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their characters’ various Traits. Munchkins want to play char- ‘sete who.are quasi-legal in the game system or who earobine thebestof all possible work into ene character ‘There's nothing necessarily wrong with a player wha wants her charscrer to be the best at something Inenhances a chronicle, and the Storyteller can, woek with and play t:8 player's desire for excellence. [c's when players desire 00 be the best at eersching especially atthe expense of other character is when itbecomes a problem. © Roleplayert He likes the acting apects of the game, Roleplayers create complex, detailed characters and like to play chem in different sicuations tonest a characeer’s responses and to give chem dramatic range. Some Roleplayers like trag- ‘edy, others like comedy, bur all of them desire ar opportunity to have their character emote and express. Roleplayers like social settings mace than combat and sction-wenet, but some Roleplayers will turn any scene into roleplaying opportunity. ‘Those who do not gee enough opportunities to roleplay their characters, wiually in social settings, become bored and fras- traced and come up wich tome surpesing Co nog) Wy 60 onpress their harctes ‘© Rules Lawyers: These players have ead every Changes Unibook:fomcover toeoverand know exactly which page the tulcs forthe Dulovous Blow are on, along wich every orherrule, It's not necessary co look them wp since Ruiles Lawyers have aleendy cominiteed che rles vo memory. They abo know allehe ‘complex histories of the nable howies and the secrets of the various kich, and they seem to believe chat their characters should, too, Rules Lawyers fel eorapeles to point ot wher the rulésare not being followed (especially when other charac- cersare concerned). Rules Lawyers ate not necessarily bad: their knowledge can be quite helpful, but the most importane thin Rules LLawyere ced to lear is cevtrant, If they can, keep chem- selves from contradicting of arguing with the Storyteller and learn.to separate theirextensive knowledge of the game {roe what theie characters should know Rules Lawyers can be excellent players. + Sigificant Others Roleplaying ss social activiey st is no surprise when members of the same troupe end up romantically involved. A Significant Ocher (8.0) is usually another typeof player aswell, often a Tag-along dee listing), if their significane other brought them into che gimne. The addivional concer created by an S.O. is the issue of favoritism, apically the $0!» romantic inceest happens to be the Storyteller. So long as everyone involved can keep the tela- tionships between theie characters in the gare sepacace from the telationships inthe real workl there's no problem. + Topralong: The Tagralong ti playing because someone clic adked ther 00. [t righe be a significant other, famaly member, or ielend, The Tag-alongs aren't stnerss they're fui trying chings out to see whae they're like, or playing because that's what everyone ese they know isdoing Inside most Tag- alongs is anather type of player looking to get out, The ‘Storyteller should encourage the Tag-olong to partieapate in n ‘Changeling Scoxyeclices Guide BSR RRO ORONO ORONO SAORI BROSI HN RRO RONG TORO OT the gsme, givingthem the opporcunitytoenjay themselvesand find their oan inzerest: Many Tngyalangs ate also Welllowens (see listing) whe nerd encouragement to get them involved. Thinker: Thinkers view the garoe a» an Lncellectul challenge. They like pusiles, riddles and barals of wis. They enjoy Crying to stay one step ahead of the Storyteller ond urwittingthelr cppamentssith some clever planor maneuver. ‘Thinkers can be great because they're always planning and coming up with intetesting ideas fortheir characters and for the chronicle; however, bur they can also be a challenge for ‘sha ave no keep track of the acher characters all ler characters, sustain the plot end keepup with the ‘Thinker'smeneal acrobatics, Thinkers get bored quickly when, there is nothing tostcwulace their ineeliect. Good Storytelless who want co keep them happy give them plenty of mental exercises. # Wallflower: Wallflowers don’t dese to get involved in game activiry and prefer to.it on the sidelines. A Wall- flower isshy, indecisive, ot is hored with the game. Many are also Tag-alongs or Sigatficant Orhers and sat really en chused about playing inthe game. The Scoryteller should ry todraw out Wallflowers, [fall elvetaits, take the player aside sind find out why the game isn’t holding the Wallflawer’s incerest or attention. New Players Every Wowpe evencally races cam players. Members do Jeave forvarioosreasonsand:new players comealong jon in "Nes: blood” keeps a troupe engaging for everybody. but ehete anesomethingvtokeepintnind whenbringingoew player into a casting troupe, especlally one that hat been roger for 9 long time. ‘Consider ifroacvenancaaysewplaersinsauretronicle “Fresh blood” isgood, bur a Storyceller basa certain ramber in mnind thac is conforable. Though some chronicles ote fine with the amber of players dhe waupe