BACLT 7]The Storytellers Handbook The Complete Handbook for Storytellers of Vanpire ee Credits: Written by: Andrew Gr DannyLanders, Rob H Editing: Rab If Development: An Layout:Sam Chupp Production: Richard Tt Aru Richard T Skoghsnd,Chris DiN Covert Clark Mitchell Back Cover: Chris McDon ry MeDougal, Seci M Masquer idof Dark 1. Wa mn of or reference shts concerned. a challenge to the trad; Special Thanks Tor Mark "Piggly” Rein-Hagen forsearfing Stewart "Wiggly" Wieck, for learn atthe ABY ny free how big people enjey traveling in coach. Travis "Has Th a Ken "Double Daddy Cliffe, for chtime" Timbroak. for t se Handle antl 8:45,SL sdbooke The Storytellers Handbook Chapter Onet The Story -7 Chapter Twot The Chronicls- 25 Chapter Threat The Batting - SI Chapter Four: The Motiva-57 Chapter Five: The Enemy - 79 Chapter Bix! The Ways — 105 Appendix One! Enchanted Items for Vampire- 139 Appendix Twor Lists for Sterytellers - 143, The voice of d Tenayson, te. Scentssiwiet around, here it ation, But together they forge mSree Chapter One: The Story od tortell stories 4. One whose business it ir to recit jegendiary arr Oxford English Dictionary this book. It But wha also thewhole exactly ix Storytelting is the focus point of the Vampire gam Storytelling The Storyteting ie what Storytellersc, nd find out. Beth helpful Jing is what Storytellers da. In Vampire the yteller creates and presents Stories in which the apatethrough the controlof te interactive typeof storyt wales to he progres Se players pa The result is a A narrative of reat or Jetinousevents, designed for the enter Feattr oF hearer; a incklen reat of crder te amase or interest ~Oxford Ei ius, refeated in ilish Dictionary th fhe audierce (th A Vampire Story is mose comph any athe af tale, becams ia the Players}de not sit pas simply abort fe stay; they take an active partis shaping it through the words at “s they control ft pithy definit follows is by na me hopefully enough to work with: tor seriesof ory: a situation ev ‘on the part of cer ehallenges.and oi Story Parts Junt at a charucter in Vampire isan a jonent parts = trait equipment andao aa -s0 a St THinge: On one level, the Story Igamationot ature, de raed with mood, These will decicle on whi ings theme iF thingsy ~ concept, pil, ly bre the first f dates in conversa ntiesfories. Paying attention to these asies help you e 2 little practice you cai fe something with as much depth and anything ia literatureor films. Of ices; the nates Hefar you. Theres ne 3 system for there never willbe.for the would inevitably be without chapter ix intended ta help th depth or 50 bewildered o Story. and p techniques Concept They only h rge Orwell, 1984 5 hat the ing a universaltrath abort the the Vampire Storytelierwil mes aa Lypes of story lronicles as w mation in th ve,and Storytellers Iypes ofStnry te Te does, however, jent of the more coi aswell as being it should help be tition witht are certainly as types of sto ls in you section Ia will ale be myste ware andl mary res haveered featured vampires al ope time or another, and each has ite ownpatential as a concept for a Vampire sta: Mystery ean’ find your face in a thousand masqueraders the colors of « million aller lostcharadex ving Without You Mystery stories whodunmits” to British readers) stare with 2 mstery (portaally something like whe kilied someone And ehy},and follow a character cecharaetersthromg)the Process of diseoveringfacts, piecing tagether clues and Finding the guilty party. They cus tangefrom the cammparatively «imple tothe feadishly baroque «wero AguthaChristie’s later work Became particularly canvaluted, as incveasinglrsavyfans demanded ever mare baffling mysteries Vampire stories lad themschveswell to the British style af mystery whiting. The company ia varified, resourcesate scareely a problem, political ilighting, jealomsy, revenge nd athermotives abound, and the frafa Blood Hunts powerful incentive toplot the perfect murder, Itis almost irresistible to envision Christic'sHercule Poirot rnortalized asa Ventrute Justicar, feeding exelasively frommortal murderers The main American mystery style is the "hard hoileddetective story,” springing feom the warks of Raymond Chanuiler anelDashiell Hammett. and carried on today by the likes of Ed MeRain and Mickey'Spallane, It was ance said of Hammett that he toak murder out of the se garden and gave it back to the people wha were y wl gritty vealism are the keynates of this gent. Motivations are neurlyalways sordid, characters and locations sleazy and interactions riolent-This kind of mystery is ileal for Stories involving the Sabbat, Brijah andother less stylish Clans, The mystery/manhuat theme has long been a favorite in vampitefiction amd movies, whether the main characters are mortals like the reparte:Kalchak or Kindred k Knight. Aways remember, tes, that there areother erimes than murder, expecially among the Kindred. Barbra Hambly’slmmortal Bland ix x manhant, a the Kindred of London work tagetherwith a coerced mortal «pec finda Cainite who is becoming dangesauslyprolitic in the creation of Prageny. The search fora known or uakern vampireis a subplot that hiss appeared again and again in Anne Rice's VampireChromictes, andl le Fan's elassie Ciarmilla basthe herbine (orvillainess) leading Fearless Vampire Hunters a merry dance as she flitsaround the central European, countryside under a number ef anagrammatic pseudonyms, Romance If she wasan ace and Fwas just @ jack And the cards were newer seen We could have hoon the king andl quece ~Dize Straits, The Panctof New Orleans Romantic fition is the most smtetime the mast wiley reviled, evary genre, andthere fre good reavooafor bata, Bul Vampiress is tacy ways rontantie game, and a grestiaany vampire stories have heen af the type Renal describe a5 "gothicroma 's seminal The Vampyre, with its heeobased ecuplayer Lord Eyrbea, wis a spevtaetlaly ay into. patie mance; Carmi was unsuccessttl esseatially romantic, andmany commentators have seett Dracula itself as being essentially aramance, with the eadaverous Count abseased by Mina Harker. Both # versionsof Nesfératu play up romance, casting thevarapize as victim as wellas monster, Fred Saberhagen's modecn- day Dracula stories - especially And Frinutoy the Raraly ~also owe much to the Count's remanticattentioats Themes used in romantic fiction are normally loss, yearningand triumph aver adversity, There is frequently a Section where one of theprotagonists must overcome immense obstacles - obsession with work,persanality protlems, the kurt af past affairs or whatever -in arder forthe relitionship to succeed, AD of these can be used within the eoutextof Vampire Stary, and of course there are the additional problemsel the Munger and the Beast. Cainite falling in love with a mortal willfuce many problems, ranging from the farcical at First Rilo}to the soulserenching {far example, the mi presented in the song MnonOver Rowrion jad players wha eajey throwing th intotheir raleplaying will he able to malke a grentdleal this lind of situation Romance makes a better subplot than main plot, bat eansometimes carry a story all on its own: subplots are discused later Thrillers War makes rattling good history: but Pease is poor reading, ~ Thomas Hardy Thrillers are probably best regarded as a subgenre of theagventure story (see below), but are distinguished by the fact that theyalmost ahway's involve espionage. palities, advanced military hardware anddirty dealing in high 3, Depending on taste, the reader might comsdeedetm iH, Tom Clancy, Len Deighton ar Robert Ludlum. ‘Themes generally involve discovering secrets, painin, poasessionat objects ar people before The Opposition does sn, and s0-0n. Sinee Cainitesaround the warld (especially the power-hungry Ventrue) gravilate to highplaces, there ‘are any opportunities to wark with Stories ofthis kind alsa gives the Storyteller the chance ta enmeup wild some truly wonderfulpicees of alternate history, conspiracy thenties, and general whot-ifing, The two woes what are probably the most pewerfal too! instory creation ‘What was the role of Vampires in the Cold War? Was theBrabms Network headed by a Cainite? What if Rot October was actuallydesigned as a sale, floating Haven, and American Venirue found outand wantedto get bald of it? Are Kindred highly placed im the CLA ageneieshave teams af Vampice operai roleplaying games have addressedthe thriller genre arying degrees of success ~but adding Vampiresinta the equation tums the adventure into something quite ai Adventure Thawe made the big decision I'm ganna try for the kingsfom, ‘Cause when I put « spike into any vein, Tiel you things aren't quite the same, When Fn rushing on my run, “Aad I fet just like Jesus's ss, And I guess but [just don't know &Poorer dbook wet Underground, Heroit Adventure is the most miscellaneous and polyglot fictional genre, About the only cunstant factor isa her (usually, but Zot always, male] with considerable combat and surviv dpasses for success inthe particular setting aod story. Most science fiction and fantasy stories are pure adventure; 50 are the Indiana Jones movies, any swashbuckler film you is action, and plenty of it, John le Carre's ker wy takes part in espionage stories: Ian Fleming's James Bond stars in adventure stories. Thought and investigation take a back seat, and intellectual challenges are often limited to ways of getting out of the atest life-threatening situation, ‘This type of story has become such a staple of roleplaying games that it isalmast fatuans to mention it heve. Muck ‘Sampire fiction is based in the action adventure gene, often with the vampire cast asthe threat te the mertal here. Sunglasses After Park, Last Boys and Near Darkall count as adventure stories. In Vampire, there are ‘nurmezaus physical threats toa charucter's existence, which are adequately covered in the main rulebaak, Plot archetypes Just as players can use archetypes to help define the ‘personality of their characters, sa the Storyteller can use archetypes to assist in the process of developing a Story plot. The list of archetypes kere is by nc means exhaustive, and itis intended merely to provide the Storyteller with a starting point, Mystery: An event or series of events has taken place, an the characters must find out whatitall means, whe is behind it and what sutst he taken to safeguard the interests of themselves, their Clan, the Masquerade, or Kindred in general. Events might invedve killings of mortals and/or Cuinites, breaches of the Masqjaerade, destris dned-—awned property, oF almost anything else wherethe perpetrater and reasun is not clear, Bug Hunt: Abiller is on the loose, amd must be found anal stopped. Unlike the Mystery, the Bug Hunt is purely a search-and-destrey mission, wilh lille investigation and no interest in reasons and wider implications, The target might be a Vampire against whom a Blood Hluat bas been called, a Sabbst cell, another supernatural entity arsortal serial killer, a Fearless Vampire Hunter whe: has been 3 Tiltle teo successful lately, of any of a number of others, ‘Treasure Hunt: The existence of something af immenoe ‘vale hats become known tothe characters, and they mast try to eblain it before anyone else, and preferably without anyone else finding cat. Other Kindred whe alse disraver the