SS CAMA — by CDark Huncer, Scephen Kenson, lan Lemke, Naney Schulez-Uercer TELAT RAAT IAA URNCredies vA Written by: Mark Hunter, Stephen Kenson, fan Lemke, yen Herman, Bock Marchinton, Neil Mick, Nicky Rea, Nancy Schult-Yetter Developed by: fan Lemke dior Salli M. Trusion Art Dineetort Aileen E. Milles ‘Layout and Typesetting: Conan HL Verus Arti)obin Dollar, Steve Elli, Michael Gaydos, Pia Guetta, Jeff Holt, Mack Jackson, Paul Philips, James Stowe, Drew Tucker Front Cover Art: Michael Gaydos Front and Back Cover Design: Conan H. Venus IOS. TZ oH, i oy SIG ol © 1998 White Wolf Publishing, Inc. All rights reserved, 73 Pa ona BU. Reproduction without the writes permisioe of the publisher SUTE D8 is expressly forbidden, excepe fr the purposes of reviews, and forblank character sheets, phich may be reproduced for per- CUIRKSTON, GA 3002[ sen! we only. White Wolf, World of Daskness. Vampire the ¥ Masquerade, Vampire the Dark Ages and Mage the Ascension Sh ave registered trademarks of Whace Wolf Publishing, Inc. All Tart rights reserved, Trinity, Werewolf the Apocalypue, Wralth the Ant STonto ‘Oblivion, Changeling the Dreaming, Werewolf the Wild Wesc, ‘Worl of Backnoss Combas, The Bec of Lost Dreams, Bresou and Nightmares, The Storytellers Gutde to the Subbat, Nobles the Shining Hast, and sleof che Mighty ate rade marks of White Wolf Publishing, Ine, All sichis reserved, All characters, aunes, places and text herein are copyrighted by White Wolf Publishing, foe The mention of or reference to ang company or product in these pages is nota challessge to the teodemark or ccopsright concerned. Thistbook uses the sopermacural for setings, characters and themes. All mystical and supernatural element are fiction and intended for encertalnenent purposes only, Reader discretion is advised Checic out White Wolf online at herpufarwy.shite-wolfcoms ak games. whicewol and eee.games frp storyceler PRINTED IN USAConcents Facriecale: The Tetlers Tale Incroduccion Chapcer One: Oy Chapcer Tuo: Dedig aN Chapcer Three Pat sing) he & Chapcer Four: Suppiercing gC Ree Chapcer Five: O@ x la gicIO Chapcer Six: Odset Pr Appendix. eS SAI AIRE TS Se aMAE RAL ay mA = ame {Bark ts yonder coun, Darl are these within, RE tare the brew sen, fog within ferese!y hearts Beneath your and owigues bencath sever foet, cd wil they ser “Blewing vera Young Person's Leaving Home” “Heys hat yo pierced the sound swhoclatcest the“ ‘The high-pitched voice Seif feltatwinge somewhereinside his head wad glasced the slender young man down at che bundle thac was cavered ong.chingareetwrapped liner — cradled is bis atm like Because of you, J haw leferny job and, wn my fame ated parents, ton, Don't wurry. I wien’ fart yon, no (SR matter aot tbe cont Seif drew hiraselé away feom the thoughts that threate ened to overwhelm him, Finally, he noticed the eauele of neighborheod kids huddled se. the doorway of one of the ban doned building on the seveet. He coumedsx one aver 12, most of them 54, cheap emitariony | smattering of hots, bandannas a the children gathered hell awaited a tall for his passage. 1 seeks so pay old mex foes once durae , So of sis neigh Facniecale: The Tellees Tately the leader from the respect ¢ other. “We could 1, my young friends, site and madaens, I'l tell you ng in rental furniture. § patter store, as had most of the neigh! because the weekly payrmence were affordable. Tom Lincoln led! way back inco the dusky tntertor of ey te not right (ns frontof the crack house ght. hey were settled on amish dy to soe what th them, Eup mi 0 justify to msl what must do? 2a i oe President, but he ruled over who lived im thax land — le 1 of the Dream SI a = = > me“Though he did not know it until jure few moments ~ pos” Seif said as he realised why he had fele compelled to tell che children his story, "the storyzeller now thinks he knows why he was choven for this seaech. He will cravel wut the kingdom end tell chis tale to any who wall ‘Wiren, He will ask them to tell their friends the story s0 that ‘rean be passed on 10 0s many people as possible. And when someone who: hes It ay know und, or he king may hear af it and find his way howe.” Seif stood, stretched his muscles and cited to judge the ‘effect by ‘had on the “gang.” He glanced at his waech ‘and sw thache had only on hour or so before his parents left forthe day. He'd have to larry, Luckily, chey lived just wa Blocks away: “Lave che rain is letcing up 0 Hecle. New i che time te fun becween the raindrops ifang af you want eo go ta school tad leaen of the adventures waiting for you there. I uit be ‘om my way. There ic much for me to do and I must see my Farents kefote they Leave for work.” “You still didn’t tell us what's in the tack!" "The leader ‘stood and looked at Seif threateningly. Did’ Ef Then { must beg your parton fer not being the storyteller ] thought myself to be. What is in che sack? Just a smard, roy young friends, only a blade in search of a lose companion.” Some of the kids laughed. A few muttered "Wacko" oe “Loon” under thelr breaths. The leader locked far support tut found most