How To Play ‘This is what you do when you are playing your hunter. Hunter Agenda When you're playing your hunter: Act like you're the hero in this story (because you are). Make your own destiny. Find the damn monsters and stop them. Play your hunter like they're a real person. ‘Think like your hunter would think. Do what your hunter would do. Remember that you're a badass: extremely dangerous, and good at what you do. ‘When you get into a fight, you might take a lot of harm, but hunters are lucky and heal quickly. Use Luck to avoid harm if you need to. Alternatively, you can hold on until the end of the fight and then take a break to rest up and heal. For the full harm and healing rules see here. You need to work out what’s behind each situation, Then work out how to find it and what its weaknesses are. Then kill it. ER OF THE WEEK The Game Is A Conversation This is an improvisational game in which you create a story together. ‘The story emerges from a conversation between the players, with the Keeper describing the initiel situation and the rest of the players describing what their hunters do in response. This leads into an ongoing back-and-forth between the Keeper and hunters. The Keeper will ask you questions and describe how the inhabitants of the game's world react, based on your answers. The Keeper will also present you with situations and crises to do with the monster you're hunting and its potential vietims. These require new decisions from you about what happens next: you'll deseribe what your hunter does, and make moves when they're called for. Each of your decisions and actions will lead to new situations. When deciding how to react, think like your hunter and keep your agenda in mind. MovesHunters make moves to find the monster, and to defeat it, Moves are moments of danger and uncertainty. You never know quite how they'll turn out Your hunter's moves cover all the things you can do where the game's rules get involved in the story. Most of the time, you'll be describing whet your hunter says, where they go, or what they do without activating a move, That goes for everything that a normal person could do, in situations where failure would not be interesting and where there’s no particular danger. In circumstances where a normal person couldn't do what you want to do, or the drama of the story requires it, or it's dangerous, that's when the moves come in and control how well you do. Here are some examples: Archer is checking out the site of a monster attack, There's blood and guts all over the place, and police have walked in and out of the area. Archer starts trying to track where the monster went after the attack. When she makes the investigate a mystery move, what does she discover? Chris realises that a ghul is sneaking up on him, so he gets out his sawn-off shotgun and blasts it in the face as it leaps for him. Does Chris get hurt? He makes the kick some ass move to find out how bad his injuries are and what happens to the giul. A roof-beam comes down on Ted as a giant spider smashes through the wall and scampers to freedom. Ted's partner, Rainer, grabs a chair and tries to wedge the beam so there's room for Ted to escape. Does she succeed? How badly is Ted hurt? Is he trapped? She needs to make the act under pressure move to find out. You Have To Make The Move Akey element of the use of moves is “You have to make the move.” ‘This means that if you want to (for instance) manipulate someone in the game, you need to describe your hunter doing that. How do you ask? What do you offer, to make them do what you want? Why would they believe your offer is genuine? For example: Alan, the Keeper: “The flayed one is racing you to the car, and it looks like it’s going to get to you before you can close the door. So Mark, what do you do now?”Mary, playing her hunter Mark: “I kick some ass!” Alan: “What are you doing?” Mary: “I'm going to smash it out the way with my baseball bat so I can get in the car.” Alan: “That sounds like you're not really getting into a fight: what's most important? Killing the flayed one or getting to the car?” Mary: *Oh, yeah, killing it I guess. Til stop running and just start smashing it on the head.” Alan: “Sure. The flayed one brandishes its skinning knife as it grabs you. It screams, ‘You will become one of us now, hunter!" Now roll kick ass.” It works the other way too—if you are describing what you are doing, someone might notice that you are making one of the moves. In that case, go ahead and roll the dice to see what happens. For example: Alan: “Okay, you get to the place the body was found. You can still see some bioodstains on the conerete, and there’s some scratches there that might be related to the attack.” Mary: “I want to carefully check the bloodstains, to work out how she was killed. Like is it a blood spray from a torn throat or did she bleed out slowly from a wound or what?” Alan: “That sounds like you're investigating a mystery. Why don’t you roll?” Sometimes the Keeper will ask you questions to clarify what's going on. That's cool; for the game to work, everyone needs to clearly understand what's happening, so make sure your answer in as much detail as you can, Rolling the Dice Often the rules for 2 move will tell you to roll, say, +Cool. This means you should grab two everyday six-sided dice, roll them, add them together and then add whatever number is written down for your hunter’s Cool. If it says something else instead of Cool (usually another rating), then add that number instead. So, if you are told to roll +Weird, roll two dice and add your Weird rating. If you are told to roll +Tough, roll two dice and add your ‘Tough rating. If you have a negative rating, like 4, then you subtract one from your total instead. The move description will say what the different results mean. Usually, 7 or higher is good, and 10 or higher is really good. A result of 6 or lower is a miss, which means the Keeper will have an opportunity to serew your hunter over.