eurencly bas, As Alaretcg os maybe to have players knocking down your dor to pla your pane there la limite how many a chronicle ‘en include, Most Storytellers find six players to be a comfort: able list, any move tends to become unsuly and i's difielt to give esch pliner individual mention, Some Sroytllr prefer even fewer players, and slo- and pot-games ere always an open. ‘Assuring thereisan openingond ifyouwantt od anew player, then howd you ger chem inwothe gare? Whe existing imerabers have gamed with the new player before, there’ less likely co be a problem, hey know the player’ sole and penicaaliry and she Storie prbably han an ie of how sell he newbie wil iin I pe, thea the troupe may wane te have same kind of “tering of the waters” with the new player toseeifthe oupe andehronileabichet-Thiscry-outgives the rnew player a cance ro check everyone elie out, tom For the fit game or oro, sak the newbie to run an sstablished Stortellercharactet, This chance provides the playeran immediate" onthe stony to ge it into playing,- some comtrol over whae he does in your an alas offer suggestions like," soery but Wael would do thar, how about some- vated with eachother’ styles teu che new player gets to think about a chacacter who-can fie {ato the croupe; Ifthings don’t work out, the chronicle contin: ‘wes uninterrupned and both parties canscporate, Ifit'scopaseticy the new playee stares working on a new character, Give the nowbie some extia freebie points to build a character, especially the other characters arc experienced. How many points depends. on bow experienced the other chanacters.are and how much you want to balance things ove, Don't give a new player more points than any of che existing ‘characters, of the current oupe players will feel cheated, ‘having had ta work to carn. their experience, ‘Once the new player has worked our a character, the ‘Storyteller can run a prehule, which is amexcellent chance t0 involvethenewcharacter and topravidecoanectiony withthe vocher characters. Jf so destted, you san run mote than one ppeetode ‘with the new player to help him “eatch up" with the ‘thers. You-can alsa bring in experienced players and invalee them in: che mew character's peelude to create connections bbetween chem, Peshapsa current charactecwusamrencoe tothe new character atone point, ora friend, lover, orenemy. When. ‘anew character who has some history with one of the other charactersappeass itissomewhat like amonie lashbackscene. thicweelie! ml) The Dancer From the Dance Roleplavingengasesthe imagination, ond way rleplayes ee very involved sath thostoviet and characters hey create le ‘siaportene however, tobe able totabea wep back aad not eet socmupheup inthe story that you confuse wharhappens inthe fase with eality. Do not confine the gume relaiarsbips wil yourreal ones. Emoelone can ron high In some gacs,and k's importancnogro forget this isagene that ismeanteabefunand entertainiag. Adversarial Scoryrelling One way many Storytellets get too caught up in the story ls whem they teat the relationship between thes aed players a. sontaf competition; the Storyteller refuses toler the player scharactees “win” over the Storyteller characters, no matter rebar they do. Such Scorgtellers prove theirown cleverness ky “defeating” players with micks, traps and powerful adversatios They abo quickly find themselves wichout any players The Storyteller novthe players’ adversary. Yourmay take ‘on the raleof an adversary ofthe characters in the context ofthe story, bur inche croupe you areal worksng together to en an interesting and fun story. Challenge players just @s they challenge your imagination with their actions, ba ‘overwhelming opposition at players isn’t clever — And it will ulcimacely te the death of your ehto Chapres One: Once upon. ThmeStoryeelletyou control characters and forcesfer more powerdul than chose at playen’ disposal, This ability gives you the responsibilicy to: wisely we the resources at your command to urtber the ory in enercaiing wars, Wich all the characters and forces of the World of Darkness and the Dreaming at your fingercips, what's the challenge in slaughtering a group of characters tisfac more clever cocome up withancaponistsand vents that entertain. Anpone can be a good adversrial Storyeeller, bur iceakes sell to be: really entertaining Story- teller, Player Conflice ‘Conflict can be a good thing; it is che dramatic force that drives all stories. However, conflict berween player charseters ‘causes problems in any troupe, If players are mature and able to-separate their charac. ters from cheir real-world selves and personalities, there shouldn't be a problern. Yet, some roleplayers get very ‘attached te their characters and may even interprecattacks ‘on their characters as attacks on chemselves, Roleplayers also tend co be competitive, and a conflict between two players can escalate ab each side tries todo berbest to"win” The simplest olution, if youdeel plaverscan's handle ie, is to minimize the amount of player-character conflict. Dom's let players create characters