existence of the item will want it for themselves, and vill probably stap at nothing to obtain it. The treasure might be a fragment of the Hook of Nod, the person of an Elder or Methaiselah in Tarpor {which can he used as a political bargaining chip or for Diablerie}, knowledge which can be wsed for blackmail ar palitical gain, ot ever an enchanted item of some kind -1 weapon which causes aggravated wounds, acupwhich enhances the nutritive effect of blood drunk from it, and soon. Escape: The characters are threatened by something very powerful which they cannot hope to defeat -suck as a 5 Blood Hunt, a powerful renegade Vampire, ora Sabbat uprising which has destroyed all their potential allies Their only hope for aarvival is to eseape and find a place ‘where this threat cannotreach them, They mustarrange to travel a long way (or at least, get out af the city ar fief where they currently exist), dodging aggremersand agents cf all kinds, Rescue: The characters must penetrate an enemy stronghold, find afriend imprisoned there, andeffect the escape of this character. The prisoner might ke a mortal such as a retainer with too much knowledge character's Haven. protections and dealings, or a C such as the Sire or Mentar of ome ar more characters. The prisoner might be held by mortal authori cell witha window or skylight, adding a time Uhe rescue of a Vampire prisoner to whos the light of dawn wil be fatal, Or a Kindred rival or enemy might have the prisoner, surrosinded by faithful guards including Ghouls and possibly Neonates Villains often bait traps by kstnapping those dear toa hero, Attack: The characters must find unel neutralize an ener stronghold, This is similarin many ways to the Bug Hurt archetype, exept that the aecent is less on searching and muore.an destiuetion. Problems will involve analyzing the stronghold’s defenses and choosing the correct tactical options ta maximize the characters’ effectiveness in mounting the attack, Defense: The characters have been targeted far ananack. The enemy might be rival clan members, servants af an Hlder they have recently crassed (knowingly or unknowingly}, servants ef one of snore Methuselahs and/or Antedifivians invatved in the Jyhad, Sabbat strike troops, Witch Hunters, Lupines, and soa. The characters ‘may oF may nat have prior warning of the attack, apd aust cither defend the area in which they fine themselves er try ta excupe (soe above). Siege: Aspecial caze of the Defense archetype, im whicl the characters are surrounded or etherwise tinable to feceape. Muy be combined with the Guard archetype (see below). Think of Assault on Precinct 13 with Vampires, Ghouls, Werewolves and ather supernatural elements Guard: Another special case of the Defense archetype, where the characters have to retain possession of am iter or individual, [tems might be of the types listed under the Treasure Huntarchetype abeve, whi indevidials right be of the types listed under Betrayal: The cha: have heen betrayed, They may be pawns in the Jyhad, ta be sacrificed for some obscure political advantage, ar they may be sent-out to throw mortal witeh hunter off the trail of a greater Cainite. It may even have been decided, over th characters’ leads, that their Embrace was not authorized by the Prince and/or Primogen, and thebetrayalis a way of getting rid of them, like unwanted kittens. Jealousy: The characters have inspired envy or jealous ine steps are being taken against them, Their enemy might he someane wha ane or all of them recently croseetd, or a rival of the Sire of ome ar mare af them, enraged al not being allowed to make Progeny af hisyher own or jealous of their Sire's support and determined to remeve ber manpower base. This might lead taan Attack (sce above) to ta Some ather kind af hostile action, Conspiracy: Two or more antago antagonists are planning a course 0! or groups of ‘action whichCir dbook vhreatens onear more of the characters, either diteetly or through Sires or clan ties. The means by which the ‘conspimicy comes to fruition can be various; direct assault isa possibility, but others include Framing (see below’ attacksoa the charaeter's resources, allies und contacts, ‘the placing of traps or accaseine in their Havens, anda on. This archetype cae fead naturally ‘toa Mystery as the characters try to discover the identity of ‘their enemies and take action to neutralize the threat, Framing: (ne or more characters ‘Shiatien were they appear tafiave co ‘some kin. This might be abreach of the Masqacrade, a plot ayviaat the Prince, anatacken te interest of 07 Eider or lan, and 20 on, The chavtet Escape (ste above) fora while, nul events my 2 Mystery ns they try ta fine oat wha i respons framing them and uncover enough evidence to clear themselves Love: One or more charatiers (ideally ‘the pangs of love, and must find some way to resolve the situation, The abject of affection might be a Cainive from a rival clan (Ramco and.Jufief).an Elder ar other supersar who is hopelessly out of reach (any number of historical romances}, 2 prominent figure an the ather side ef the Amarch-Primogen divide (Wuthering Hejahts), oc amnoctal whose involvement with the character threatens the Mazys ig the character with the prablem of ‘convincing a skeptical Prinee ta allow the character to Embrace this mortal. Enemies will find many ‘opportunities to thwart or spite the character trough the ened one, Perhaps the love isunrequited, ar the character cannot reveal ker true ature. Thisarchetype isbest ated tosubplots (which are dicsussed in a later section), but ean carry a Story all by itselfif done well. Injustice: A weong has been perpetrated, and the characters feel obliged (or are ordered) to right it. The wreng might have arisen from an aceident, a misunderstanding, or from conscious action on the part of the characters ar others, The consequences of the wrong are likewise diverse in their possibilities: an individual night be the subject ofa Bled Hunt, or might sit ina jail cell awaiting exeeution, or might have been ruined ‘financially, politieally or personally. Injustice might force the characters ta take the side of the Amarchs against a ayrannical Prinee ot Primogen, Theme and Mood Itean bel tremendously in the design of a Stary if you spend a few minutes thinking about the theme and mood ‘you wanl to project. More is said aboat these two things in he Vampire rulebook, and in the Chronicle chapter of this bak: The themenf a Story is w summary, in a-word or phrase of what the Story is about. Note that itis wot a summary af ‘the Story itself, but of what the Story is about, This is a subtle but impeirtant distinction, For example, the theme of Macheth might be summarized as ambition /pawerjcarru ‘could be scen as revenge 2 jealousy. A theme isa broad concept which wed Story asa whole. I is usefulas around which ta build the S Mood is much more of a surface fe: important. The mad of a Stary prov the Storyteller to keep in mind when presenting the Story to the players. Ta-repeat the exarmples abave, tbe prevailing mead af Macheth is bronding and somber, while Orta angry ‘Moods correspond fairly clasely ta buman emotions, and chasing a maed for a Story allows the Storyteller ta select swhich of the players’ (and) or characters’) emotions will be ‘ost stimulated by the story. Choosing Theme and Mood A plot archetype will normallvsnggest a range af themes ed moods, and youll find pls theme and. toed develaping together as an organic whole. Sometimes, though, it ean be fn to ciretch thingea little. Combining + plot with themes and monds which world not snr match provides an interesting intellectual challenge Storyteller, and can also produce a unigue and ve miemorabe Stary #fthings workout, Never be afraid ta try something wnietal -testing preconceptions and praching against perceived limits is the best way to develop your Storytelling skills, andl will help avoid hackneyed, ewer dimensional plots For example, let's start with the Hug Hust archetype “Logical themes for this kind of Story would be exploration and searching, while tension and horror are the moods vost strongly auggested, Ax might be inferred fram the name ofthe archetype. we're dealing wi affen, But how about ifthe theme-and mond econ pull two wards aut of the air - betrayal and grieviny Betrayal: who has heen betrayed = the killer or characters? And by wham? A whole tange of motivations and gencral skullduggery opens wap. Grieving: bas the killer just destroyed a friend at loved ‘bt of one of the characters? Or has a deeply felt face pushed the killer over the edge, alkming the Beast io break Through? Immediately the Story begins to develop depth and ulmosphere. Experience and Other Incentives Have yourever heen experienced? -Jimi Hendrix, Are Ye As well as having ideas about the plot, theme and mec of a Story, you will also need to knawe what rewards it offers, tothe charicters. Iis hee! to start thinking about thie wt an early stage, for a number of reasons. ‘First, atleast seme of the rewards will provide an incentive for characters to-involse thermselvesin the Story: these will have to be sulficiently obvious from the eulsel, and will therefore need ta be built into the desiga of the first few ‘Other potential rewards will reveal themselves as the Stary unfolds. They will affect many things in the eourseofthe Story: the character's chuice of directions at hey paints, the altitudes of various encounters, and the likelihood of the characters being faced with apposition, competition or cooperation, to name but three. The Storyteller has tobe aware of these potential rewards before the Story starts, in orvler ta wnge their effects onthe Stary’s progress. Here are brief notes on a few types of reward and incentive. Ac with plot archetypes, the possibilities are literally endless, and this lis is only intended to serve the Storyteller as an example and a source of inspiration Bxperisnee perience points will be earned by nearly every character from nearly every Storyin which she participates. The reward of experience points, and their promise of increased character Traits, are a powerful motivation topire Storytellers Bandbo players, bat nat to characters, who of course have no perception of game mechanisms, Characters may. some atvarenoss of learning and skarpening their alates, ‘butt very few will rixk thsi lives for the sakeof experienc although some may dase far the sake of adventure, Knowledge ‘This ithe main prize of investigative Stati other Kids of Story, Neon ater all have learn about the society af the Kindred th mpl coveted knowledge is that contai Nod, although there are so many fragment atherwise unreliable versions in existence that th knowledge gained may never live up to the characters cexpevlations. Knowledge van be divided ito three types, Rear the ashe of atbement mepht ec nerocd Lawes Birt and Savvy. as been formalized inte a series of Knowkedges in The Players Guide. and ean be usefulte characters who are stil coming to terms with their awa abilities and who wish to understand the abilities of those around them. Diet is detailed knowlege of the Kindred of the eity, their relationships, dealings and plans -the sort of taing which might be used for political advantage and blackmail Savy is knowledge of the nature of Kindred, what it means ta be one, and haw to survive, Thie also includes a certxin, Knawledge af polities and pawer structures in the eity Favor Apowerful incentive for resolving prublenssis the favor af pawerful Kindred. Like knowledge, favor comes in a shuuber of guises. [may enhance a character's status with ‘the higher levels af the city's Kindred, certain influential Cainit ehuracter. This may be done pret it may be formalized into abonns to dice rulls for dealing ‘with them, It may lead to some reward, such as patronage, intercession with the Prince er protection from emersies. 