of the others deifting away. “Still looks like ‘agun to me," he finally scated and swaggered from che room, ‘Seif looked after him and said sadly, "And so it shall probably always be 2 gun te you. I am sorey | could noe ‘change that for you.” “I believe you." The woice thac said chat was so quiet ‘hat Seif wasn’t certain he bad heaed wat ties, Tuming: be ‘aw Thomas Lincoln huddled on the crate he'd occupied tdaroughout the story, “Could I-see it? Tor smiled. Seif walked to the table and unarapped the blade. Lifting te from che concesling folds of the gaibage bog, he held it out for Tom’s inspection. The boy extended a hand towaed the swood andsaw a rusty, pited thing hardly woreh keeping. “I believe,” Tom murobled co hismelf and closed his eyes, lettin his band feel the silky mecal of the blade, ‘Startled by it: smoothness, he opened his eyes — —andfell into adream. Clashing itsagescrawled across ‘his vision; shouts and seteams echoed together with poetry and the sounds of bindiong and harps. He clothed in silks and velvets, standing tall a amida roomful of beautiful menand women. Bowing tolim, they-called him “chronicler” and “noble one.” Other images raged through his mind, roo — things he would york out later. For now, he knew his true name was rand. which means Truth, He was one of the Breakin known aa ceshy, just asthe storyteller. The young boy opened his eves cand stared up at his kichmate, “Ie’sall true,” he laughed. “Yes, even the unhappy parts,” Seifexcended aband vothe newborn chilling. He won't by aching ong, though, from ihe {ok of hin. "You'es just gone throughs your Chrvaalis, courtesy (of Cabburn [would notrally be glad tobe your mentor in your new life, buc mast leave before the day 1s out.] would be glad toiinirxdoce you to Myrtle, who helped me when | frst became aware of roy true self." Haw dil he Rave such on easy Chrys West becouse ofthe sword?” Inside his head, Self felt Calvburn respond. He isthe ov ‘who will eke your place as a teller of tales for the drearmers here, ‘Ogomocana will remember the story-you've tole hin are e'tl elie 19 ubomever wl cen, “Will she teach. me what I need to know?” Ogomotana ‘seemed very small eo the oldeceshiu as the boy sh teed from one foot to the other. “Of courre she will, and you will become the greacest scorer of usa." Seifclapped a hand on the boy's shoulder. Just don't forget. Remecober 1 won'cbe here after today. wish could stap and guide you, kurt ony quest comes firs. 1 always thought (d be a teller of cabs, [never thoughe I'd be tse story.” Buu | cm the story nou, en i's ime 1 pass on she mane of tle teller to sovweore else. My job i to find Dravid canal who bewer ba Toate the king chan an esha? Whatever mnatthe quest kes men, ‘if follow my hear, 12 find iim, ‘Thechiblling’s eyes gleamed with sudden selknowledge. Dignity surrounded hire like acloakas he gazed at Seif and drew ‘himself up to-his fall height. Seif admired the dark raiment of the childbing’s valle, hinchimesical clothing, with is ineicace ‘folds and sparkling decorations looking like the night ky. The ‘elder eshu accorded the chidling a bow, as berween equals. “Lwon'e forget, Se Oycrootanaassuredhim “Youcan goon ‘yourcuesc without warries (heard every word of yourstory an remember i al!" Though his words wece serious, the chiding’ ‘eyes hinced at mischief "Infact {may even make i beter!” Troe A RAI wea ss“‘Scores, myth, legencl.chese ate be thing that Change: ling ts oll about- Changeling offer us an opportunity to step tute our ives av experiecce something fantastic — tolive a pate of our dreams. Unlike other types of games, roleplaying games don't necesaily have winners or lasers. Yes, a chamezer can die 2)} (which some might consider losing), ot be aranted a high- ranking cil and retire from the active life chat most player ‘Gharncterenjoy fodhers might think tis tobe wining). et inthe end, itisall part of che story, and telling stones i what Changeling U made fo. sinced ules, which i what books lke this ate ch chese rules and to hopeflly wake things abe ‘enter. New rlesaze not reapant thin the pageaof this mide —rather, ina, suggestions and claifcationsace presented for ting che exiting rules How co Use This Book ‘The following are outlines of whar one can expect co find in each of the chapters, * Chapter One: Once upon a Time goes into great detail concerning many aspects of telliny a succesful story and ebonicle. Changeling Searyreliens Guide * Chapter Twot The Storyteller's Corner offersinughts, suggestionsand answers fr 1 ctl fromthe Playing the Rules looks ar methork of sliminating dice laying whenever posible a muse foe Scorers who prefer story over dic-rolling * Chapter Four: Supporting Castsetals how to bvingliie vo mortals, chimera and acher Workd of Darkness aspects in ‘your Changeling chroricle, Ths chapeet is iwahuable to any Storyteller who feels chac his chronicle Tacks outside infu * Chapter Fiver Other Places, Other Dreams explaves strange new worlds and alternate time erdods for you eo sec ‘your Changeling story. Also it sugeests a variecy of