who are likely to conflict with each other, and unite character: aysinet common enemies who fat outweigh their petty personal conflices. When conflices among players arises, remand them again that it’s all justa game and they shouldn’s hold each other responsible for cheir characters’ actions — provided thowe actions were in-charactec. Conversely, if you think players can handle conflict berween cheir characters, go for It! Canilice x the most dramatic and powerful force ina story and makes for some fun roleplaying. If playersinwolved are mature enough, they ccan glare daggers at each other, make temible threats, ac in duel a the gaming table bur wll walk away smiling and friendly. Such civalries are where great stories apring from. 2A) Paodtem Players Froblems, and problem players, do occur duting roleplaying andthe Storyteller musedeal with them. Mest of the time, you can solve these problems by talking to the players volved. Take them aside during a break orafterthe ‘ghee and tel them how you see the sicuation. Ask what you ccan do. If involves some aspect of game-play, like a rules imterprecation or aplot complication, you may have to make a decision about what i best for your chronicle, Whatever ‘you decide, stick co ic. Tell players how you feel and try to ‘work things out with then. Ik cherelsapeesonality conflict with a particular player, tall to him and ery to conwince hin to work ic our himsel. Playeci should tey and keep their personal differences out of the game, and it's not your jab ro play counselor therapist, ea Changeting Seoryeeliens Guide NNN EIEN ESIESE “However ifaplayer'spersonal issvesare disrupting the:gome and affecting the cest of the troupe, you have to at Tesat -fiscuss st with him, ‘The Lase Resorc “Iidon’t know abowa Chis.” Lae sight, “He's jase 20 aunaye ing" Bveryone els tod nc gambles noises of greement. "2 jst can'tstand gaming with hin arymore. be makes x04 mo fan fon anyone, can't you tlle to hi?” red,” Steve sys. "I dom! chink he ets Well, Urecly can't play fx dhe same chronicle with in anymore," Lyle reps, Several of che other players mad dlr hea imagreement. "OK," Steve says, “Tl alk to hire again." atough call, but the Storyceller uryhave toaka player toleave che chronicle, orto leave the troupe entirely. This dury nuit not be taken lightly, but if single player 1s ruining everyone else's fun and you've cried everything yau can to get hhim co understand or fix the problem, chen there may not be another option, Be honest with the player, but not brutal, Take him asiste again and tell him you fee! his playing style just ne saited to your chronicle or croupe, and that it would be better for all ‘soncemed ifyou simply pared ways. You don't have voprowde ‘a blow-by -blow lsc of tracwgressions, just stick tothe facts and bbe firm. He will hopefitly understand and concede with a rnitourn of fuss or trouble. Dun’t get into an argument with Ihim over the decision: keep: things mature. Do not resort to childish or petty cechniques such as trying to force bie oucof your eroupe or trickinighim ste leaving Oc, \wome yet, curacisiychim and hoping he gets che hint. These iethoxk:doa disservice co everyonetn the troupeand engender some hurtfeelings. (fyouare going tobave rhe courage to stand ‘up tochimerical deagonsand Unseetie monsters ina game, you should have the guts to alk honesty to a member about how everyone feels Silliness Let's face it, sitting around » table witha bunch of dice and pisces of paper, while pretending to be faeries living in a Gothie-Punk version af cur own world i pretty ally, But there’s nothing arang with ie! Silliness fs as much a patt of roleplaying as anything, and Lt can give a welcome relief from scenes of high-tension and deama. Loughrer and play are imporcant parts of the nature of the Kithain and should he meaningful components of playing Changeling. ‘The only trouble you may have with silliness is when it runs counter to the mood you're trying tocreate. [fyou have ‘aacene of high-deama happening and everyone is in a silly mood that night, chings aren't going to work out as you planned. You can sometimes reclaim a dramatic or serious story from silliness, but the easiest ching is to go with the flow and change the story te accommodate the silly acma- sphere. Play out a funny or silly scene to let everyone have‘Bnd ret it outof their syscems. Ifyou have time, goback soycarsevions plo and. ery again, or put it aside for a betcer fine Ichelps when you have a feel for players and their feeok you walk into agarne and it looks Hike asilly aight, ho't sare off with a very serious scone. Silliness ean also be a welcome change frocs to0 auch, Hama. and oh-so-serious roleplaying. If you've hod a lot of ‘erytetions ond dramatic stories lntely, think about theost- Jersome light-heartedness in as a chan ge of pace to lift the ‘wood, Too many serious stories can lead to-everyone eaking the pamie too sternly and forgetting the hole point of soleplavine: to have for, Have a pooks or rwo enlist charac: {ets in playing a prank on someone or get