1, may even lead to the character being able to elaim a faver from an Elder, although this ix very rare. Like the gratitude of princes, the gratitude of Vampives is grudging and does nat last, A Neonate who holds a favar over an Elder had better use it quickly, or riskbeing seen asathreat, However, if worked properly, the characters san tie an Elder te them thrangh the bonds of Prestation, as detailed in The Players Guide. Allies It isa far easier and safer thing to make allegiances with those on one’s own level, forming 1 network of friends, y's Kindred and kine ‘without the political tensions and dangers af becoming involved with the Elders, In almast any Story, characters will interact with mortals and with ather Kindred, and friends are always agood thing to ave. More will be said later about now-player characters, or NPCs ~ those characters controlled not hy the players but by the Storyteller, In play, I honuses for dealings with, tear take the form of an increase la one or mare af a character's Background scores - Allies, Contacts, of some other score, as Approprinte. Strict Storytellers will insist on these increases being bought with experience points Influence Charae ra who regularly solve prablems.and overcome find that ration is spreading the Kindred of their hame eity. This can be a Houble-edged sword - along with the gond opinions of some will come the entity of thoze they have erossed, arrasted, af simply caused to become eavaaas. As with jor and friends, this might ke reflected by appropriate dig roll mexlifiers, or dealt with more farmally by incr to Traits bought with experience points earned during. Stary in question. Material Revards Wealth is always useful to Kindred, whose oppartunities for raising a Bittle extra cash by conventional means are, to he least, somewhat enited, jaterial rewards might take the form of actual far illegal to Shtain openty, such as heavy weaponry and specialized ammunition, fer instance. Obviously, the availability and Aesirability of certain iteras of equipment will vary according tothe tone which the Storyteller has chosen for the Chronicle. This is covered in a later chapter. ‘On rare oevasions, characters might be able to ohtiin mare specialized items, perhaps even enchanted items like thaze mentioned in the description ef the Treasure Hunt plat archetype, Sarvivel For all the appeal of fame, influence and material gain, athing impels a character to action like the prospect of cantinued sarvival -orthe lack oft. This the sisangest of all motives, and should nol be averlonked ar averworked. ‘Other goods - equipment whicl is difficult an: Memtor er der, this individual can become a patron, The advantages of paironage have been explained under the heading of Favar above; in return. the patron might well requ certain small servives, giving the Storyteller an ideal means bf intredtcing the character to a Stary and a good reason for the character to become involved ronage should wot be in certain games it has become ax much of a eliché as the time-honored "youare allsitimgin the village tavem when...” opening. Overusing a pattan encourages characters ta hecome passive, waiting for the next assignment to be handed to them: this ean fead te lack af player initiative and the eventual stagnation af the Story and the Chronicle, Creating a Btory Having so mucis fun with the poison people Spreading rumours and fos and stories they made up ‘Some make you sing and some make you scredm One makes you wish that you hadn't heen seer ~David Bowie, Candidate ‘The Story Worksheet has been designed to help the Staryteller develop a full-fledged Stocy frem the bare bones ed in the previous section, Like everything in this aid tothe Storyteller's awn y. and not a substitute far it; essentially, tsa blend of checklist andscratch pad, helping the Storytetler organize thoughts and ideas.Setting J ahucye wanted your surroundings Aroom to rent when the hzares kay crying in the eat ~ David Rewie, We Are Te Ded “This fics thing you need to kaowabout a story is where anid whem tir going te take place, f the Ssory i part af an “ongoing Chronele. wll probably beset in tach the same time and place as the reat of the Chronicle, althomgh this need not always be the case, Ifthe Story is a onexbot ‘leeigried ta stone stone tbe chcice of eet ie rach mare open. As a game, Vampire is et primarily ia she present day, and favors urban aver rural settings, When choosing 1 Setting ora Story, the Storyteller should hearin mind not only which time and place would best suit the events ofthe Story, but ssn hare erly the players and thei earacters vail be abe to come ta grips with the setting, By setting n Story in the preset day. and in a place which is well ikaarva to bath Storyteller and players sponsible Iosave 2 great deal of work, oth in researching the setting ain Communicating it to the players during play. Main Plot Get your fits first, and there gow can distort them as much az you please. Mark Twain ‘This is perbaps the easiest part of the Story to create. uilier in this chapter a number of plot archetypes were ssed, along with other things which can assist the Storyteller in designing a main plot. The Stary Worksheet thas a space for jotting down brief notes akaut the main plot - these notes are all that are needed at this stage, although any details whieh spring to cuind might be kept ‘on some serap paper until the process of writing begins, ‘Bubplots Subplots are optional, but they can be very useful in renting the fecling that the characters are part ofa real ‘world, with mare than one thing going om ata time. It is quite poesible to run a Story with a single plot very well, Dut the illusion can begia to waver if the players form the impression that everything their characters experience ie part of the same plot. If the action begins to flag, for Snstance, and there is a period of time where nothing can upper to.advanee the main plot, then you are faced with a blink area Subplats give you something to fl the blarkareas, andar also add to the challenge and entertainment value e! Story by facing the characters with minor problems and plotlines which have ta be eesulved while dealing with the main plot, Details ‘The neat thing the Storyteller needs bo know is what major NPCs will be involved in the Story, and what role each of her will pl above), although in many cases th ave toinvent new NPCs, as required fy the Story. At this planaing stage. all that is heed names and afew nates on the role encks will play ‘way they will react to the characters’ invalveme: Story. As well as characters, the Story needs locations. The events ‘of the Story need somewhere tohappen, after all. Again, few nares and general descriptions are sufficient at the in ongoing Chronicle Storyteller will alse ofthe ist of jons may already be known to the Storyteller and/or players. Other details are largely a matter of taste. Plot twists, Aouble-creases andl the ike can be planned in at this stage, or added whenever inspitalion strikes. Many Storytellers prefer te leave there out of the original design af a Stor and add them according ta whita during actual play. The Possibilities for plot twists are enuless, nut the two most Popular types are the reversal (your fiend is your enemy, ‘pour protector has betrayed you, the prisoner you rescue is aturrible Beast who shonld have remained imprisoned, ete) and the unexpected continustion ft of the frying par into the Fire, wheels within wheels). Another type of embellishment is the threwavway~an incident or encounter that has absolutely no connection ‘with the Story, but happens anyway. Players can make what they will ofthese things, and like subplers they give the impression that the characters are operating ina complete and’real” warld. They can also allow the Storyteller te accomplish various goals: to sow the seeds of an upcwming Story or subplot, te cunfuse and misdirect Play characters and even to break tension with comic relief eran urgent distraction, Story Structure Having worked ont the bones of» Story its time ta start adding same flesh. The first big decision is the overall Shape of the thing: how long it wll be (in terms of sessions elapaed tine) whee the key events will be, anda om, The Gest step in doug this sta heak everything own into tree asc categories: the beginning, the middle and the end, nis called ‘the feed’, are if Tead, it daesr't matter what you call the Nobody's going to real it st of the article - Marshall J. Cook, Journalism Leeturer, University of Wisconsin The beginning af a Story is by far the mast important part and if the beginning fails, there isn't much fature for the rest of the Story, no matter how much work you may have put inte it, This part of the Story has to do three vital jobs: - IWhas to cateh and bold the interest af theplayers. - IWhas to provide some incentive or imperative for the characters ta become involved - Inhasto give both players and characters sume idlew of what is going on -althongl it doesn't matter whether oF not this idea is aceurute. can be achieved ber of ways. invalved, if only in the interests of self-precervation Ne one is left in any doubt about what has happened, and players natu inclinations will be te look for explanations and try toensure that the same thing doesn't happen ‘The opposite of the crescendo is the slaw build, which requires some expertise to handle effectively, I everdene, |tmight be so subtle as ta be imperveptible, but ga too far the other way and the characters begin to see metaphoricalVampire Btoryte! dbook son signs reading "Tam a significant event.” The best way ta handle a slow build is to start the Story with a couple of subplots, adding in clacs and minorclements from the main plot more or less as threwaways, and building up ‘their frequency and intensity until the main plat takes over, Bone well, this cam make fur a breathtaking plot twist later in the Stary. Patronsand Rumors The perfect turn af phrase és one where crafty placing snakes an eld word mew, ~ Horace, Ars Poetica Patronage and favor have already been discussed as the rewards of a Stary sucessfully completed. An individual ‘wha is in a position to give the chi even commands, provides a good. started with a minimum of fuss. The NPC simply calls the sharacters together, gives them the information whieh is available at the start ofthe Story, and asks or orders therm vo get on with it Another way af achieving pretty muchthe same result isto contacts, hopefully piquing their curiosity enough ta stir them into action. Nightelus and ether meeting places offer ideal for this, just as the ubiquitous tavern does in This type of apening goes hack a very long way, and is regarded'by some nx stale