backdrops and system guidelines for alremate settings. sdveetly ftom the Storytellers ithe field A flurry o are coered here, all tem the perspective of indivi rellers whorhave been thSai ara eee meee A Reminder of che Golden Ruile ‘The Gokion Rule of storycelling la the ene moet often Teferred to in che Storyteller system, and yet, we are forced 1 Fetog Ut cp tame und tire apni. 1 is rumored in. books, at eecvesons, via'e-mail, phone calls and leters. This “all fexporcanc rule” inthe Gollen Rule; che rule thacseaves that if olidon' nvessand x rue, you don't ike ior yo jase want tory omething ebe instead, hen ky al means, make i ut When you play Changeling, it becomes your garue-.. your tary. Weare here wo provide you with x rich environmen in sich you can set your stories — not ta be reles-pclice, who ‘Wietare exactly how much damage a changeling takes from falling oat ofan airplane at 30,000 fet while being shot by 2 Riphcalibr aiault rif. jst a8 You should noc expect us to etn every vacation of what happens f «vampire Embraces Achangeling. There ave Wot and dessinies for yau to deter: ihe. You should eur your judgment aed proceed wish what makes the bese story. If ie works for the story chat a changeling Enbeaced by a voupire eecins all of her merncriex, then go with it; nothing is stopping you. The Gatiain Here isa ise of many ofthe Callainand atherfae thachave appeared in Changeling books throughout the year’. A bred deicrigcion of che ith (or group) is provided, as well as a refmrence as to what book they can be found in. None of the ‘Thallain is described here, though Storytellers who are intes- sited in these ulsimace badopuyscan find therm in The: Court. * Selkies (Immortal Eyes: The Toybox) — Beautiful and reclusive fae who live much of thet time te.ehe ve, Like the pooka, they ate shapeshifters, though sellses can change only nao the form ofa seal. Selkies-aze unkgve among che fae because they are not reincarnated in the typcal fashion; neor of his deach, cach setkic passes on his “skin” to a mortal. This skin. relinquishes the faerie essence to a new ‘mortal ** Menehuni (Immortal Eyes: Shadows om che Hill) — ‘These foe ean be found almost exclusively In the Hawaiian {shands. Like the Nunnehi of North America they huree close tues with the native people ofthe ilands ‘ Clurichaun (Immortal Eyes: Court of All Kings) — Found mostly in the British fsles, the_clurichaun detight ie seorytelling. susie and good drink. They are delightful and ‘moatlp avold politics. + Nunnebi (The Changeting Players Gute) — Fae rativetoNorth America There are manydiflewat varictiesof them. Nunntht are clotey ted tothe Landland cutoff from the Dreaming, and in many wis they share more kinship wth ‘rarure spitis than they do with che Kichan. + Chille bu {Isle of the Mighty) —Rechsive fae who dvell for the mouc parc in the British Inlex. They are linked vatifgately to nacure end to the sensant. ** House Scathach (Nobles: The Shining Host) —Ancble house of warriors who stared behind during che Shatreringb = ANZ Along cme ago un alow, far, fox amc — Star Wats: A New Hope Every great story has a beginning, a middie and an ea ‘The amazing thing thoue tories in roleplaying games ig, while Stor ‘everyone knows the beginning, no one. nat even the Story- tellet, knows exacely what the misidle or the end will be. The Scoryteller has a general idea where the story might go, but : nobody can say for sure. The story is creaced and told as the Geccing Them “Togecher taupe plays the game, adel it so't cornplete until the Last scene 2 a uuifols. Not only do playershave the fun of seeing where the a amportant to a chronicle bec stury goes Like when teasing abook or seeing a play, bet they absohave achance decide where Storyteller exay plot cur the so unexpected twists and sums ir rou Hopefully, when the game is all over, the whale group has created great story and had fin doing it Thala chopeer talks about Changeling stories and the ga ing groupe whomake chem —how toget n group together, how tadeal wie the dyaamic of group storytelling and how tokeep jorytelleesostoriesean become nawebsor even. While chis chapters advice 4 helpful for cveatinu and tanning a Changelingehronicle, there's eally na subucitute for doing. You can’t learn to ride a beke from just reading a book, younced todo it. Undesstand that practice isthe best teacher, a dress reheunal, where a player bas ach: ‘Chapren One: Once upon a ‘Tine© aacterhasa lead on a legendary reasure he scught once in, Ieyourh, while Sean's suey characeer is now questing forthe © sametvonire and needs the nocker'shelp. Andy’seallcharae- (athe istertt inthe ease or the quest, but he discovers hisall enemy isseeking it also andicinwalvesa debs ofbar.or tht seust be ropash Daren’ Liaseeli sidhe cares nothing for theories oftheothersbucthinkstheirquest could ke useful powerplay againot an enemy of hers che Unaeelie foe af the ‘ull, who isseeking the measure, and so forth. ‘Avthe ieadbof che story weave in and our, cheractersave deuen together by citcumstance to cooperate toward a mutual geal