characcers in sohrel ina “wor of pranks” with a group of pooka. [f any af the inhabitants ofthe World of Darkness understand humor aodifun, ic sche Kithain, 20 take advantage of ie Have Fun ‘The material is this book can be anole lotto keep in ‘ulndallat once. Yer, che most important thing to reroember lithe Golden Rule of Storytelling: Have lors of fun, and sake things as fun, as possible foe everyone else. Ax long ax you keep this rule in mind, you're newer going co miss the tmatk. If something in che game isn’ foe for you et your twoupe, change it! If something W fun, even if it's not “olfiial" ot \peopec” coleploying (whocever the hel that i), do ic anyway! At said before, the Game Police are ‘watching you, and White Wolf lin't going co take your storytelling tights mxeay for not playing che game “right.” ‘On a similar issue, ifthe game isn'c fun for you, stop for a while. Even if your player: are enjoy: dread running snother session end y duty as more of a chore than a hobby, Everyone needsalittlewacation andes jet stale chen run conseany. not and inadvertently taking your frustrations out on play: ers, cake some time off and eechange your creative kasteries sc-you can come back fresh, Take as mich time as-yox need. You might need a week of playing inscead of sorytelling, ot set a movie or two instead of gaming. Get outside. Go out Readabook, Yourong be dedicated oyour chronicleand are seluccant to cake a break even when you know ics driving you crazy — but if i's nor fun anymore, why keepdoing it @. 1 (ya ra) Ongoing Chronicles “In ahe cad? Nothing ends, Adrian. Noting ever ends." — Alan Moore, Watcheen “After few games, players begin telling you their charac sen’ long-term plans. You're weaeing differen plo threads in and out of your games and creating new plots far them. Clngrsuebislans; you've gae « fall deciged chinnicls cn your ‘handk—now.con t panic: Thisisagood thing: Once you have acouple of advencures under your proverbial belt and you have players truly involved and intesested, i’ time eo.conaiderother things akoutstocycelingchat make yourchronicleeven beter The Never-Ending Scory {nits most base form, a chronicles nothing more than 9 Series of stories linked in some way, wiually by cooimton chan acters and chentes, It can bevery-complex and subele, ifyou it If xaingle stay is ke a TV shaw ormagsine eel thes 9 chroricl a he nfiole sti, rear be Toosey connected, ke some of che Sacurdap-moming serials, ot tightly woven to sther, hike a fantaiy epic ‘Nowe, you're teady to explore further Inco the Dreaming. ral the Weald of Dackness. You and the playecr are famulir with the basicsand feel moce at ease with the game. Youknow both che playercharaccers and che restef your diverse cast,and playetsate developing plocehseaofthelr own, Yoo might not be ready for ahuge, world-spanming epic yer, but you ere ready so add sore addiclonel spice. Player Inpuc “A key clement in developing 2 saccesial chronicle fs to Wscer: to the players, for they ate a+ much afar out centan sseeas heteeen thar chances Thinchorec ferme pre scwion for blue-bocking, but only all layers 4.31 for characte who wih to embark onan tink of che heat te necenary take a Blue-booking beak in themeklleof che wichou boring al the orhex players with the details, ar who Wane ‘anny —iit doesn't leave players dangling, to introduce a new player into the group by paiciny Bim with on Blue: booking effectively combineawithehe ideanf acharse- experienced plaperfor a prefude or short bockyround siory. Such fet journal or an coline game. In fect, n online geme rezemobler independent roleplays aru asides give depch to characters and ‘pothing morethan an extended, long-range blue-bookingwession. heip relationships. PrepsRST OT OT RG ESSE SISSIES Eleccaonic Glamour: Online Garnes Along with the traditional face-to-face method of roleplaying the capid growth of the Intemet is another utlec for troupes: online gaming. Electrorsc games can be ‘useful supplement and resource for an existingchroniele ot the basis foron online gars Players can use ¢-matl tekkeep in touel with the Story- teller and each othes: e-mail is a sort of “electwonie blue+ ‘hook” with schich 10 pass notes to the Storyteller berween games and 09 nun solo-gamea, An ambitious Storyteller cai rate a webpage for the chionicle that has snformation players can access for theie characters: background on the chronicle. news, rumors, and so forth. The webpage can alsa contain ancouncemencs af changes is the game schedule, advertisements for new players and even Links to other Changeling and Storyteller resoueces on the Internet ‘Online games take two forme play by e-mail (PBEM) ames and live *chat" games. Bath have advantages and disadvontages, slong with some unique differences. Play by e-mail gomes resemble extended blue-book sessions vit e-mail, PREMEs focus mere on scorytelling and interaction than on combat; it r easier o handle the Ireoader activities af the story than to shisca-manage combarsceneover e-mail. Scorptellersrunninga PBEM may find a simlitied ot fast-retolution