and clichéd. Somte refuse to use Heat allany mare, but the patton rumor apening stl has its wes. Itcan quickly become staleifeverused, andit can ead to players becoining passive, sisply wailing for the nest onder or tumor rather than looking for themselves the trick is never to-use this opening straight 1 have the character’ Sire, Clan leader or Pristoes ina Storyin this way, but they shone alorays Be left with something la discover and a few surprises to experience along the way. The patr thardetersare told ae may lie ta them, a misinformed: they may find themselves betrayed or sacrifieed, or discover that things are not a3 they seem Patrons are difficult to refuse, of course, but they cannot always be tru ‘The same is true of rumer. The tale may have prawn telling, or may have become distorted by a prove sontething like the parlor game of Chinese Whispers. It ‘even have been started deliberately by an enemy af the characters or their patron, as part ef some fiendish Douglas Adams, The Hitehhiber’s Guide te the Gaterry This is the main part of the Story, and the part which has ta have the mast flexibility in it. Having experienced the beginning, the characters set aut to resolve the problems that face them, uncover s heap of additional problems and challenges, and try to get ta the end of the Story in one piece, Troubleshooting The Eats... rast be tt ever introduced. inst thoroughly planned product -Furtune Magazine, September 1957 experience as a Storyteller, yeu'l earn that they will never, ever da what you expect; hence the need for flexibility. Yo have to be able ta enpe if the characters miss a vital elie, Ieap to the wrong conclusion, or simply do something weird, Sometimes yau'll fice the heartbreak of having to. dispense with a scene you love, one you spent hours carefully plotting out, because the characters have taken another approach and shert-circuitedyour plans. I's allin the game ‘The midsection of a Story is a balancing act. You have to. prevent the characters frem wandering entirely out of the Story without appearing to limit their freedom. This is not sy task. Tehelps designing a Story, yam decide what the critical events are -thonewitluus whieh the Stary ‘would collapse completely -and try to map out a few contingencies for use ifthe characters doa't apponach these events as expected. Obviously it's impassille to anticipate every possibility, amd there will be times where improvisation is necessary, but it’s often passible ta gel a Story hack on track by maving a key event which the players have missed inte-the characters’ path somebow. It fs even possible ta do this without the players ever knawing Say, for example, the Story demands that the characters uncover some vital information about the location of an oppanent’s Haven before things ean progress to the next scene, Clues have been placed, bur the characters have passed them by. ignered them or gone som ‘Think carefully. Do the charseters really need to find thie ut? What kappens if they don't? Perhaps they will g their opponent a tactical advantage, bat still eamelauw he able to-carcy om. [f the Story really will fail without the edge, then it has to be placed where they ean find it. An eisy way around this, (perkaps top easy) is te have an Ally come up with the information, but there are several other pesibilities. The characters might be attacked by their opponent er by jer minions; the attack can be beaten off, but the abouts canbe dropped during the battle or found on the dead or unconscious body ef ene of the attackers Tha Easy Life ‘Perhaps the greatest luxury ofall js to-sit back and let the players doas they will, simply reacting on behalf of the rest bf the world. ‘Thi Storyteller's part, ability to thinkon one's feet, But im many ways, i's a good deal leas stressful than constantly werrying about the planned course of the Story and haw to keep the players moving along the intended reute, ‘The main thing isto know the st Whatever the characters do, wl they go. whoever they meet, you have ta be ready. This is not as hard as it sounds; i's mre a matter of practice and self-wonfidemee than anything else. Do not be afraid to freeze gurue rein order to check up on something or think something, through the players will probably welcome this impromptu tactical conference-of snd the majar NPCs, be careful not tolet the players realize this; it might be a good idea to have a prepared stock of generic locations (shop, warehouse, station, church) and NPCs for use in such situations,peers Handbook Also. remember that the Story keeps on going even if the characters are not taking an active part in it. The master Eenot going to sit and wait just hecause the heroes re not shown upon eue tte foil the plan. As well as keeping on top of what is happening where the characte are, the Storyteller should at least try tobaw sme idexaf ing where they aren't Always remember, the storytelling in Vampire is interactive, and the final form af the Story is the joint creation of the Storyteller and the players. Farcing the direction af things robs players of the freedom te create their part of the Story, and can reduce them tothe status of passive audience. If that happens, thes land read a book instead and eventual the characters to yet into a mess, ane let therm pet ou tedit, by themselves as much as you can. Medlycoddling car he as bad a3 forcing Wipeout situations -beth deprive characters and players of their awn initiative, When characters bead affin some unexpected direction, think of them as wr their own subplat, Let them go. Sooner ae fater there will come an opportunity torejein the main thread of the Story The End If you start out to take Viewna - take Viernes, Napoleon Bonaparte When exactly does a Story end? This may seem like a Fatuous question, but itix vital ta know from the outset what conditions must be fulfilled in order to bring the Story taan end, Remember, toa, that there's mare thar, ne way to do it. Even the simplest Story has treo possible endings - success and failure. Like the beginning, the end of a Story has 2 number of tasks to perform, Itmuset resolve the main plot of the Story, ane way or another, Everyone involved in the Story (NPCs aswell) must havea eense that things have changed aca result of the events of the Story. This is important, ar vera will develop the feeling that their characters exist nd of site limbo, wh far of the next episode. TV sothey ean show the epi demands semething mere than that, In most cases -but hy no means all -the ening of Story must also give those volved a sense ofwhether they have won, last ar merely: survived, ‘Types of Ending ‘The most common type of ending is the etimax - the showelown with the enemy, the discovery of the desired item ar information, the removal of the threat, or ver. Once this tense, activn-filled scene is resuived. inner in this scene will almost always be the winner in the averall Story. Anticlimax cam also be effective, lt needs careful handling, Ifthe sense of amticlimas is communicated from the characters to the players, there is a chance that the players will become frustrated or disillusioned. When you have risked your life and seen close friends lose theirs, it can be hard tu come to terms with the fact that it was all for nothing, Even if the result of the main plat is an anticlimax, the Storyteller should make sure that the subplots and ather cirenmstanees give the characters something over which they can feel asense of achievement Anticlimax works bes! when its combined with lead NPCor or fart oup, the characters will havea ready motivation er action against them, Loose Ends [it be back, -Tiai-800, The Terminator While the ending of a Story should resolve the main plot one way or another, loose ends can often benefit fram being left untied, Especially in an ongoing Chranile, these are the things which provile continuity, lead te subplots er ‘ew main plots, or hang unresolved over characters’ heads for same Hime to come. If the ending ofa Story brings the Chronicle ta 2 major eressroads, then it may be better Lo tie up all the lonse ens at once, imut in other circumstances nose envis ean bave their uses. Aftermath Once the Story is over, the characters are awarded experience, andl players busy themaches with developing and updating their characters. This is also the time when the Storyteller shauld take stock and update the setting, for the events ef the Story will nat have left it unchanged, The Characters There ate guidelines in the Vampirerilebooktobep the Storyteller award experience to surviving charucters. These are su ese Storytellers wha use the addi ‘The Players Guide mayneed ts take certain extra details inte secount Increased character knontedge has been discussed under the beadling of Experience and Other Incentives above. The Batting The events of a Story Leave very unchanged, and while the pla character sheets, the Stocyteller 30 note changes ta the setti like buildings which have been destroyed api ich have chunged hands, there are iuangibles Uke NPC tudes, alliances and pawer structures, RPGs The events of the completed Story will have wrought come changes on the NPCs wha took part in it layers’ characters. Some may be dead, and others forced inta Torpar or reduced in powe Many will have gained knowledge und changes opinions and attitudes. Some may now he frvendiy to the characters, and others will want them extinguished. Most of this is merely a matier or making a few notes in the ‘appropriate places. Optionally, the Storyteller may decide to award experience prints to key NPCs, according to their actions in the Story, and to adkvaner these characters just a the players are.avancing theirs, This is afot of work, and should be restratted ta those NPCs who were directly and artively involved in the events of the Story Troupe-Style Play My name ts Legion: for we are meny. tle of what they touch, ~ Lake 8: 30 ‘Troupe-style play isa concept which was intradaced in White Wolf's Ars Magica game, Instead of each player comtralling only ane chirarter, a player may control several characters of different types, selecting the most appropriate character ta play in any given siluatian. This style of play has a number af adlvamtages, 10Lee jest, having several different characters to chonse fram allows a player to take am active part in the Story even if the “main” character is absent, injured or killed. [t alse allows a player to undertake several actions at once -fr example, a more scholarly character might be off researching a dilemma while a more active character is taking a direet approach to the preblem. The group as a whole has a wider range of abilities to drave upon, and is not 36 severely weakened by ‘the death or inewpacity of ome character. And from the storytelling point of view, this style of play reflects minor characters like friends, allies and contacts very ‘without giving the Storyteller the added burden of playing additional NBCs Traupe-style play is not for everyone, and the Storyteller hhas the final say over whether itwill be used in a particular Chronicle. Approaches there is mare than one way ta hundie teoupestyle ‘Vampire, and again the Storyteller mnaet deciste wach is spt appropriate for the Chromiche ion: the group has discovered some eta the