online discussion of GURPS.
Fright Checks . . . . . . . . . . . . . . . . . . . . . . . .87
To join, point your web browser to mail.sjgames.com/mailman/listinfo/
Multiple Fright Checks . . . . . . . . . . . . .87
gurpsnet-l/.
Cumulative Effects of Fear . . . . . . . . . .88
Cowards Die a Thousand Deaths . . . .89 Rules and statistics in this book are specifically for the GURPS Ba-
friGhT, awe and confuSion . . . . . . . . . . . . .90 sic Set, Fourth Edition. Page references that begin with B refer to that
Fright, Awe and Confusion Table . . . . .90
book, not this one. Page references that begin with PO refer to GURPS
Disadvantages from Fright Checks . . .91
Powers, other page references can be found on the updated web list at:
10 ..adVentures. . . . . . . . . . . . . . . . . . . . . . . .92 http://www.sjgames.com/gurps/abbrevs.html
creaTinG advenTureS . . . . . . . . . . . . . . . . . .92
Basic Structure . . . . . . . . . . . . . . . . . . . . . . .92
General Elements . . . . . . . . . . . . . . . . . . . . .92
C
ontents
G
hostbustinG
If there are ghosts, then not all of mission” column covers high strange- more library visits than he would make
them will be benign. When a living per- ness for Pyramid magazine, it has been anyway. His previous work for Steve
son steps into the world of ghosts, some- collected in two volumes to date. Ken- Jackson Games includes GURPS Ste-
one has to be on hand to help him out. neth holds an M.A. in International Re- ampunk and four other books, as sole
Ghost hunters look for ghosts. Mediums lations from the University of Chicago or co-author, as well as contributions to
talk to ghosts. Occultists study ghosts. and a Bachelor’s degree in Cartography. numerous other books.
Ghostbusters make sure the ghosts don’t He lives with his wife Sheila in Chicago
Aaron Allston
bite — and bite back if they do. with many a quaint and curious volume
If you’re running or playing in a of forgotten lore. He has never know- Aaron Allston became editor of Space
ghostbusting campaign or scenario, it’s ingly seen a ghost. Gamer magazine in 1980 also began
important to keep two things in mind: designing game supplements on a free-
Michael Tresca
environment and mood. All good ghost lance basis, for Steve Jackson Games and
stories are about locations, as the ar- Michael “Talien” Tresca is a writer, then for Hero Games. In 1983, shortly
chetypal haunted house demonstrates. speaker, artist, and gamer. He has pub- after Space Gamer won the H. G. Wells
Keep the setting’s feel about you; do re- lished three D20 modules: Tsar Rising, Award for Best Role-Playing Magazine
search on reputed hauntings. The genre All the King’s Men, and The Dancing of 1982, he went freelance full-time as a
begins with the “occult detectives” of the Hut from MonkeyGod Enterprises. He game designer, doing most of his work
Victorian and pulp steampunk eras, but has written numerous supplements, for Champions issuer Hero Games and
ghostbusting is still going strong from including Mercenaries: Born of Blood Dungeons & Dragons publisher TSR.
The X-Files to Danny Phantom. from Otherworld Creations, and Com- In 1988 he began working for West
Don’t get too hung up on logic, or bat Missions from Paradigm Concepts. End Games on Ghostbusters Interna-
rules, or looking up Fright Check modi- Michael contributes to Relics from AEG tional, among others. He branched into
fiers. Ghostbusting is campfire horror, and The Iron Kingdoms Campaign writing and by the mid 1990s had two
you and your friends against the dark- Guide from Privateer Press. He has also novels under his belt.
ness. Scare each other, and revel (just written magazine articles and reviews He began writing on the Star Wars
a bit) in the campy glory of it all, from for Spectre Press’ Survival Kit series, X-Wing series in 1997. In 2006, Allston
electric pentacles to proton packs. Dragon Magazine, Scrollworks, and D20 launched the Star Wars The Legacy of
And one more thing: don’t go into the Weekly, D20 Filtered and Pyramid. Mi- the Force series with a hardcover en-
basement alone. chael lives in Connecticut with his wife, titled Betrayal.