while ehey aight nd therwelves in oppestion an other “pects Tension abe ys crearesdrarsatic eleplaying moments ‘borcen player characters Open-Gacherings ‘A daring way co tart a elhronicke (sto let players deede bow their characteraget together. As Storyteller, poowide a situation where characters can. meet, chen si hack and lec players taks chings front there Of course, it's not as simple as it sounds — co run an opet-gathering even sith a very goed group of soleplayers requires 1 Jot of intprarisation from the Storsteller to keep everything cunning smoothly, You rouse aptly keow che aituation that you are putting characters into, Also, have plearyof plot threads already at werk behind che scenes te Jurap-srart che story if dings store co bog down. ‘For instance, acrange forall che characters to mect for the fine hme ata birtay bash for achildling note, Some of the characters might already have reasons to talk to che ether, while some musc take the initiative and seek cut cher player characters, coming up with feasons to mteract ‘with them. Sore chataccert could even ciash the party se they can join in.on che fun! Thisexample can resule in some ves interenting and fan characeer interactions, but i ii challenging and requires capable players and a Storyteller who knows how te handle them, ‘A pratllem seich this meibod is having players who are Rot as crearive or forceful as others — thoxe wh find themselves pushed into the backeround by mote dynamic roleplayers. That's when the Searyteller must (ake a hand to sgulde events 50 all players have a chance to interaccand get involved. Maybe the Storyteller character noble decides te setcle an argument between a couple of playercharacters by calling on the cortmon-sense judgnene of a chint ployer sharacter who has been quietly watching. Pethaps a ployer chanicter's paramour dee cles to make bien sich the wallflomer who's sitting on the sid ‘Another problem with opengatherings [s those who refuse to take initiative or “play along” and gee involved. This situstion requires direct action from the Storyteller or «polite reminder for the player to get involved. Other pbyers are helpful, too, and you can enlist them in-deawing the reluctant player our. fall else fais and the growp is just SH PED VDP De Waar ‘noe coming together a5 e should, a dramatic event quickly celectrfies things. Maybe enemies atcack aut of nowhere, a ‘rmundereccurs, oradramatic omen shows the player characters ‘eonsccted bye Din ies sorte wiays Thote incthods age soenewhat heavy-handed, buc they work. Closed Chronicles ‘A Storyteller may have a chronicle in mind with move defined limits than those deseribed above. For snstance, a chronicle involves 0 group of cometoner tne whadiseover a lost freehold, and then they muse defend it agninst the nobility who with to-reclaim se, Im this eype ef setup, the Storyteller has alteady defined chings about che types of characters in the chronicle; it is highly unlikely, for ex= ample, for comeome to play anoble character unless theyre an outeast exile. or acher type likely to ally wich group af commoners. Thus characcers need mocivacians for why they ‘would defend thetr freehold in defiance of the nobility, A closed chronicle provides some additional focus; players know what co expece and what the story by about before they create their characters. However, it does limit the opeions char players have for making characters and directing the story, at least at first, Once che chronicle is underway, the Storyteller can narucally ellow che decisions and actions of players co play-a bigger pare inde ling where the story goes, Maybe the commoners wha take control of the freehold decide to tuen it into a shelter for commoners who dislike the cobilicy and want 1 change things in the K:nndom: or they like to stay out of polities altogether: o¢ they want co turn the freehold into a haven fox humans in need of faerie ald. In setting up and sunning a elosed chronicle, you must be very clear in describing che game's ground rules, If you don't want players ro cura their new freehold into a sheker for battered mortal women, then make it clear wheee you think the chrorsele should go. If there's a definite goal, clarify itbefore and during the ganie, Some players have nit problems with closed chronicles, as they like the sense of sceucture, but others find restretive storylines annoying. Find out invadvance if the cheoniele sounds like something players wall enjor before playing a cheaniele chey'te not Interested in. What if someome in the group really wants a noble character? Do you wane to alter the plot ¢ accomntio= date chem! If nor, take the player aside and explain to her how her character dex decsn’t auit the story you wane ca run, Reach same kind of campromise. A closed chronicle needs mare prior planning on your part, since the Stofytellet piovides much of the story's delving force. It is somewhat easier to mun if you plan out auch of the plot in advance, and some of the layers” cholcesare already miade-for chem. Essentially. you have ea know your material