Prince, whois currently attending a very exclusive Rindeed affaleta the Elysium. Bost ofthe graup are Brujah and Nosferat, ‘whose fighting und stealth sis have-cnabed them to get ‘his far without loo many problems ~bul these characters ate hardly likely toe weleormed in the Elysium, All are eanates, and lack the authority to simply barge fa their avn. Bruja are fractious unrefined snl easly Sllare suspected nfhaving Avarch sympathies. And as fot ‘Nosferatu - well, they've hardly Wkely to get past the Toreador Ancilla who ate guatding the door. Normally, the characters would he faced witha peublem They miigh! be able ts find an ally from the Ventrue or Toreador clans wha could get ward tthe Prince fr thems, bat by the time they Bave done sa itmightalready be to late. Te could be that everyone fram the more socially acceptable clans is already attending the Prince, bebiad honed doors and unceachable. And froma the storytelling point of view, ta go throagh an NPC at this stage Action out ofthe playees' hands, leading ta a feeling uf Solielinaxand inevitably breaking the fensian that bas built up in the Story s0 far. ‘One solution wo this problems is tohawe exch player erente character fram a different clan, 20 ther ve Tremere, one Tareidr and s0 on. Bul then iz can lead ta tensions within the group ithe characters sre player! ta the full “wh sould lead to the whole Story breaking down. What Toreador would be seen in the eotmpany of Nosferatu? What Ventre scould trust bis of er life to the companionship of a Brajah-or worse, a Malkavian? The problem might be solved if each player were allowed to cereale a tumber of charatters. From this pool of Sharactera, it would then be possible ta pis together 3 arty with the appropriate skills and background for Simost any situation, (otrigueiabigh places? Leave the Brujah at home and bring oul the Ventre, Tremere aad oreadors. Tough fight ahead? Laad wp on Bruja, with 2 couple nf Nosferatu scouts and pethape a Tremere for stopernatiral overage. A foray into ‘he Barrens? Concentrateon Gangrels, with Deja for support dbook When a player creates a troupe of characters, the Storyteller and the ather players shauld get togetherto out the details. Sinee this pool of characters will all now each other and be able to cooperate ta an extent, they will need reasons for overcoming their nermal lan ostilities and prejudices, and these will need to be worked ut in order for the whole troupe ta work effertively I'sno good switching from a Brujah toa Ventrue character if the Ventruc refuses to have anything toda with these near-Anarch rabble, for instance, 20 relationships and connections have to he found, In many cases these will strengthen and deepenin play, but there should be at least some connection th start off with. Twa charucters might have heen colleagues, buddies or even relatives in-their breathing days, or they might he drawn together by some common interest ar priority. ‘Don't neglect the character archetypes when considering this. A Caregiver might well feel impelled ta look after a Child, even ifthe Child is f Confermist will stick with a another clan in the absence of any ta home, while a Fanatic or Visionary will use anyone to further the Cause. 4 Rebel, on the other band, might take pleasure in associating with those ofother clans, especially ifthis outrages the mare traditional clanmatesof cither character. The Warband In Ars Magica, a player typically cantrals ane af the powerful wizards, along witha small entowrage af men-at- arms and other companions. In Vampire, this des might be translated into a player controlling one Cainite, aking, with any Ghouls, retainers and other hangers-on ter. Inthe language of skirmish margames, this would be destibed aa hero and warband. Playing this way frevs the Storyteller af the need ta pla wha would normally hang srewnd with thi pire character anyway. It gives the player a few more pais ef hands, and the ability to be active in daylight. But itis mot without its drawbacks, especially when dealing with inexperienced at power-hungry pla} Mast fram closer that any hangers-on follow this character around obediently. Wien the action becomes intense, an inexperienced player can sometimes be alittle everwhelmed by the strain of having to look after three or four lesser characters as well as the main ane, The Storyteller ean overcome this by handling the lesser characters mast of the time, and anly handing controlof them to the player upon request, ot when one ef the ewer character has something impertantta &o or seme critical decision to mak: A grenter problem is the eannom fader syndrome, where the lesser characters take all the risks, and are generally pushed arwund.and thrown away for the benefit of their Cainite master. Unless the Kindred has them sufficiently fates te turn them Into mindless slaves, this is ot believable, burt it is not using the lesser characters full potential. [n the end, st devalues the whole game. ‘There are various ways ta deal with this. One is for the Storyteller ‘oa some kind of loyalty check for lesser characters whenever they are required to do something life-threatening, against their nature (remember, these teeditl us teks detail 2(oor eed should take into account things like Dorminatian, bow well the master has treated the lesser character in the past, potential rewards, and so on. A good all would be the Vampire's Manipulation + Leadership vs the servant's Intelligence + Courage (it takes a certain amount of nerve torefase a command fram a Vasnpire), but the Storyteller can vary the Traits used to reflect the sitmation, Awother way to prevent the abuse of underlings istwhave the Vampire character make a Conscience rall to avoid lone of Humanityeach time a lesser characteris knowingly sent inte a dangerous situation, This tends to make even the ‘most autocratic of Kindred think twice. ancl is afer alle of the things that the rules mechanism of Huma intended 19 cover. Live-action Juste game thee you Tike te ply ‘Stecpuwafking through a world of pain Just enother pretty face in the rome rain Naaw you're wide awake ire dreambanet “Pat Benatar, Wide Awake in Dreamland The ‘ampire sulebook makes some mention of live the game aa means ef bringing certain scenes more vividly to life, Liventtion replaying is where the distinction between game and improvised theatre almost vanishes altogether, and with the right scenes, characters and players a Hiveaction sca can be very effective indeed. Lake traupe play, live action i aat for everyone, and should always be considered as optianal Choosing Ecanes Just as same scenes in a Story might be particalarly ‘table fora vention treatment, so some scenes ait be particularly unsuitable, When preparing fo play aut a Story, the Storyteller shoul decide which reenes, ary, willbe played live Scenes which are most suitable for live action tend to he thase without combat or ather kinds of diee-rlling: seca ruin the atmosphere of a scene ifit becomes necessary to swing constantly feom live play to dice rolling, iss and negotiations are easy 19 and indeed many people do so without even re i able face-terface with the Storyteller, j characters are sitting face-to-facewith one or more NPCs. Other, less statie types of seene can also he played cout Live, but these tend ta tequire afittle more preparation More will he said of them later, Combats ate the least suitable scenes for playing live. mainly keeause of the amauat af dice rolling involved in the average combat, but also because of the risk to players, fas opposed to characters. In most enses, specialized facilities are required ling levenetion combats Such facilities do exist, and can be faund advertised in ‘most hobby games magazines, but few if any of them are either campatible with Vampire intheirstiing or Sexdble enough to accommodate a story nr scenario which they have not designed themselves, Btyles of Play Anything can happen in thenest Ralfour! “Commander Shore Stingray ‘The question of style in liveaction play really revolves aaron nd ane question: How far da yeu want to g6? Do ya want te cover eve possible scene live, or any use live play shen it is pacticulatiy easy or appropriate to do so? Da you want te get invalved with scenery, props, costumes -or would you rather keep these in the imagination, and coneentrate tan the words and deeds of the characters? Do you want to seek out stitable locations, or adapt the space you normally we for gaming? How much extra work do:you want to put into things? What resources do you have to devote to setting live play up? This is a decision that eacls {group will have to make for itself, accarding to its own, preferences and resources. Props Tm putting on my top bat Tong up any whi ie rushing off my tails = Fred Astaive, Tap Het Props can add a great deal to a livenction ply session, and some players lke tose props as. part of thee chazacters. Something like a silver ‘topped ene a meriocle ora certain em of clothing can quickly became 2 trade identifying a character as match as an attitude phrase Groucho simply envt Groucho without the find cigar. no matter how well you da the walle Where would Obi-Wan Kenobi he without his hooded robe and lightsaber, or Darth Vader without his mask? Or Daa Corleone without his ring? Or Ripley without an enormeds: sgn? What would Stan and Olleco if they diay have thea hats and ties to fiddle with? You get the idea This is just ax true of NPCs -it's normally just a figure af speech when people sty the Storyteller w. hats during the ccurse of the game, bat it ran became linerally true inlive action! & prop, a mannesisi ora style ff speaking exn all helj»bring an NPC to life and separate her from the many other characters the Storyteller must play during the curse of Story eme propsare part ofthe action instead of being art fa character The moat commen type el prop is tie player handout” ~ copyata map, picture oe document wiih enn be given to the players when thelr eharaeters find it coumterpart in the Story. But in a live session, the possibilities braaden. Books, picees af jewelry, scraps of Diper er cloth - almost any kit of ebue or significant iter fam be represented in the esh, 20 to speak, instead ofthe Storyteller simply describing tothe payers what it iothat helt characters have found. Boope are alan good for «et dressing (ee Settings below), helping to convey the atimaspliere ofa loation more eloquently than any amount of vethal deseription can, Props are neither ws cult nar as expensiveto obtain as you might expect. Thrift stares, “nearly new" shes, yard and garage sales, anv bouse clearance nvetéons are all goed sources. If you make a habit of cruising such places, Keeping an open mind and locking for asefal and interesting items rather thats having a rigidly fixed idea of what you want, then vou can find a good collection af interesting prps fairly inexpensively. Bettings My set isamazing Ateven smells lite the street There's a bar dawirat the end Where I cen meet you and your friend 2 a>Coord = David Bowie, Candidate ‘Most liveaction gaming sessions will probably take place in much the same surroundings as the "roundthetable™ sessions: someone's home or another convenient mecti Phice. There are some occasions, thong, where anathe setting can ade a great deal to