combat systemandd "ste rules useful for handling game events (as described els whose in thie guide). The adwancages of PBEM are sintlas co blue-hooks: time to think about cesponses, greater freedom to eoleplay and plan dialogee, permanene records of the seory dbarcing hanklrive crashes), and a. more stocy-orie -ented serup, However, PBEM games move slowly and are 8 lot of work, They also lack the kind of enengy Inteeaccion provides ‘Chat gemes fall somewhere between PBEM and live games, They eake place online in. char rooms or en IRC (Untemner relay chor) in real-time, The players type in their actions and dialogue ant te Storytellee types in whut ‘hoppens. Some chat rooms (like these on America Online, for example) even pravide electronic dise-tolls,aluhough ‘few of them handle the dice mechanics of the Storyteller system, Chats provide some real-time interaction bac are still very slow compared to face-to-face gaming, They can quite chasite if everyone ties typing and sending information at once. The Storyteller needs co sec some kind of protocal. Chats can ako be difficult to do for long periodssit’s tough toxet agroupof playerstogether who areseatcered actors the councry {er suese, around the glabe) imachat room once a wee; And few want to type for hours fata time, expeetally if ehey work at a kessoard during the say. ‘Yet, with voice and video-conéerencing eapabulities Increasing every day, to say nothing of che potential of virtual reality, the Incernct will remain a growing resource for gamers. 2 ‘Changeling Scoryretlees Guide Rates and Regs "taht yt Dad no Di on™ —acommonly head argument over Caps and Rabberr The Storyteller spscem considers the nules as lesa ienpat ‘tant chan the progress of the story, Ma rule ion't worksng oc ian: fun, theo the needs of the story must take precedence. Newt Jeethetules restrict your magwation. The elev ol Changeling are meant te bea ladder for your imagination to climb oy, rit acige to hold i. Rules are not your enemies, so long as you know how te handle them. Their purpove is to help provide a commen: ‘vocabular}” foe you and plaperr yo clearly desenbe-eventy fa the sooty and to decide what the results are: Ii you ate new to Changeling (or even fy are a lone ‘tinke Storyteller), read chrough che rules and consider carefully: ‘which ones you likeordon'chike. Notemulesyouthink are gol ta ben probly, ad diciss hem sch playersin advance, ther agree, consider changing the rules to better suit your ‘croupe's vision of how the gameshould work. As lon gas you tell ther chanaes to the rules sn advance, chets should ke 1 problen Over sims. every noupe devel a eto howe rakes — tule changes and inerpreintions unique to the way the moupe plays che game. Some waite heen down and make chet aval able wo everyone inthe troupe thers have unspoken agie- ‘ments among al the members abouchow tabvandlen particulac rule. House cules make the game syauem more “ser friend} and betce able eo support eh hind of stoves they wont to tel ‘They scooth out the rough dees of the rulessystemvchacenighe hhinder the troupe's story. Nanurally, not all house rules apply equally to all groups. {What works for one croue mah Hoe wotk for ae, but cheresnodhiag ming with that. Groups shave he common language of the Storyteller system to fall back on, and chey. learn moore about each other's unique “dialecn” as they go. ‘When a new player joins a group she might have played with another troupe wich different house rules. In this case, cake ‘your troupe's home cules a clear a8 posable co avoid any rngunderstanding. Be fie aglying then: 1 everyone, ibe fnew plager his a problem with your cules, explain why the ‘moupe Sots chings up aa they are, Also listen ca het feedbock. ‘You never know, you might dicover thatthe cewbie's rule works better! Combac A sitwation in which the rules come into play the mast is combar — mainly because mast roleplaying games treat combat os romething af game in an of itself, with exten sive tules and systems foc every aspect of a fight, How you weant to teear combat i up to you and the troupe. Th ‘Storyteller syscem supports simple combat systems and the twuch more detasled, complex system like those presented in World of Darkness:keep the story moving. Fora combat where every deta i Iimporeant, like a complex duel, use more advanced combar rules to handle the small deraile with greater peecision ‘Whatever you do, tell players in advance what they ean expect fromthe combat system andl don’t arbitrarily change “Toleplaying gamex te tules on them. rainoftbcirsar-garceheritage, withempha- _* Chimerieal Combati Changelings alo have the unique ‘opttons of cnesical combat and physical combat. Chimerical ccombothas les isting ect ince itaffectsonly chefue mienofthe characters involved. Tometal observers, chimerical combar ray bbeachildish gaioe outon a playground, Physical combo, on che other hand, can have very serious consequences, including death, You may wish 20: use diferent standands o> jade chimecial camnbar than you woul! physical camber. Chimerical bardes should