before bringing players inte the story, and using some existing source material (see Using Source Material) oakes the job easier. Chapcex One: Once upan «TimeA Storrtellee needs to sen. Players ike to speculate an he nature-of the sary, which i wieful information for you. If saplayeesnys,“Tbec this is rue,” icwmally means she wan itt Eetmiein one way or another. A Storyteller who pays artention, ‘to what chey sty can make modifications to the story b> suit heir ideas. A player might suggest a much better idea for a scene, character, of motivation than you originally chought up, snwhicheate, why notuseaplayer'sidea and show her she was * ght along”? Iti: good foc the story and makes the player feel a sense of accomplishment for guessing your clever laid plans! ‘Thais sory adjustment lets players influence how the story unfolds and develaps by more than just cheit charactets' a= ions. Encourage players to speculate and throw our ideas during: the game (don'e allow them co cheat and'control ie); adding cheir creative input gives you and players moze to draw from. A player sho offers good ideas makes the game more ‘entertaining for everyone. ‘Tovuse this factor to the greatest achvancage, be willing to change the story to ft che things players suggest, LFyou get 100 ‘caught up ina particular scene or section of dialogue, players, ‘ul change things so it won'chappen. Ifyouforoe dhee ventsof the game “back on track” to where you want Chern, players will feel cheated and robbed of their ability to make decisions afieceing the game, A skilled Seoryteller ean sometimes “tas: sage” a story to bring players to the scene through ancther ‘route, but you roust acknowledge the sry isn’t going to po the way you originally choughr and let go of the scenes andl ideas ‘you can'edoright then. Your keas can golntoa lareradvertune ‘oc maybe they justdon'e work at all. but intheir stead isa whole new range of possibilities created by players, Players rend to voice what they wane for their character. ‘Take heed ifa player ays, “Wouldn'c ve be great to vist m fete at the Shadlow Court? The player is expeessing a desire for & particular story, which you, the Storyteller, can provide, Take rote of things said and you will have mo back of ideas of where to cake players inthe next stary ‘An excellent way to use players a: a creative resource for the chronicle is to incroduce & random new plot element semerhing you have no particular plans for, and to let players speculate and tak amongit themselves about what they think it is Te might be @ mysterious stranger, a vague ome, OF & creasure with unknown powers. Listen tothe ideas playerscome ‘upwith: you might hearan excellent one, Then work the idea into the overall story. You obeaia the besefi of a new plat ‘thread andi players get something thar interests chem, plus the ‘onus of being nght and guessing one of your clever plow If players spend the majority of hei cine talking during the game. trying to stay.one step ahead of you, making lars of quetses about what watts around the next corner and which astardly villain is behind thei Latest roubles, congratal tior! That indicates you're doinga great jok of engaging thert Lterest and thus bringing players into the gane, If you iy 18 Changeling Seanyeeliens Guide Sl RI ORGS ROG ES LEO OSI OSC) retention tow they sp, vouecan nur things rghe back around ansdomake note ofthe speculate come ervewhichbeingsusto the next resporuiblity ef the Stoyeller: preparacion. Preparacion “The figure steps from che shadows and says, "So, we meet at iio’ He pllsback thot revea,.um,wuiea second. 2, an, hang on, I've gor the none right here somershere. —b certain Seortetle ho sll emai cameles, 0 0 speak} ‘Storytelling, like other things, ts nine parts preparation and ‘one part perspiration. Just as actors rchesese and rehearse, and arose make tetches and models before tackling the finished ‘works a Stonytelle needs preparation to tuna game. Preparation is doug the toughest week of the game beforhaeu, 10 pou can concentra on ring thestory uringgsene- play withou worry lng about all the litle desails — ‘because you've already gotten them out of the way. The amount and type of peepamation dependisan the Story: teller: Sermefuncoon best with noces, whilectherspreferextensive nips, dialogue nd novebooks fll of game metas, Whatcwet your style is, these are certain things to keep in mind when preparing to nuns Changeling garwc. “Thetincisbepefmok Few Stoner aceapublecfnunnine 1 good gure totally off the cuff, but they are an incredibly rare breed. Think of how mech better much an anasing Stocytelher ‘would be with just aller preperation’ Lack of preparation shows, Nothing spss gue finer chan a Sroryeller who doe have afinngeispon vhaesgolayon.Astoryeanconetoapndinghale if the Stormreller forge the name of a major villain and i forced, ‘co apend time digging though his noves for ic After thar, che cla of the adventure hat beccmeant-linwetsc. Don's le happen 13 you The second element af preparanan is organization, You don't: have to hawe neatly labclod and