- Kenneth Hite who is an editor, and his cat, who is flu- Aaron lives in Round Rock, Texas
ent in English. with four cats, and a dog, avoiding the
rays of the accursed sun.
Fritz Baugh
Douglas Kaufman
Fritz contributed the Time Line, pp.
11-13. Fritz was a pretty active gamer Doug published his first game, Ace of
with a small circle of friends throughout Aces, while he was still in college getting
the late 80s and most of the 90’s. They his bachelor’s degree in General Dramat-
started with Ghostbusters: A Frightful- ics. He went to New York to become an
ly Cheerful Role Playing Game in 1986, actor, but ended up as a game designer
A
bout the about the same time The Real Ghost- at West End Games. There he worked
A busters was coming onto television and on such games as Star Wars: Star War-
uthors
blowing their minds. Fritz has written a riors, Arabian Nights, Kings & Things,
lot of Ghostbusters fan fiction, which is and Paranoia.
Kenneth Hite
readily available on the web. From there he moved into electronic
Kenneth Hite fervently believes that he gaming at Microprose Software and
William H. Stoddard
was the first person to buy Call of Cthul- Games Channel at America Online. He
hu in the state of Oklahoma, and has William H. Stoddard is a freelance did freelance work for Firaxis on Al-
been playing horror RPGs almost con- writer and editor living in San Diego, pha Centauri which led to his coming
tinuously since then. He wrote GURPS California, in an apartment crammed to Firaxis, where he helped design Sid
Cabal and the third edition of GURPS with books. He was introduced to RPGs Meier’s Alien Crossfire and Sid Meier’s
Horror, from which much of this book in 1975 and has played them ever since. Antietam. Now he’s designing state-of-
derives, and co-authored GURPS WWII: His main other hobby is research; new the-art, cutting edge games never before
Weird War Two. His “Suppressed Trans- game books give him an excuse for even conceived of in the history of man.
G
hostbustinG
s it with a smile and a small service fee. Despite the fact that ghostbusting
ummAry
Thus Ghostbusters International was involves a bunch of guys playing with
GURPS Ghostbusters is intended born. proton beams, ghostbusting isn’t only
to be a humourous pseudo-horror cam- aabboouutt bblloowwiinngg ssttuuffff uupp.. IInn ffaacctt,, mmoosstt
paign. The information presented here is gghhoossttss hhaavvee aa hhiissttoorryy tthhaatt nneeeeddss ssoollvv--
based on the movies of the same name. iinngg.. IInn tthhiiss rreessppeecctt,, GGhhoossttbbuusstteerrss iiss aa lloott
It can be adapted to work in other time lliikkee aa SSccoooobbyy DDoooo mmyysstteerryy,, oonnllyy tthhee bbaadd
periods, such as Victorian Steampunk, gguuyy nneevveerr ppuullllss hhiiss mmaasskk ooffff aatt tthhee eenndd
pulp era Cliffhangers adventure or even bbeeccaauussee iitt’’ss hhiiss
as a Call of Cthulhu scenario, although rreeaall ffaaccee..
this might be a bit of a stretch. It could
conceivably work in a near future set-
ting. For the purposes of this book, only
modern day campaigning will be dis-
cussed in detail.