the experience of the game. Even when planning a live session in the normal gaming Iocation, there are ways to make the place look and feel ore like the location in the Story. Props ave already been mentioned, and simple things tike moving 2 few pisces of furniture can gos fong way Other senses, sich as Sell, can be a important asaight in ereating the fel ofa Plce, but is bite more limited in its posarbiliies. You ght not watt take your home smell ikea city sewer fora scene in a Nosferatn stronghold, forinstanee. but = Tite incense and perhaps a tape of Gregorian chanting in the background, and you lave an atmosphere ideal far a Tremere Chantry-or an Elger's Haven For special scenes, ya might even find an outside location, but firs must he done witl great care. Firet, permission must be obtained for amy activity on private land, and gaming eno exception Second -and perhaps more difficult itis important to make sure that mo members of the non gaming public get the wrong impression about what is ‘on, This may sound like a minor point, but itis quite le to get arrested for attacking (or appearing to aiiack) another person in a pubic place, and many people tend to become worried when they ser black-cloaked, figures fitting in and out ofehurchyards or abandoned houses late at night There have been a few unfortunate incielents in the history oF this hobby where such mrisuinderstandings have led to arrests and even death, Rare as these incidents are, they are alvays seized upon by the eensational press, and by those who would like to prove that this type of gaming is dangerous, unwhelesome, satanic of othenwise esirable, Nemparticipants have a hard enough time nding what this habby isakout, given the often, confusing statements of gamers and the scaremongering laimsof the hobby's enemies. Dan't get your hobby a bad same, of help reinforce harmful misconceptions about it ‘That hires all of us, not just yourself and yourgroup. The Key words are permission, planning. safety and responsibility. As with all aspeets of live play, the Storyteller must chase exactly how far ta goin the pursuit of realism, Few will have the time erother resources to create mavieShesets for their live gaming sessions, but everyone can do something to create a sense of place. Cheap Tricks From ghouties and.ghestiex And tong leggity Beasties And things at go Bumpin be night traditional English prayer ‘The ruses and techniques discussed in this section cam apply te ronnd-the-table gaming as much as liveactiony in any ways, they provide a kind af halfway house between, the twa. As with everything in this section. the ideas presented here are only examples, and the Storyteller is, encouraged to develop hic or her own ideas and techniques, according tothe tastes and gaming style of te sroup. Bound Music and sound effects are among the oldest techni for establishing atmosphere in a gaming session, several companies - White Wolf among them produce collections of msc and sound effects specialty designed for gaming, Many record stores also stock recordings of sound effete -the BRC series is particularly recommenied ‘and enterprising Storytellers with recog expert can easily make # AAs well as being part of the background ambience ofthe satning session, sound can be used for specitc purposes as teell especially soundeffects. Al tssenplest, ths tnvolves playing a sound effect instead of deserbing > players what they te ar time Ine mare developed form, ca ivalve concealing sell speakers aout the pce. and javing previowsly ened soundsat the appropriate time Sithout Teiting the players see you Hit the switch Unexpected crashes of thonder, explosions or saunds of breaking glass can prosice men the some feelings it players as in their characters Searching Another of the hasic semi-live trieks is to have players search for clues instead of letting thera roll dice fer their characters’ searching. This works particularly well in conjunction with moderate amaunt of set dressing, and of course the clue or clues should he concealed heftre the gating sesaton begins. Apart from adding samme tivedetion realism te the game, this technique can also stop players ‘whining abort the Storytellers restrietians on how Large an area san be searched ina given amount of time they'll realize it takes longer than they thought! Of course, a Storyteller who uses this technique does have te be prepared for the players to take the room apart, aad muke sure there is nothing there that they are not stapposed to Find Tasks In a roundethe-table gaming session, players roll dive decide the sticeess or failure of many of their characters actions, and it is offen the euse that the umount of dice= rolling meeessary determines the suitability af a sere for playing live. In some circurnstances, it is possible to havea layer attempt a tack, instead of merely ralling dice ax the player's character attempts the same task. Searching. isctssed above, is one example of this, bot there are any ther possi Say, for example, a characteris trapped in a semiuined building at dawns, Sunlight is beginainys to filter in through gaps in the walls and oof. These ean be simulated by setting up a number of narrow -bears flashlights at various points tn the room, and terning out theother lights. The chatacter Mas to make it to the darkness af the cellar in onder to rest for the day, and so the player might be respuired us make it acroas the room. Every time the player breaks a flashlight beam, the character has stumbled intaa shaft of sunlight, and suffers accordingly. Some gamers prefer not ta hare players attempt tasks om behalf of their characters, pointing owt ~quite resanabty~ that theeharacter often has very diferent abilities fromm the player. [es no good expecting a player who bas never ad 3 ‘usc Fexsan ta play the piano, for instance, even if that player's ebaracter does happen to have blac: specializing Eeyhoard instsmments. There are some tasks which a player simply cannot perform on behalf of the character, and in these Eases it is far ketter, and fairer, to fall back of dice rolls, B a>VAMPIRE STORY WORKSHEET Storyteller: Chron Geographical Setting: Start Date Characters Story Concept: Plot Arehety Subplat(s) Mod Plot Summary Key NPCs: Key Locations: Key Si Troubleshaoting: Rewards: Reward Conditions: Opening: Lacation: NPC Ending: miz orate NPCs: Conditions for success: (Conditions for failure: 5Loree Chapter Two: The Chronicle When in the chraniete of wasteet time see deseriptions of the fairest wights, And beciry making beautiful old rile In praise of = William Sh Not all Vampive players an ina Chronicle. Many stay 5 Stories, complete in ionship ta d en use th jets, but atill not tos: players am oth nd craton a cover. it remains possible te ly thought-out actions, mistake the characters the original setup d estential to an enjoyable Chronicle 1c itself a aumber of wavs to begin jes, as well as aspects to consider in their rmient. As with wants the Chronicle te he. Will tf lines, with the characters its turf against As derions anal oth with the characters Politics? Or will tebe some of perately more bi few Kindr bel ruthless Chronicle concept often takes a mes the Storytellee's brain, Many tis dering route theough the process begins with taryteller Flippi ha book (mayhe even the Vampire rulebook) or ulking 10 someone we something will elick ith Maybe it will be th dive cet sexpeare, The Sonnets of 5 iy knights, whakespeare setting ("Wouldn't it be wild te set 2 Chronicle vith the East and West parts of the city till bei competing Princes evenge?”) or even just could the players handles Chraniclewhereeverything wuss sd at sensually as possible?” yteller bas 3 faisly the Chronicle will and what wall happen itis prolate that age. Exactly what mole will the charact play in the Chronicle? Will they be pavns af higher forces? pirolled by the powers that he? Ora potent bing together to-driy tf polities most treachero nixed bag of Brjak ane Chronicle concept requires more Story setting she has in mined a thing about the Pringe recent porwer br what the fu hope to go in, $0 if the fers start saying "I want ta run a Ventre wie allied with the old Prince,” er "My chi Gangrel wha hates all Princes,” sb coming. And thus the cancept is b 16 » 4(OSes Prelude ‘Many Chronicles begin with the Preludes, an excellent time for players to get to know their eharacters and far the Starytellerto figare ont whit the playees want ont of the Chronicle. Usually Storytellers heavily seript the Preludes, for they rust ensure the characters became Vampires and survive up until the time the Chronicle is supposetdto start However, even here things can begin ta gowromg. Whatif the characters befriend the Elier the Storyteller hoped they would hate? How about the time they attacked a member of the Inconn by accident? What if they seek aut and join the Sabhat a manth after the Embrace? None of theve occurrences is expecially critical to the Chronicle, despite their apparent significance. Sin Sturyteller bas great leeway during the Prelade, sn thick happere he be able to draw ide fature Stories. Thusif the characterscdo mect und impress the Clan Elder wha should have praven a great impediment to their advancement, she still has time tt. make the Elder change her mind about them, Just remember, the Prelude doos more than just serve ax fan exciting Story. It gives the player a chance 10 get vo know bis character and get into the role before the important scenes of the Chronicle begin. The Storyteller should also take the opportunity ta size up the character and the events of character creation. While the concept behind the Chronicle sould already be firmly planted, cme can always add to it. M the players seem mare intent on, violence than she Grit thought, naw isthe timme to-make their enemies mare brutal. [the players appear to enjay schemes and plots,add evers greater layers af conspiracy ta your concept. Where to Go Now thatthe Storyteller has the concept dawn pat fleshed out with setting. characters and major players, she needs to devise a plan. The plan details in what directions she wishes tosee tte Chronicle go and what the goals are. Th can be as «pevifie ax "The characters shall trick down and slay their Sives, thereby regaining their martulity," ar it can be as furry as “The characters slowly unravel the mysteries of the city, learn who is bebinel what sctéons and thus become a power in their own right. The easiest way ta handle this plan often involves setting up a final destination and establishing cheekpaints whicl, should be reached if the Chronicle is on course, Far instance, if the geal of the Chronicle is to Mave the characters drive the evil Primogen from power and take its pice, ushering ina new era of pence and harmony, then, she ean set upa number of checkpoints, inst the characters mm 1 learn just how evil the Primogen is, accomplished exsaly enoagh by having the Primogen persecute them unjustly, perhaps turning them into seapegoats for the sins of ene af the Primagen's own Childer. The next stage would be for the characters to achieve a position ef relative safety, either by leaving the sity or by recruiting powerful allies (pethaps from theie own Clans) Now the eharacters should start fearning about the Primogen's weaknesses, be they