tabbed folder forevery scrap af oper wid in your chronicle, but you should be able w ky your bandson whateverchanacter sheet, referencebooker handout you. ‘peed with aminimurn of fuseand furnbling. Ifyou need to:relecco sume books dria game, they bookmark of tab the important pots and highlight crucial passage xo you can fied chem easily ‘Mate up “cheat sheets" of important rules ond smtistics and cp then to the Storelle' screen ot keep them in font of you. ‘The chied element is know your characters, Take the cine to review player! charsctet shee before each pre an nore any changes they have made thac might affecc your story. There is rodhing worse shan having nAnely crafind ploc opeally railed ry 2 Stall or Abily you did't know character bad. The same applies to your Staeyteller characters know theie abilities, dheir mortvatione ond helt mannerisms. Players end tohave-an eye for etailand areuleaponthelokoueforinoonsistencle that might be clues osome fendishplat {ever youdon'thave oncin mind. Wonect your Storytellercharacters always walla with alienp and then he suddenly dein’, reaticks outWhen setting ug aratary, ecide if you are going to use a scriptstyle or a notes style for writing down your matetal, Setiprsate far more detuned but ere to lack flembality, Notes are jit the oppenie’ Mlenisle ut often lacks im deca, As Scorer, ou mse find = heppy mediven that works for you and the players A script forthe Storyzelleris much like onefors movieor anstage play: [cconmaune leailed descriptions of everything in thestory azct scene-list wich samples of dialogue, descriptions oflocales, napand other mimatiae that characters encauener. ‘Whilescriptsaze useful for giving depch and detail wo story, ou le alot of che fort die goes ant ascrape when players sss over, change or ignore sections of it. Few Storycellers want to.put the enemy into a sty that {30 into creating. 2 published gaine sourcebook. As 2 Story: tele, our only audience is your players, wo are also like che actocs in aplay. Heweves, unlike those actors, players want £9 ‘make up their own dialogue ane decide thew own actions — fst ike some actors, actualy. So, a scripe can quickly become a scaijacket for the story: If sau refuse co deviate from che script, regardless af what players do, rou becomeinflexible and the playersendl up fesling frustrated. Rather than provide a set sceneslist in a specific order, ‘nateahave s general series of events with enough information of how thaie events might change based on charicters’ac- tions. Good noteadescribe whochemain nonplayer characters ate, thete motivations, and what is happening in the story; Players can then ener the story and influence haw it flows, changing wore scenes and encountering others Hinw defined the notes are depends on how comé you are with.conting up with decals oo the fy, Many Storytell- er hike to have cheat sheets of names of people and places to throw out at a momentsinotice if apkayer really withts woknow the name of thas cashier at dhe Kwik E-Mart- Randow tables. of Fenomality tral, of even 9 deck of tarot oF playinye card, [provide a wtp 0 rapidly come up with peesonaliy tals and ‘macivatioms fer random characters seho crop up. Improvisacion No niacter how detailed a Scoryteller’s notes or script 1s, players aleays find something vou haven't ehought of ln ale ‘ance, throwing your planned story of-balance and requiting provise, The ablticy vo da vhs quickly end smcochiy that comes with tne ad practice. Really knoming ‘your characters and yous story helps a great deal. Ifyou have a good feel for'a certain character's personality, you will know ‘shache would doina imation, When something unexpected happens, quickly decide how the Storyceller character reacts. fe helps if you get into the heads of your Storytellee charncoers, Justasyou would for x sharacter you would in sa glaer, td dak What motivates chem’? Haw they handle dhe unex ected? What would she do if chis happened? To geca feel for improvisation, you must juse do it. And sorytelhing presents plenty of opportunities, Have characters =s PAV OO NO OAT DON OANA PDA eA RATA IAAT CAM RATAN interace with the player characters one-on-one ina social serving to get the Beng of improvising dialogue and reactions. eam your material and use i as a springboard for your Iimaginacion. The basic keys to improving a game ace: * Don't panic. It im't Iifeor death, i'sjust aime. Actes {fyouplanned ic thar way all along and amace playerseth your abilicy vo annicypate therm. + Trust your inutincts; go with four gut feeling If ascene seems to be going the ‘wrong way, then st probably ts. Trust ourself © Let players help. Playershave to: improvise all the time becinise chev ustilly have naidea what's going te happen nexe. Being player can help develop your improv skills, and listen. 