C
AmpAiGn in
b
rief
What if ghosts aren’t really supernat- tt
hheemmee
ural concepts, but creatures with their
own biology? And if ghosts have their GGUURRPPSS GGhhoosstt--
own biology, by using scientific princi- bbuusstteerrss iiss aallll aabboouutt
pals, they could be thwarted – if not de- ggoooodd gguuyyss vveerrssuuss bbaadd
stroyed, at least captured. And if ghosts gguuyyss,, aalltthhoouugghh tthhee bbaadd
can be captured… well, then somebody gguuyyss tteenndd ttoo bbee ddeeaadd,,
might get rich doing it. ffrroomm aannootthheerr ddiimmeennssiioonn,,
Enter the Ghostbusters. Cobbled to- oorr bbootthh.. TThheeyy aarreenn’’tt aallwwaayyss
gether by a group of misfit scientists, gghhoossttss –– GGhhoossttbbuusstteerrss ddeeaall
they attempted to use parapsychology wwiitthh ““ssoommeetthhiinngg ssttrraannggee iinn yyoouurr
for profit and, at least some of the time, nneeiigghhbboorrhhoooodd,,”” aanndd tthhee ssttrriicctt ddeefifi--
succeeded. In the 1980s, ghostbusting nniittiioonn ooff aa gghhoosstt ddooeessnn’’tt aallwwaayyss
rode high on a wave of increased super- aappppllyy.. GGhhoossttbbuusstteerrss wwiillll fifirree tthheeiirr
natural activity and, thanks to a lot of pprroottoonn ppaacckkss ffoorr jjuusstt aabboouutt aannyy--
strange science the Ghostbusters avert- tthhiinngg tthhaatt wwiillll ppaayy tthhee bbiillllss..
ed many paranormal disasters. GGhhoossttbbuusstteerrss iiss cciinneemmaattiicc.. CCoo-- TThhrroouugghh
By the end of the 1980s, Ghostbusters iinncciiddeenncceess hhaappppeenn aatt jjuusstt iitt aallll,, tthhee GGhhoosstt--
were dealing with the supernatural, the tthhee rriigghhtt ttiimmee.. PPeeooppllee bbuusstteerrss aarree ddeecciidd--
unexplained and the just plain weird. wwhhoo tthhee GGhhoossttbbuusstteerrss eeddllyy rreeaall ppeeooppllee.. FFoorr
Life as a Ghostbuster is never predict- ddeessppeerraatteellyy nneeeedd eevveerryy mmaadd sscciieennttiisstt
able. The wax and wane of supernatural ttoo sseeee ((oorr nnoott oorr ppaarraappssyycchhooll--
activity seems to vary without rhyme or sseeee)) sshhooww uupp aatt ooggiisstt ssppoouuttiinngg
reason – with supernatural phenomena tthhee llaasstt mmiinnuuttee.. tteecchhnnoo--bbaabb--
spiking wildly in far-flung regions across AAnndd eevveerryytthhiinngg iiss bbllee,, tthheerree’’ss aa
the country. wwrraappppeedd uupp iinn aa ffeeww GGhhoossttbbuusstteerr,,
As the world changed, so too did the hhoouurrss.. AA sseessssiioonn ooff GGhhoosstt-- aa rreegguullaarr JJooee aatt
nature of ghostbusting. With a height- bbuusstteerrss sshhoouulldd nneevveerr bbee bboorriinngg.. hhiiss rreegguullaarr jjoobb,,
ened awareness for global terrorism, GGhhoossttbbuusstteerrss iiss hhuummoorroouuss.. GGhhoosstt-- jjuusstt ttrryyiinngg ttoo
the psychic energy matrix of the Earth bbuusstteerrss ggeett ffrriigghhtteenneedd,, tthheeyy ggeett bbeeaatteenn ttrraapp aa ppeesskkyy gghhoosstt,,
was boiling with anger, fear, and hate uupp,, aanndd tthheeyy rruunn aawwaayy ssccrreeaammiinngg ffoorr or stop- ppiinngg aa ddeemmoonn ffrroomm
– ghosts became more common than their mommies when confronted with destroying a city block. Ghostbusters get
ever before. “things man was not meant to know”. drunk, they get horny, and they some-
And what do you need when the But one shot of tequila later they’re back times get arrested – they’re unlikely he-
world is gripped in fear and suspicious in action, relatively unaffected by their roes, but they’re the only ones licensed
of everything that moves? You need near-death experience. to strap on a goofy backpack, drive
more Ghostbusters: men and women That’s the beauty of Ghostbusters. It’s around in a ridiculous looking vehicle in
who, backed by bizarre technology, supposed to be scary, it’s supposed to be the middle of the night, and zap unruly
blast streams of barely harnessed energy horrifying, but its also supposed to be spectres with proton beams.
at whatever you’re afraid of, and doing exciting fun. And their rates are reasonable too!