be smeepiry and betoic ull of cures and daring. Physical femeftom World of Dark. combotcan be much more brutal and realisic,unlessa changeling Call: Upon the Wynd eo bring the chimericaltneo che eliyial ‘world Emphasise the diferencesberwesn chimericalandhy sal shat in different ways at different cimes, Combe Hfyoumalce chimericalthefornesswashouceling arn 8 aarouncoftruton ‘ete the Fah naroe of phovical combat, layers wil hele chooe chimerical combot fine, whieh is in-chamcter for che Kithuin. You suppor: the gene io chis way. sean combat and coenbat rules. presented in Changeling: The Dreaming lle-ground b telling mature » handling wery eneticate, tactical combat almost as a game unto ieel Chapscen One: Once upon a TneBedlar and Banalicy ‘The other side of SIT STEIN iS tS ourage players to helpe Wi weCharacter-building provides characters wit goals to pursue, What each charpcter's goals ar © and the players. s0 talk with each term goals and a pable and 1 character sake father. The end of the quest may be a ruystery-eo che player y- have worked out the decails with the Storytelke: hety inhis e character has an enemy fa devered 10 bunting ain ot mortal encnny a+ Winning True Laver A. cooimon goal for Kichain, in which fincatic quest and deed ane undertaken in order to win the hearcof another. The shamcters devoted vo this person ard would do anything to win hiswlfections. Such romancesare offer, Abcbikien they suet obstacles the character ust overcome, ‘Crattainable goals by their very nature tend 1 bring the hecoicle tan nd suchas dying storicusly inate orresurng to Arcadia, Achieving an unattainable goal means dramatic changes oe the chramicie. Such gos ae ofiee bectersuiod uaa Finioe chronicle, in which che charscrer achieves them, ccherwse the player must understnd thar her characeermay never stain the dered goal — which sefrustrating, Some unattainable goals inches * Returning to Arcadia: Wany Kinhain seek to End some smeansto retum. to che Kast real of Arca A quest w ind the ‘way hick tb Arcadia can easily rake up an entire ep chromite, wwishchangelingstraveling che worldcoseckostloe an drreasares char could potne the way, learning life lewont as chey go. The questors may discover Areadéa is nar the haven they hoped ie ‘would be, that their mortal lives have changed them to be no Jonge suited fe i, Bernal Suraener. Or péshaps the troupe could start a pew chronicle that begins when thei chacheters re hhanished éroen Arcadia fr some reason dey canwiot recall and cus recur go find che word chey knew x lang go, *# Stochdin: Some changelings, citer thin secking at Arcauia, arch to balisce their fae and mertal matures and achvewe the inner peace sad to coeace the legendary Siochdin, ‘TheStockinarerulyieamortal Me thefoeer od andhuave reat pormct and wise at their comvtand They are abe mysterious, asfew know anything ar all abou thet, Some even doubs theit existence. A character e¢ group of characters ping to become ‘Socasn arin fea Ioegfourney ofall discowery ss they sore to integrate and kolance theirtwo varrica halves Crossovers Changeling players and Storyeellers may want ti wie some material from ocher White Wolf World of Darkness games in their chronicle. These games are Vampire: The Masquerade, Werewolf: The Apocalypse, Mage: The As- cension, and Wraith: The Ol om, Each game details the other super atural inhabicancs of the Woeld of Darkness froe these owt unique point of view, Crossovers add depeh and interest ro a chronicle bur Present some unique challenges, including handling different rules for various sugermaturslsin the context of a Changeling chwonicle and preventing theve wupematura from overiuny ning the chronicle — resuleing fa the Kid being bit- players in their own stories. “The fist case may requite some creative seorytelling ot judgement calls, Each of che aupernaturals in. the World of Dark ness have their own Abilities and Traitx Humanity and Disci> plinesfor vampires; Rage, GiftsandRitesfce werewolves: Splseres and Arete for mages; and Ascanoi and Pacha: foe wraiths. How thee various Abilivesand Tra interact with Glamour, Banal- ty,aund canteips is argety up to you, leh ough guidelines apes in books like Bool of Lost Dreams. ‘The other stue wich ervaovers is not allowing dhe other 38 (Changeting Sconycetiens Guide stupernacurals ta dontinate che game. The Kichain acein many sx the weakescofthesypeenanuralsin che W order Darkness iamacters ofsheerpowerand cembuc abit (alhowgh an angry ral callingon the Diageo’ [re nothing to lah at} A single capabbe mage ce ‘werewolf can bea formidable ally or adversary fora group of Kichain, characters, so remember that the sary is about the changeling characters, not the guest supernatural ofthe week. Don't let the ‘Powers of amage or the smuggle of the Apocalyywe ot che fybuad to ‘overshadow the ongoing story of the player chatacters. One good sway 10 do this feat i 10 keep events in a cxcasover sory on the Kithain’s home ground: che Dreaming and che chirnesicat world, where the player characters urrkestand ce ground roles ard their ‘supermanural “guests may rie ‘The beat use of other supernatural i as mytcics elements ‘Players fonger thar the vartoussupemacural factions the World af ‘Darkness know very litcke about each other, and their characters have not read ll of che rulebooks, Without the appropriate Lore knowledge, player characters should bear any rumors and Legends ahourehe athersupemararals and maybave never (knowingly) rae fone. It rary bo bane foe players to ol i chee ont-ot RRQAK ATA ik, “The Intoractive’Toslkat," White Walt Hg hehia 54 jamneandLtikeall games, ithas ments about exacily what happens during the story ely with wir as The rules rowide a comm etennoning the resultsef ay ve ies roprevent the kind sand Robbers, where maker. rollofthedice tells voubsow well you did atthe ter acharacter desis to draw duct secret othe cules is Younes naa shoe, They xe, a nears cf figuring how of-en sau! how well a " shareccer succeeds a ny given nik. IM ou tak my ehese rls, youcoulisitigure cuttow thst woul happen fa eel chide Fequite anierpretation fan pl tmake sense of hem — sore aules uc need moteRTL ES SE \S A vom. Make a Pesception: + tel players something is SESS, ein auolepliying © ease ofthe player hanacters experi lestoodel chis fact J Alercnes. The anvdseomething, Now, hepense wich d Traalevels of characteras a guideline for what they notice © something, along w atic need acrange some dramatic scenes with greate Hs> they won'tbe soiled byaplaye’slucky on= Nee y 3 ARAM MS x RANA RAR Ss) iS ean Sshy Nore-passing and bhic-books are very time consuming, howeser, and can slaw down play while you write one out, particularly an in-depth description. Cur down on cime- Pr ‘easting by preparing afew notes in advance with things you WEAY think characters will notice during the game. There is no WA) vay topredict which character will notice what an to what > N degree, so having notes in advance can be hard and sill FA) cakes time, ‘Another, moze radical option for avoiding the Pastor Syr- ore sto give alte control of w characters perception tothe player, which allows her tedeseribe soene things thathercharacter knows and notices during the story. This option requires a great withour gerting into tbe detail, A more manure eroupe rary swish te conader some mote adult themes in thcit games, bat Changeling s woe Pettouse Forum, deapie the presence of (5% randy saryrsand other fe. Some players ond Storytellers have oo problems talking about sex bur are uscomfortable playing out theie romuance Chapees Thace: Playing che Rules 55 ren geactlans up to shen. Players evel takers faethe Ask enue Persuasion players ty abun ths s)scenes. This can be difficole fone is playing a character ah declares his undying love to anosher, when the other pil is the same sex as he, Players may play charac different sex, 03 Storycellers ure called on to play of sex characters all the time, Undesstandably, come find the situation awkward and uncomfortable, The solution may be tc ploy out romancic scenes in a writes format, like a bluebook ar chrough e-matl; both cpt allow all parties to foel less inhubited since: Use satercticn Ihappens "offstage" and is more peivate, ‘When handling the romantic intetests of characters 4 play, cake their various Traits (like Chansma and Appean Jnto consideration, bet do not reduce the puriut of love even tua) co mere dice-telling. Challenge the pays tn came up with suitable roleplaying to-achicve their comantic aly a posticuloes can be glossed over, but o characters put ofa beloved makes fora grand seory in the courly romantic style thot isco sulted to Changeling. Performance Glamour ira creative force, and changelings are ine wi st Kithan ate aiste and expressive creatures, whether hosting fete o¢ working te achieve Rapture through cheie creative purval {sce Epiphanies, page $7), Performance is asacial experience ts shaved with others, so changeling trdition and legend mx | ‘withbardsand other performers who gather Glamourand tnfluenor | wee through thee performances. {handling a performance during the gaze, Eure the player | mmakea Performance + Charisma {oe other appropriate Artlsutel ‘roll, which it usefil in cnses where the perfisermance oueccene bain doubi; there is na need to play out the perfoemeance tuell. fy most ievtances, however, the performance resules car be desermined without @ dice coll, How skilled i the character ia Performance! Haw high # the gsverning Attribute? Use thins questions a8 guidelines to expeditiously determine the general ovicomeofa perforruance. [facharactersieply wantsto playasong an recite poem to entertain the coun dering roca ght, theres oneal mecessity toro dhe dic; it tell the playerbow well the performance went based ona character's ability and on the player sroleplaying. Acoithall wciat intersections, goodroleplayiny conehe player's part enhances the effectsof the performance. Ifthe ‘player composes a sonar a poem, thersshe should geca fair hams, ana players shoud be encowraged ta expres themacives throu their characters. Persuasion ‘What if.a character wants to be