8 con give you ideas for how to smgrovise whe happens next Using Source CDacerial Being aStorytellerean be alozot work. Boing che detail work beforehand can save you a lor of headaches, but docan'talwayssecm that way when you juit don't have time ‘to work out a detailed description of everyelement you vice 1a your story. Storytellers have co balance exacring derail swith the amount of time they have to invest. This point iewhere the published source material comes im handy, Others have already done much of the wark for vou by writing game books with fully developed characters, plots, places and events you can use in your own ehianiel, How you use che macerial is still up co youl however, Some problems with using source materials are becoming coo atcached to-existing macerial, overusing it, and depending omit, The fist problem comes from the fact that game soursebsooks and published stories ate like novels et plays with one difference: They have secting, plot, supporting characters, even dialogue buc, unlike novels oe pleys, they have no main characters in them. Plagers creace the tain ‘characters and the author and develape: of the game book have ne way-of knowing characters or requirements of your ‘chronicle, Only sau know that, Very few rame hooks work vithout anymodification or"fine eaning” whatsoever. Sacue require a litte while others need aloc — sometimes so much thar youcan't even use the book withourcomplecely2ewrit- ing it. In that case, create soanething of your ow, that's cnayhe inspiced bythe existing material, buc beter suited to your chrontcle and its players. Being too ied ta what the “official” kooks say can be just as liricing chan having a set scripc ftom which you refuse to deviate, ‘Another temptation when using published game mate- tal ito pack ax much of tas youcan into your chronicle oe into asinglesession orstory. Sourcebooks containa flurry of ‘uaterial, enough for an entire ebronscle. Take Tale of the Mighty 28 an example; ic covers the entire ssle of Great Bricain and many of the changelings and important mages svho live there, ax well as legends, history, lncales, and more ‘Chapter One: Once upon a Time »a Na a Ne A Stormeller could try rode a single story involving 9 wielvind tour of all the places in che book — meeting allthe ‘major Storyteller characters along the way — but such a story eld certainly fel rash a eave players gasping forbreath, ‘eithout giving themtime to appreciate any of the details from the book. Having too much sniteral in a ste can be wotie thas having too litle becense ic dacraces fromthe players and -wovides tore ways in which the story can go awey. ‘A telared problem is making the Storyeellercharacers ‘hoot ube published paeral more important than the player chomecter. Keep in mind that she player characters are che main staractersof you sary. The sory isaboue ther. Nomatethow ‘intersting or well-developed the Storyteller characters might be, they.ae slljust supporting. The player characters are the superstars of the show. Don't lr the Storytellers characters show thers up unless doing so provides additional drama focused on the player. The last difficulty Storyeellers encounter in using pub- liched material is becoming 00 dependent on itor being slavishly devoted to it. They don't create anything of chelr town, they just wait for the next supplement to come out, Some Storytellers refuseto deal with any partaf hel vexing tunes its from an “official” published product, They worry cvhat will happen if they deseribe an unknown acea of the ‘World of Darkness andanew book fiom Whive Wolfcontet- dicts them. The answer is simple: nothing, Na Game Police comes to your door and beats you senseless. No bolts from above smite you for devianing ftom the Holy Welt. In face, ‘you might like our version better than what gets published, ‘you don'e, you can cake pares ofthe published moceria you like ond mix itn with your existing game in any proportion ‘you want, Once you buy any game produce (including chis fone), it's yours to do with as you with. Some Storytellers ‘mut thetstaginations by whavexlste in princ, which lisies ‘the stories they cell, ‘The peime benefit of game bocks ts the inspiration they sive. Even the toast creative Storyteller need time odevelop their ideas and grist forthe creative mill, and garoe books cxn Fuelp. Published maeeral is wef springboard for coming up -vith new ideas to include Its alsoa time-savet, as precreated raterial ean be dropped in with liele ce ne alteration. Ifyou need a noble character for an upcoming story and son's have time todevelop one.an exing hook gives the perce charac- ‘er,orarleat oneyoucanwewithanewpaintjob,anewnae, tnd the serial numbers fled off players don’t know that you ‘copped the new baron they just met free anothet back. Further, there no tue limiting the we of onty Changeling snutecilesinspratonfoc your game. The otbersourcebooksinghe ‘Weld of Darknes line provide aca numberof idexsfor tories ‘that roay oe mar noe include the other supematurals You might «ven ind that vadiousgame productsfrom pup! other garnelines ave efor inaigning story ideas —along with Bocka,elevision, shies, plays, magazres and, of couse, weal We, ‘Changeling Sromyretiens Guide By RST ORI RR RG ROI ORT SII OIC ORIN Pose-Game CUap-Up So, you've run a successful game, ching went well