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Venkman: Egon, why don’t you tell us inhabited by ecto-material beings whose Stantz: So, for instance, we can see
a little about the science of ghostbust- consciousness impinges our own in a ghosts because they use PKE?
ing . complexly reinforcing way . These beings
Spengler: Right, although it is impor-
can, under certain conditions, manifest
Spengler: Certainly, Peter . To begin tant to realize that not all PKE manifes-
themselves in our 4d-space through the
with, you must realize that the four- tations are visible . Also, the use of PKE
manipulation of quantum instabilities
dimensional space our senses perceive to create a dimensional aperture permit-
in micro-scale space, which you must
is only a fraction of the total universe . ting visual observation is reflexive .
realize is foamy —
Quantum chroma-dynamics and mod-
Venkman: That’s what?
ern super-symmetry theory show that in Zeddemore: You mean, like shaving
Fact there are eleven dimensions . Maybe cream? Spengler: Let me put it in the simplest
twelve . possible terms, Peter . If you can see it,
Spengler: I mean that space, also, is
it can see you . And if it isn’t friendly…
Stantz: Eleven dimensions! quantized . . . but we’re getting off track
that may not be a good thing .
here . The point is that this ability to
Spengler: Or perhaps twelve . Most
manipulate quantum instabilities is, in Venkman: There you go again, with
grand unification theorists believe that
fact, a fifth form of energy in addition to that “good thing”, “bad thing” stuff .
the majority of those dimensions col-
the commonly accepted four — grav-
lapsed into pocket universes nanosec- Spengler: Sorry .
itic, electromagnetic, weak and strong
onds after the Big Bang . However, the
nuclear . Venkman: That’s okay, Egon . How
difficulty of quark-scatter experiments
about telling us about the more practi-
make verification of extra-dimensional Zeddemore: Let me get this straight .
cal applications of PKE .
dimensions problematical, and — You’re saying that demons, boogie-men
and all the other weird stuff we have Spengler: Of course . Now, although
Venkman: You’ve lost me, Egon . Let’s
to deal with are powered by the same previous researchers made their con-
go back to eleven .
thing? tributions, I think I can say with all
Spengler: Never mind, Peter . The due modesty that until I developed the
Spengler: Precisely! A form of energy
important factor here is that certain PKE valence field model of paranormal
we call Psychokinetic Energy, or PKE .
of these dimensions are, I believe, disturbance, parapsychology and related
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sciences were at a standstill . chose the Stay-Puft Marshmallow Man Zeddemore: Yeah… sure .
and we all almost died . . . uhh…
Venkman: I love this part – this theory Venkman: And how do you get rid of
is straight out of Thrilling Wonder Sto- Spengler: Correct, Ray . You chose the them once you find them’?
ries . form, and the PKE necessary to com-
Stantz: A proton pack stream/ghost
plete the manifestation was supplied
Spengler: Uh — yes, As I said before, trap combination is usually effective,
by Gozer . Nowadays, with the tools
PKE works through micro-scale although you’ve got to know where the
afforded us by modern parapsychologi-
disturbances in the foamy structure thing is in order to hit it, and a lot of
cal theory, we can affect paranormal
of quantized space and, at this scale, these babies just sort of seem to be . . .
phenomena in much more sophisticated
the observer has a direct impact on the somewhere . Now, a Class II ghost is
ways .
system, a fact long established in quan- really creepy — that’s where they start to
tum physics . This being so, the human Venkman: They’re talking about have actual physical characteristics and
mind, as a conscious observer of the proton packs and ghost traps, folks! I can physically manipulate things . But
whole system, can in fact manipulate love these guys — they always get to the Class II forms are vague or inconsistent,
PKE energy directly . point so fast! Ray, start us off with your like hands or lips just floating there,
classification system so everyone will
Venkman: All I know is that lovely Venkman: And removal?
know what we’re talking about .
young coeds often display amazing pow-
Stantz: Again, proton streams are
ers . Their other kinds of energy manipu- Stantz: Gosh, thanks Peter . First, let
usually effective . . . uh, sometimes,
lation aren’t bad either, me just say that Egon and I should
share the credit — strictly speaking, the Venkman: Don’t hedge, Ray .