its inherent friction, the ‘hatred it has earned fram all the cety’s Kindred or the fact that half its members are dliabolists, Setites or tarnceats from the Sabbat. The dharacters reach the fourth cheekpoint when they begin using this knowledge tot wn advantage, and the Primagen begins to weaken, The fifth and final checkpoint comes when the characters finally drive the Pramogen from power. perhaps by tnening, its mera bers upon each other, and either take over the ity themselves or install someone af their Wing. Thts may have taken anywhere from 10 to 100 oF more individual Stories to accomplish, with a number of add Stories (hunters, encounters with Lupines, Clan meetings et-)t0 add spice and varicty. Naw the characters have met the goal and the Storyteller can consider the Chronicle Ehrough. After all, now the characters rule, and mast of their time gets taken up with the petty aspects af government, not always the stuff of enjoyable Stories. However, perhans the members of the Primogen were the pawns of pewerful Methuselahs, and the characters’ actions force one te rige from Terpor. Now a whole new Chronicle begins. where the eoncept revolves around this ew evil power loose in the characters’ city, and the goal bras te do with their tracking it dawn and doing away wt it The Chronicle Map An alternative tothe game plan isthe story map. Sinvlar ta the game tain difference lis in the amaunt af conrad ibe players have over thal will happen. The Chronicle map takes the same formas the Stary map wich i used in White Wolf prortucts like Ashes w Ashes show Storytellers what may happen depending on the characters’ actions, AL ite mst basi, the Chronicle Story map las two points-on it-mhene yo plano sat dhe characters and where you hope they will end wp. ‘Most maps have more, hanwever, Siaceany Scene or Story canend ina aumber of different wavs, the map points ct the results af what may happen piven the characters! actions, For instance, ite sces calls for te characters to fleet and interrogate a police officer in order ta find tehal prompted tse rast on their havens, the scene wo bhave arrows pointing te what could happen shonld the chatacters get the information they need. not get the fnfarmation, get partial information or even get arrested. Each ofthese results wos Jado a different scene, whieh would then become a new paint on the map from which ew arrows to new scence oud be drawer Thus, i the characters get the requiredinformation from the eop, they can seekaut the Cajnite who ardeved the rads, present the information to the Prince for its high ee to the Masgqterade oro noshing, in which ease the arrow points to the next fiendish [and potentially Tethal) plot oftheir While the map can be extremely useful in planning idual Stories, its true aility becomes wpparent when at the Chronicle. This sart of map fas to be heir havens woulldonly take up one potst an the map. irom this point would come such options ax: Characters slay Cainite, Characters driven out of town, Charaeters drive Cainite ont of town, Characters bring pressure te bear on Cainite gn he stops exert 1c int there, and even Characters make peace with Cainite (not bloody Tikely)- This Chronicle map, instead of showing the route the characters should take (as the game plan does), shows the routes they may take, ind allow the Storyteller te get Feel befrehand of what consequence: their actions may ease y b 4(Ooo While this aap vill not have the same definition of either the game plan or the story mas, i allows the Starytlk anticipate what the characters may da and how to han it con the map chonld have an arrawe lank space to allow for completely unforeseen, ults. Otherevents sbould have arrows godin both ways between itand anather nexus, shenwing how theeharacters can take either route and still get to Ue sare place. Stops Along the Way [Nothing ever works ns easily as this. Ifthe Storyteller thinks for one mite the players will ppih- follow the same plan or story mop, she i aadly mistaken. Perhaps ne oF mare hape to ste with the Primogen, turning it their coterie in exchange fr favorable teatiaeat, Peet they chuck te whole thing anc head ant tothe Anareh Free Stites, Maybe in xeeking poser to combat the sn, they become so caught up i dialer that they forget the original purpove af tier murders ‘The changes may nat ever reall from character actions TheStoryteiee, im taking the characters Earough ueae sb plot ar another, may well notice the players and herself Wg more interested in this side aspect than in the tofthe Chrunicle. Maybe a ted herring youthraw out attracts sa much attentian you decide to make major element of the Chronicle, and the players ned nev Know it originally played no role In any case, the Storyteller needs to prepare for that which ‘cannot ie prepared for. Unexpected treists and turns are lone aspect af roleplaying which makesst so interesting and exciting, These ein oceur at any moment, from the Gna session to the last (Once the actual Chronicle has started, it cannot help but growae Storyteller and players explure the different facets ofthe Vampiric existence. Handling that growth is no task, as new plot lines develop, new enemies form while old ames fall by the wayside, and the eharacters begi turning their desires into Stories. In fact, is during this eclodot growth, after the actionhas gtien ungeryay bat ‘oreit approaches acanchisian, that the Chronicle ie at Se Keeping 1t Together The most obvious problem lies ia keeping the Chronic compact. A Chronicle can quickly uoravel amidst a flurry of captivating, yet uneanuected. Stories. Ne matter how exeiting battling Buddhist Witeh-unters ane night ana Ravnos Archons the next maybe, eventually you and the players lose all sight af what is going on around their characters, Real life has never keen.a series of random, events, and while there ix no reason to make the players fee] everything in the world resteom their shoulders; they spall at least understand that their aevions one night will effect what happens the next, asiest way tobring this about is through the wee of a ving theme and mood far the Chronicle, as explained ire, For instance, if you fellow the leadership. theme presented in the rulebook, then characters will begin to geta sense af haw control and authavity affect them and the Gothie-Punk world. Thus they ace bow thei own aeticins related to being lenders and followers changes, the game. Even with a sustained theme and mood, however. the Chronicle can hegin ta branch off in a million different directions as characters follow theirawn plans and stories take alife of their awn. In this case the Storyteller needs to combine her two great weapons - planaing and improvisation -inta bie ‘The plan has been discussed above, and the Storyteller should already have a goad idea of what she wants the characters to accoruplish. ss they start getting off track, ec by fetal tomes se “and then running, off to resciring, the Salubri who coud tll them about the Methmselat Dowvinating the Justiear, the Sturytetler neces ts carefully weigh just ow important itis to point the charactersback in the briginal direction, A Storyteller can always follow the high-tarded methedto bbring the characters back inta Tine with his plane (a laved ‘one threatened, the characters kidnapped, offers toa good to refuse, cle), but many players resent being treated in this way, On the flip sie, tee Staryteller ean ehvick all the careful preparation she bas made in order ta go will the characters’ whimsy~a result as unsatisfying as the one which forced the characters to toe the bine. However, itis almost always possibde to bring the players and the Storyteller into a mutually agreeable solution. One way to handle this situation is to weigh the benefits of getting them back inta the original Chroniele against the Potential of these new events. ts it possible wo acceenplish the same goals within the framework of what the characters have done? For instance, ifthe Storytelles hopes to have the characters luncaver the true powes behind the throne, can they find clues in their new location chic will eet them back om track. but an their im timetable? Or, ifthe gaalwas much bbroader in scopes, perhaps forcing the charavters ta choose between siding with two evils (say the Satubri and the Tremere}, then there is uo reason why the Storyteller cannot create a ecrmpromise Another way to handle this situation is with redirection. Something has caused the characters tacliverge from the course the Storyteller hae hoped they would follows newt is up to the Staryteller to give therm a reazom to return Which Way Did He Go. Another area which can quickly blow up isthe setting, As a Chronicle grews and grows. more and more places begin to take on greater and greater importance. By naw the characters may have developed a aumber of back-up havens, visited other cities, keen forced to seek shelter among the Lapines during a Hlaod Hont and generally been around somite that the Chronicle no longer revelves ‘around one location, While good in itself, multiple settings can quickly become tov muich for a Storyteller, Nat only does she Bie to knew something about a variety af nit places, but ench setting is filled with its own fascinating individuals and their interactions. Eack area undergoes change whether the characters are there er aot, and it becomes exceptionally diffieul to keep track of these when the Storyteller needs to make decisions for four or luneonnocted areas, especially when a number ofthese are Large cities. ‘The easiest way ta keep the settings from blowing up in the Storyteller's face is to designate one as the main place of business, Using the setting fom Vampireasanecample tf this, Gary wonld be the main loeation for the charaeters, » 4(ores though they would make regular incursions into Chicago and secasional forays to Milwaukee. Thus the Storyteller would have to gut the most wark into Gary, keep a close Chicagaand let Milwaukee simmer in the buck ofber mind -a much easier task than trying to juggle all three. Deciding which sesting should be the main location for 2 Chronicle should ke a relatively-casy task sich cris the Storyteller most interested in, and which can provide the snow interesting Stories? While characters might become fo the ather places, the Storyteller shale have litle difficulty keeping the characters in one place. As they spend mare time there, they will begin ta bave more and more invested im it. Thus, no matter haw often they leave town to seck allies or safety, they wil eventually return te their "home." Am akernate way of handling « plethora of settings is by giving each one a sole purpose. and any having to look at that location im a specific light. Ta use Gary ance mare, it would be the glace for power plays as the charactersstrive totake-over. Chicago would be a place of quiet conspiracies and plots while Milwaukee would allow the characters to let laase with spasms of violence, Thus the Storyteller would only have to stay cognizant of thase factions the characters would be interacting with instead of the entire spectrum of Kindred WhoDoT Bats Tonight Another area witch can easily grow out ofcontrol are the illains ofthe Chronicle. White it maybe true that there ts nna such thing as a"gond” Vampire, not