ond your plavers are sicting around the table talking about how they're going oo spend chets Experience Points and what they're going to de-next. Take a few momnents siow to write down same of the details-of the gaene seh tey'xesell fresh Jn your mind. Jot dows notes about things chat happened during the scary expecially loose end that might crop up later Then talk co players, As them if they enjoyed them selves. Findout whatchey didn'texpect, whar interesced them and whac annoyed them, Were there any character from the siocy they would definicely like to see again? Are there things they would nae ke to have happen again? The tesponses cay surprise you. Liten carefully and take moves for future refer- nee they will help a great deal i planning oeher stories in your chronicle, and going back over your notes ofthe last few adventures could suggest srory waiting co be told ‘The wrap-up italia good time toplanforthenext game and whether you will be playing another story in the same chronicle, or a different story or chronicle altogecher. I's beneficial vo find out then ifplayersaten'e going eo beable w make ic in advance so you can plan accordingly, ‘The Troupe Building a great story depends at much on plasers a it does onthe Storytellerund on how welltheyall work together, ‘A gaming group is similar to a troupe of actors who create & performance. The Storyteller islike chediector or contr, while players are actors or musicians, The primary difference is chac che troupe 1s not dallowang a sec serpe ot score but improvising most of the story as ic happens. This method creates some unique challenges. Player Types There are oxany different types of players each player has her own unique personalicy and reasons for playing, Hopefully, everyones playing for fun, but plapers have differ: ent ideas of what “un” i. I's important to recognise players needs andi tathorthe game to wait them so thaceveryomne bas fun. Youcan think of these profiles as types of player Le if you will — general categories into which many players fall Most have good and bad aspects to them, while a few are probleans che Staryceller has vo watch out for and deal with, (see Problem Players, page 24], See iFyou can recognize anor your players in the categories © Atchitects He wants to build thiegs, not necessity peal ching, but co have some kind of Tasting gpactom the chronicle cs leave ammaek behind —an achievement.or alepocy. Ifthe chronicle trcmein which charactersdo not have the power to change things or to infivence che couse of events, the ‘Archutest becomes husteated. He often creates very detailed charactersand usually lies to get involved in the chronicle.a * Combat Monsters: They want co kick 23s and cake eames. Cnblke Fighters, Combac Monsters don’t core mach, Reyoad the mext fighe, Many say thing Ii ‘enough crop in my za? life, when game, 1 ‘They're often fond of chamcters like Linseelic redcaps and trolls wich massive-combat skills. They regularly call upen che Wrrdor woke the Dragon's Ie, anyehing thar lets them fight better. ee ighes at the deep of poils the fun. The $ Conor Monster by show -hatcters ations Pech 1 Monsters.can be erouble, espectally if chey star snbich distupts the ftw of the story yeeller may be able ee eeinein a r bbehavioe of his own free will after seetng the damage he hiss done, bur Combat Monsters are unwilling to change theie satipes,n which ease they become probes players. FForher, the best part ofthe eames 2 good fight. Her character | erro excel in combat aod to be aly eau aati, The Storyteller shoul pro fights in the story to keep Fighters happy. [hore omnbsits.o,scoeve yet fights thax - do to Hleroeaas tokeep cool chings from bappening co them, o¢ the Fighter cannot jump vato, the player is nat happy: Unlike the Combat Monsters, Fightees choose cheir fights carefully ated aren't nécessiily bloodthirsty, they just enjoy the chal- Jengef combat. I is powible coreforma Combat Monste into a Fighter with some time and patience, # Hero: The Hero wants to do-coot things, los of them, ind go to cool places, meet coo) people, get cool atull, and spenecally bave Bunche af Furs Garni i an excapise thing foe che Heroand it doesn't ger much noee complicaced than that Horoas hike plenty ef action, along with many cool things ede ano see. They ace rather impuleive and leap before they look. but they are usualy wise enough-to proceed wath caution, jus olongas they get to proceed) About the worst tins you can have cook things happening toeveryore but ther. + Munchkins The Munchkin aren't liele foe fron Or. te i. (aomewhac derogatory) cera for players who like to have the ost powseful, copable, intelligent, beautiful. well, the soost everything character in che gare. They usually kao how tomethetulestotheic advantagetomakeithappen. Munchikins spond houts lovingly designing theit charactesss they don’t spend any af it on the details of a characters background and personality, however. Munchkins pat their eflorcinto themath to figure haw to gee the absolute maxicuuns efficiency out of Chaprex One: One apon a “Tine