Spengler: Precisely… I think . At any
classification of paranormal entities is
rate, Schrodinger’s gedanken experiment Stantz: Sorry . What I was about to
Egon’s —
with the cat is illustrative — say is that you have to be careful ‘cause
Venkman: Thank you, Ray . Now, what some Class II’s can fight back . And if
Stantz: I’m allergic to cats,
was that great system you had? they’re vapors too, they’re really tough to
Spengler: Ahhh… the point is that track down!
Spengler: Let him finish, Peter,
thought, coupled with emotion, can
Venkman: So a Class II can be a
bring about changes in the physical Venkman: Later, Egon . Go ahead, Ray .
vapor, too?
world . The extent of these changes is
Stantz: Right . The first step in clas-
limited only by the amount of extra-di- Stantz: Oh sure, All these special
sifying any dimensional cross-nexus
mensional energy the individual mind modifiers can apply to any Class . So,
manifestation is deciding its physical
can tap . like I was saying, a Class II vapor is
representation . For instance, a Class
tough, but Class III’s and IV’s are even
Zeddemore: So you mean I can turn I specter is defined as an undeveloped
worse! They’re actual distinct human
someone’s hair white, win at the races, form, insubstantial and difficult to
forms, although they can change their
or move a six-ton safe just by thinking see . Interaction with the environment
shape sometimes .
about it? is limited and enigmatic, like spectral
lights, voices or sounds . Most of these Zeddemore: Like that ghost you guys
Spengler: Yes, although it’s a little
are capable of travelling through walls met in the New York Public Library .
more complex than that, Winston .
and other physical objects — anything
Indeed, the theory necessary to permit Stantz: Right! And the only differ-
that can do that is called a vapor .
such dramatic changes is still far from ence between a Class III and a Class IV
a complete formulation, but the fact Zeddemore: Sounds like they’re re- is that no one knows who a Class III
is that such phenomena do exist in ally hard to chase, ‘cause we can’t go ghost used to be . As soon as investiga-
nature . Of course, since everyone has through walls to hunt them down . tion reveals the former identity, the
this ability to a greater or lesser extent, ghost is reclassified as a IV . This also
Stantz: That’s true . Fortunately, most
people also have defenses . Turning makes it a lot easier to talk to and,
ghosts are focused . That means that
someone’s hair white if they don’t want ultimately, to get rid of,
they can’t leave the area or building or
you to, can be very difficult .
wherever they first appear . That makes it Zeddemore: So, who was the ghost in
Stantz: And yet, people have been do- easier . library? After you investigated?
ing that sort of thing for a long time .
Zeddemore: You mean they can’t Venkman: We don’t talk about that
Spengler: Certainly . Primitive magic move? here, Winston . Sorry, Ray .
— such as the use of sacrificial virgins,
Stantz: No, no . A ghost that can’t Stantz: That’s okay . One other thing
voodoo, trance magic — is an attempt
move at all is called a non-roaming about Class III and IV ghosts is the
by the unsophisticated to harness PKE .
phantasm, as opposed to those that distinction between half and full torso
Great resources can be tapped by those
can move, which are full-roaming . So apparitions . Full torso apparitions are
who know where to find them .
a non-roaming ghost is focused, but a really rare — usually a Class III or IV
Stantz: Right! Like the time we battled full-roaming ghost can be focused or ghost is indistinct from the chest on
Gozer the Gozerian! Zuul asked us to unfocused . Get it? down .
choose a form for our destruction and I
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Zeddemore: But the ghost in the werewolf, which would be a fairly weak studies is another aspect of ghostbust-
library was — owww!!!! Class VI, there’s documentation to show ing which we are only beginning to
that only silver can harm it . So I’ve understand . The collective unconscious
Venkman: Sorry, Winston, but there
designed a proton pack using silverized often affects the PKE matrix in unex-
was a tremendous bee on your back . Go
materials, just in case . In other words, pected ways . Numerous reports of flying
ahead, Ray .