all of the Kirsired need be hostile to the characters, rer, it can be a great urge to have every Vampire want to use them for their own appalling purposes Iethe characters find they can never trust another of the Undead, orth? every mortal isa pan of some Cainite or another, their players can ewiflly become fed up with always being in conflict and the Storyteller will fitd she spenils more time keeping tracl-of the-villains than having, fan with the Chronicte. [t become very tedious when time the characters are attacked they bave te run trough a growing checklist to decide whe it might have been Finally. it detracts fromthe impact any-ane fo wh they encounter. The best methed far avvicling this fate i fallow a tactic similar to handling the settings ~estabiish amain enemy or {group of enemies. While only fighting one enemy would Tapidly become boring, the characters should at feast be able to concentrate their attentions in one direction. Of course, this daes nut mean the characters will necessarily Know who their enemy is - there should always be a level of the game. However, they chould at least ing ta aim al (the Prince's brood, the Anarch, ders, ete.) ve decided! on the overarching evil of the it hecomes much easier to integrate the other fos the characters will meet. Each will have a purpose and job, becoming something more than anether punching bag for the characters to pound.on. Finally, the minar villains. thanks ta their vory pettiness, will make thermain onesthat rch ‘essive by comparison. ‘The Web Afinalarea the Storyteller bas close eyean is the growing weband depth of entanglements and conspiracies the characters become involved in. Vampire kndsitsel! well to deep plats nrvdimtricate ties hetwren characters and NPCs, but these also make the Storytellers jab that mucl, ander. [tis not always enough to juct keep in mind that the Anareh gang bose ix Blond Round to the Tareadar Cian leader, Instead, the ties between the Clans, ite Elders an its Neonates all play a role in how the leader-wall use the Anarch, Whether or not the leader will have the Anarck help, hinder or ignore the characters (ar even ifthe leader lets the Anarch act freely} wall depend as much an outside factors a3 it will on how she herself views the characters and thelr mission, Only the loosest of Storytellers should try and keep allthis information in her bead. Chieago by Night and Milwaukee by Night provide coterie mapss which showy how individuals feel about each a 1d these are good starting points for Storytellers. As your Chronicle develops, you can add each major player to the map, and illustrate her relations with the athers, Change these as the characters change, and feel free to make major revisions should the Chron seera healed of courve. Additionally, you can intereonnect these webs a3 yaw desire. No coterie exists without feeting the impact ofether Kindred, and the more connections existing an your map, the more detailed the Chroniele ean be, This also aide the Storyteller in keeping the Chronicle together, as even. though she may add mare picees, they stay in an organized, planned manner, usable as the Storyteller will Consistency ‘The final factor which ean cance an entire Chronicle to fall apatt isa laek of consistency. All the above suggestions should help keep it together, ht if players begin getting the feeling that the Storyteller never knows what is going. fon, and cannot keep things the same, then they lose the trust and credibility which is the basis of the Storyeeling, experience, This lnck of consistency daes not refer to just forgetting, which building the Princermakes her haven in ox what side ‘OF the rani has the hidden doorway. Instead it beeomes important when the Storyteller has villains act differentiy fromone Story ta the next foro reason, when taking one Pattern of action works cametines and inexplicably fails ther timesar ifthe Storyteller seems ta be backtracking constantly to recuver when things go against ber Consistency is as much matter of perception as it ix reality, players see the Supryteller as inconsistent it does ‘hot mutter i she really ix er net, and vice versa, Ths the Storyteller should first endeavor ta be consistent. keeping accurate notes and listening ta player worries a5 300m at hey crop up. However, other tricks can help as well. For instance, keeping a motif to the Chramiele (as deseribed in Vampire) immediately gives it the illusion of stability. After all, f players see events happ. summer or at least with the appea supporting them, thers they assume 2v that way bing operatesin Another way to keep the consistency together is to aveid oven the slightest hint af favoritism, Nothing causes a Chronicleta degenerate as quickly as playess believing they ane being treated differently from each other, Even ifyou feel everything has been equal, the players may no soe things the samse way. Listen te each player as mueh as any 9 » 4Lor other, pretend to ive their plans the same amount of consideration and aever let them sce the dive when yews fudge a roll. Eandling Time (One problem unique te Vampire Hesin the handling of time, In roleplaying games, the-characters are usually mortals with relatively brief Ifespans. In Vampire. However, the eluiracters huve the potential ts live fatever and the Chronicle ean Inst cons. The abviows problems Jogi when the Chronicle begins advancing faster than real fine does, tui] tbe Storyteller ie lef trying to decide what her city and world will be like in 10 or 200 years. Storytellers have sed a number of tricks todeal with this predicament. The easiest involves keening the Stork Telated to the night-to-night events ofthe characters, th eventing the game From advancing far beyond terest Ite world The opposite side af Uni vain requires the Storyteller to plan for ascience fiction Chronicle, atl Tet i advance at a high rate af speed in order to avoid ever ihaving loget too deeply involved in ane pluce and time (which would require the Storyteller de prodigious Smaunts of work for multiple eras) [either af these anglesis particularly satisfying, ond bath limit the Storyteller in the ways she eit direct Her Chronicle, Thus there are te other ways to handle the passage time, each af which Keeps the Storyteller from faving to do oa much work bat gives greater Ireedorn to advance the elock at will Bleeping Beauties The first way requires the characters to enter torpor. preferably voluntarily. At some point, mast Kindredweho Ihave survived the better pact af a century begin to tire of the waking world, They ive seen moat ef what they want tw sce, and the latest innovation barely atteacts the interest. At his cy create a heavily protected resting place or ck place in the wild where they cam meld with Ee Voluntary torpor differs from that which Kindred enter ‘when they sufler grievous wounds. Kindved wo cater state withonst being forced ta.can geacrally awaken at the time they desire (or atleast within a decade or so}. Those with Anspfex may beable to keep a vigil over the world and pick their time of revival. Indeed, many wha have involuntarily entered torpor due to wounds can awaken carlir than they do, but opt tocontiaue sleeping unl they {eel ready to came out ‘Thus at some point the characters should deride, ax @ troupe. to-enter tarpar and when ta arise. One easy way to Dring this about isto have them battling seme great foe whe himself disap ides at atime, With thease OF the proper rteal (thoughtfully supplied by the Storyteller), the characters can revive themselves whenever still combat him a3 necessary While this method ean alze ke wsed with the downtime rules found luter in this chapter, it works best when the haraetets sleep the years away. Given years of downtime, far too many players would begin demanding gobs of experience for their characters. possibly increasing tbe power level af the game before the Storyteller fs ready, Back tothe Future Another way to handle the passage of time involves starting the Chronicle at.an earlier date, [fa Storyteller began the actual game in w30), she would havea wealth of details about the time and he able to slowly advance it to the present day. While she might have ta take vare alrout Keeping the characters from changing the present (ne chatacters allowed in Dallas on November #2. 1963 00 sleeping in the Watergate Hotel nine years later), even that can be fun, Storytellers ean handle the Back te the Future method one ff tw ways. With the first method, time passes normally, with the characters spenshng as much lime an the Stories fas they would if the Chrotscle started torlay. In the second, the Storyteller speeds uj time leading up ta the present. After all, many players find it difficult to separate their knowledge of the past from their characters’ actions, s the Storyteller keeps events moving quickly,the players ceannot exploit the situation, StI, the Chronicle will be able to encompass at Teast seme of the scope of what being, immortal is all about: Humor and Tension Tite fina aspect af the Chroniele to keep in mind isthe of player moods. This does not refer ta Chronicle moods like suspense and darkness, but inst themselves Feel. smuakes the players feel the same way. Even ifthe horrors of the best Kind, of the suspense always dramatic, eventually people et fed up with thy same menu over and over, Varying the emotions in cach scene cannot always be planned owt, You may be able to say whem the characters twill be in the greatest danger, and when they faee their most horrensions foe, bt the players themselves might feel the mast lnerot during the anticipation of what is ts come, and find the actual battle a relief (at least they know what they're up against) ‘The Storyteller can majntain some contzol aver bow the players feel, however. Modulating the tension requires as ‘auch attention ta what the players are doing their characters are up to, When they are distr the game. nuthing will make therm feel the suspense you have spent so long building up. On the ather hand when their concentration kecames complete, they will feel every’ emotion af their characters. (Once you know how the players themselves feel. yeu eam, begin the provess af manipulating their mac (afer all, that not what storytellers of all kines air foe?) Contrasts fare probably the easiest way to handle this. For instance, i the dramatic Scenes wan't happen for a while, use bumorous situations to relax the players. Then, as the tension begins ta rise, cut kick on the levity, Havethe vain retainer you've been playing for laugheretuea homeand shipthe bumbling cap affte the doughnut shop By the time the mast important scene comes up, you have Layers both with a buildup of tension and a - While the players remember (ath subconsciously) past times of whiny, you bave readied them for the more serious moments ta came, ‘The same holds true for Chremieles as it dees far Stori Have some episodes played for laughs. Pur the elaracters up against one of the Prince's brmd who has become renowned for his incompetence. While the players will enjoy Laughing at the amazing ineptitude of this foe, the Storyteller ean sct up the first in.a series of Stories which will allow the players to realize the Prance bas set the eity upéoran attack by Lupines. When the culminating battle 20 a>