there may be ways to handle even the saucers, dating from ancient times —
Stantz: Okay, next are the Class V’s, toughest beings, if you know their weak-
Stantz: There was this great movie on
which are ectoplasmic manifestations nesses .
last night, Plan 9 From Outer Space!
of definite but nonhuman form . Some
Venkman: And if this pseudoscientific And the story was that —
of our theories suppose that Class V’s
gobbledygook doesn’t do it, sometimes
are formed from emotionally-charged Spengler: Yes, Ray, we know . Also,
you can smooth-talk the spook and
events or as side effects from ritual sum- history records many accounts of corpo-
figure out its problem, and get rid of it
monings . To get rid of them, you can real creatures from alternate dimensions
that way .
use a proton pack, but sometimes you’ll or different planes of existence . The
get what’s called a repeater . That’s Loch Ness monster, by contrast, is
a ghost that just keeps on com- in all probability no more than a
ing back until you find out what’s single plesiosaur surviving into the
summoning it in the first place . modern era —
Now sometimes the local PKE is
Stantz: Or the Jersey Devil! Man,
too weak to support more than a
what a creepy creature that was —
few recurrences of a specter, but
other times you’ll get a non-ter- Spengler: Ray, we’ve been
minal phantasm — they just keep through this before . The Jersey
coming back . Devil obviously entered this dimen-
sion through a child’s PKE blasting
Venkman: Like that ugly little
open a fifteen-fold cross rip, and
spud in the hotel Sedgewick .
is therefore a truly paranormal
Stantz: Right! Only that “ugly creature .
little spud” is actually a Class V
Stantz: But what about Grey’s
Full-Roaming Vapor, and a focused
refutation? And the example of . . .
and non-terminal repeater .
what was his name?
Venkman: It’s still a spud .
Venkman: Don’t argue, guys .
Stantz: Next we have Class VI It’s undignified . Now I think the
spooks, which are nonhuman ani- point is that many of the things
mal ghosts . For instance, O’Malley we were called upon to investigate
reports that the ghost of a penguin from Zeddemore: Just like you guys got rid are, strictly speaking, not ghosts . But
the Central Park Zoo once was observed of the ghost in the library, right? Didn’t I say: don’t let that deter you from the
attacking a mugger . To get rid of these do any good, did it? If talking doesn’t relentless pursuit of knowledge, or the
often requires research into the animal’s budge it, I say keep your proton pack collection of handsome fees!
habitats, natural enemies, and so on . It handy .
Spengler: In the interests of science,
doesn’t do too much good talking to a
Venkman: Okay, Egon, how about you may be called upon to confront
penguin, does it!
finishing us up with a brief discussion enigmatic, terrifying creatures . But per-
Venkman: No, Ray, it doesn’t . Tell us of things that aren’t ghosts but are still severance in the study of the unknown
about the last classification . “supernatural .” may reveal invaluable knowledge,
perhaps the very keys to the universal
Stantz: Class VII! Oh, those nasty Spengler: Ah, yes! Well, despite the
riddles of time, space and energy
Class VIIs! These are the meta-spectres, contribution to the developing science
like Zuul and Gozer, with extra-dimen- of paranormology, a large portion of Venkman: Or even how to find a park-
sional powers far beyond human ken . paranormal phenomena remain unex- ing space in New York!
They’re also sometimes called “demons .” plained . Indeed, because of the nature
Spengler: *Sigh*
of the subject matter, darker forces often
Venkman: Any tips on demon-busting?
attempt to obscure facts and make Venkman: So let me just conclude by
Stantz: Not really . The best solution is investigation inconclusive . saying that, as Ghostbusters, our job
usually to prevent them from entering isn’t always easy . It isn’t always what
Venkman: You’re saying that ghosts try
this dimension in the first place . you expect — and it isn’t always ghosts .
to obscure the facts to protect them-
But when there is no one else out there
Spengler: I’d just like to interject that selves? Or is this just an excuse for
to help innocent people in desperate
it’s important to remember that there is shoddy research, Egon?
trouble, it’s up to us . . . the noble, selfless
a grain of truth in every superstition .
Spengler: Ahem . For example, Xeno- Ghostbusters . . . to save the world!
For example, if you’re dealing with a
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he CienCe of
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hostbustinG
A Ghostbusters game is something tofore-unclassified plasmas, positively purposes these various energies should
that shouldn’t take a lot of thinking, ionized electrostatic fields like St. Elmo’s be treated as psychokinetic energy or
especially on the part of the players. fire. Since natural plasmas appear in ball PKE, unless GM chooses to segregate
They don’t need to know why something form, perhaps plasmas explain the sight- them into different classes or types.
works, only that it does. This may not ings of “orbs” — balls of ghostly light.
always be satisfactory to the Game Mas- Regardless of current theory, for game ss WW A
oo hAt re
tteerr,, oorr ttoo ssoommee ooff tthhee mmoorree sscciieennttiifificcaallllyy
inclined PCs. GGhhoossttss?
W A TThhee ttrraaddiittiioonnaall aannsswweerr,, aanndd ssttiillll tthhee
hAt re
mmoosstt ccoommmmoonn tthheeoorryy,, iiss tthhaatt gghhoossttss
G m aarree ddeeaadd ssoouullss,, wwaallkkiinngg tthhee eeaarrtthh
hosts AAddee
rraatthheerr tthhaann mmoovviinngg oonn.. HHoowweevveerr,,
of? tthheeoorriieess ooff gghhoossttss’’ nnaattuurreess hhaavvee
cchhaannggeedd oovveerr tthhee yyeeaarrss.. FFrreeddeerriicc
BBeeffoorree sscciieennttiifificc iinnvveessttii-- WW.. HH.. MMyyeerrss,, ccoo--ffoouunnddeerr ooff tthhee
ggaattiioonn,, tthhee qquueessttiioonn wwoouulldd SSoocciieettyy ffoorr PPssyycchhiiccaall RReesseeaarrcchh,,
hhaavvee sseeeemmeedd lluuddiiccrroouuss hhyyppootthheessiizzeedd tthhaatt gghhoossttss wweerree
—— gghhoossttss wweerree mmaaddee ooff tthhee ““ppssyycchhiicc rreeccoorrddiinnggss”” iimmpprreesssseedd
ssaammee mmaatttteerr aass ssoouullss,, nnoo oonn aa ssiittee bbyy tthhee ppssyycchhiicc ffoorrccee
mmaatttteerr wwhhaattssooeevveerr!! BBuutt ooff ppeeooppllee wwhhoo ddiieedd tthheerree.. LLaatteerr
aass sscciieennccee ddiivvoorrcceedd iittsseellff tthheeoorriissttss eellaabboorraatteedd oonn tthhiiss ccoonn--
ffrroomm rreelliiggiioonn,, ssppiirriittuuaall eenn-- cceepptt,, ssuuggggeessttiinngg tthhaatt ssoommee ppeeoo--
eerrggyy nneeeeddeedd aa nneeww iiddeennttiittyy;; ppllee lleefftt iimmpprriinnttss oonn tthhee ““ppssyycchhiicc
iinn 11885522,, KKaarrll vvoonn RReeiicchheenn-- eetthheerr”” tthhaatt sslloowwllyy ffaaddeedd oovveerr tthhee
bbaacchh nnaammeedd iitt tthhee ““OOddiicc cceennttuurriieess,, bbuutt tthhaatt ppssyycchhiiccss aanndd
ffoorrccee..”” EEmmiinneenntt pphhyyssii-- sseennssiittiivveess ccaann rreeaadd tthhee ttrraacceess iinn
cciisstt SSiirr WWiilllliiaamm CCrrooookkeess ““hhaauunntteedd”” llooccaattiioonnss..
ppooppuullaarriizzeedd ““ppssyycchhiicc These theories remain cur-
ffoorrccee,,”” wwhhiicchh bbeeccaammee rreenntt,, aalltthhoouugghh eelleemmeennttss aarree rree--
tthhee ddeeffaauulltt tteerrmm.. SSoommee ppllaacceedd wwiitthh tthhee eelleeccttrroommaaggnneettiicc
sscchhoollaarrss vviieewweedd tthhiiss fifieelldd,, chi field, or “global aura.”
ffoorrccee aass aann iimmmmaattee-- ““PPssyycchhiicc rreeccoorrddiinnggss”” ggoo tthhrroouugghh
rriiaall oorr ttrraannssmmaatteerriiaall tthheeiirr aaccttiioonnss iinn aa pprreeddiiccttaabbllee,, ccoonn--
ssuubbssttaannccee ssiimmiillaarr ttoo ssttaanntt wwaayy ((lliikkee aa fifillmm lloooopp)) aanndd ddoo
““lluummiinniiffeerroouuss eetthheerr..”” nnoott iinntteerraacctt wwiitthh wwiittnneesssseess.. TThheeyy
PPoossssiibbllyy aass aa rreessuulltt ooff JJ.. aallssoo ssttiicckk ttoo tthhee ssaammee ppllaaccee —— eevveenn iiff
BB.. RRhhiinnee’’ss ppssii rreesseeaarrcchh tthhee wwaallllss,, ddoooorrwwaayyss,, flfloooorrss,, oorr ootthheerr
iinn tthhee 11993300ss aanndd 11994400ss,, tteerrrraaiinn hhaavvee bbeeeenn rraaddiiccaallllyy aalltteerreedd..
tthhee tthheeoorryy sshhiifftteedd.. RRaatthheerr TThhiiss lleeaaddss ssoommee iinnvveessttiiggaattoorrss ttoo ssaayy
tthhaann aa ssppeecciiaall ttyyppee ooff eenn-- tthhaatt gghhoossttss aarree aaccttuuaallllyy ““lleeaakkss”” tthhrroouugghh
eerrggyy ssuucchh aass OOddiicc ffoorrccee oorr ppoorrttaallss bbeettwweeeenn ddiimmeennssiioonnss,, mmaaddee uupp
WWiillhheellmm RReeiicchh’’ss ““oorrggoonnee,,”” ooff ssoommee eexxttrraa--ddiimmeennssiioonnaall eenneerrggyy tthhaatt
gghhoossttss bbeeccaammee ppaarrtt ooff tthhee ddooeessnn’’tt mmaapp ttoo oouurr ddiimmeennssiioonn’’ss pphhyyss--
eelleeccttrroommaaggnneettiicc ssppeeccttrruumm,, lliikkee iiccss.. IInn tthhiiss tthheeoorryy,, ““hhaauunntteedd hhoouusseess”” aarree
rraaddiioo wwaavveess oorr uullttrraavviioolleett lliigghhtt.. aaccttuuaallllyy ““eetthheerriicc wwiinnddoowwss,,”” ooppeenniinnggss ttoo
MMooddeerrnn gghhoosstt hhuunntteerrss uussuuaallllyy aacccceepptt ootthheerr ppllaanneess,, lliikkee lleeyy lliinnee nnooddeess,, ssaaccrreedd
tthhiiss tthheeoorryy,, aalltthhoouugghh ssoommee iinnssiisstt oonn wweellllss,, oorr cceemmeetteerriieess.. PPeerrhhaappss tthhoossee lliivv--
aaddddiinngg ““aauurraass,,”” iimmppllyyiinngg tthhaatt gghhoossttss iinngg oorr ddyyiinngg iinn tthhee ppoorrttaall iimmpprriinntt oonn tthhee
aarree ssiimmppllyy ““bbooddiilleessss aauurraass..”” oouuttssiiddee eenneerrggyy,, ccoommbbiinniinngg rreeccoorrddiinngg
RReecceennttllyy,, eexxppeerriimmeennttss iinn ppllaassmmaa aanndd ppoorrttaall tthheeoorryy..
pphhyyssiiccss hhaavvee bblleedd iinnttoo ppaarraappssyycchhoollooggyy,, AAlltteerrnnaatteellyy,, ppeerrhhaappss tthhee wwiittnneesssseess
aanndd aa nneeww tthheeoorryy ssttaatteess gghhoossttss aarree hheerree-- tthheemmsseellvveess iimmpprriinntt oonn tthhee ppoorrttaall’’ss eenn--
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