convinclog oe chareoine? ‘Aggin, yourcan call foe a Persuasion + Charisma or Manipulaelon rollto determine the resus or base the result cathe general level cofaicy the character has, coupled withtherolep laying theplayer {Fut into i: Not all of us are master orators, x allways take ine ‘accounc the atslity rel of ehe ckaacter when a player makes an attempt at Perssasion oc another social interaction, A some%whit ‘weak effort delivered by a very chorismatic character who is alepe | otinteraction x moreeffective shan thesame dilopuedeliverediyy REN LE REM RET ROT RN BRL EM TRjuncterwhohas he peronalityof stone —anudacharp cough a¢ that. Don’t expeet Oscar-winning performances, but Iplayen enjoy playing out asocal interaction. ches et chess ten tie thee ere. I players don’ bike to play ou ch "Keeton, dey chem ot and give them a charnce to engoy it ‘eweser:don’eforce them. Yow can still use shorthand methods, dee cls oc puesrworc based on thelr Traits, to.cesolve what the eal Cpiphanies Bpiphanies are a changeling’s strongest connection t0 fhe pure source of the Dreaming, They represent the heights ‘sad depehs chacthe Kithain are capable of in their pursuit of Chenoa they offer many deamatic posites for = ‘chionicle, The dice systems for cpiphanics in Changeling The Deenoning (pages 212-216) describe the procetes sn ABorihard, chus reducing afaily complex process tea few ‘ce rolls for the sake of simplicity, This section expands on ‘the paths to epiphany ond how they can be played outin the | sentext of the game. ‘Thi material én opcional expansion of epiphanies; iis oi nscesity to play ou every one in the same detail asgiven, Shere. Sometimes it benefits the story more to use the dice ‘eethod fo epiphanies, [equickly ressives the outeacne of any veh attemnpe at gathering Glamour, allowing the stoey 1 ‘earsnue, Use the demands of the story and yourbest judgment todectde which system touseac ang given time. ‘These systems are looser than the dice mechods, chus Permitting greater flensbility but requiring more ofa judgment ‘all from the Storyteller. Like Bedlam, there are nasancteteot {sc rules here — jusc guidelines on what a changeling must do teachieve the epiphany, lis, ofcourse, upte che Storytellerto decide ifthe chongeling’s efforts suceed and, if: how well Reverie Reverse is the mast comman and innocuous of the four pothssoepiphany. Ithas thee basic steps and relies heavily on ‘social interaction between the Kichain and a tnoreal dreamer. “The information in the Soeial Interaction section an page 54 Jeuseful for handling same of the sicps of the Reverie process, svhich ss follows: + Discouer what inspires the dreamer. FasctheKithxin must secon know ths dreamer ant fins out what ingptres his creativity, fgesing the deearne to dip nto the well of Glaraour and betas tome oft into maniferation. the dreamers oogcime fend sr aswelate of the character (usualy because of dreamer Back round oc a lmng-establisherelarineahip sn the eroniele), then the probably alteadky mows shat inspies him This situation does nor mean that cincursitances cannot change; brn exer whacinspited adreamee asc week mghtact hold thers ecisl spark of Glamour for hico ary Tonge, equating the changeling 0. seek anew source of spirauon. Dreamers ase not machines, and vehar inspires a penn varies grenthy because of is static, background and mecd, Ss To get toknow the dreamer, the player must eeleplay how a character meets him and gains his confidence, trust andl friendship. This process results in.» common interest in the dreamer cxeacive field. A ehangeling might meet a dreamer with the potental wo be a great poet and strike up a conversa: tion with her abour different poetic styles and influences Consult the previous ection on social interactions for ideas on how to handle this initial inceraction without relyiny too. srongly-on dice tls. Cacea character has gained chereamer’s teas, theze isan opportunity to-duicover what might be used co inspiee the dreamer to preacness. This oppectunity relies parctally on sactal interaction — getting taknow che drearner'slikes and dislikes —andon fae intuition and Kenning, which isnfcel forte flow of Glamaur and haw to encourage ite growth. Take into account the material oa Perception and Kenningon pages 52: 54 for how a character ean obrain hints shout what inspires dreamer. Irs possible that a changeling tes several methods of mspiracion before hitting the right one, Jus findingthe ghc clues can take anpwhere fram an evening: chat to spending: ‘months on ened with the dreamer, coming forth sabile hints. * Inspire the dreamer. Once thechangeling has an ides oa how to inspite the dreamer, an atterpt canbe made, The method a character used for inspiracian shoukd keep the changeling’s Musing Threshold in iin A Kithain. who- primanly generates Glamour byinspirinyrlove may not have fas much success inseigating a vense of calrn, but she muy be a catalyst for a great work of art, especially a love sonnet! Inspiring the dreamer relies.on. the Tenits of Manipulation (guiding the dreamer along the right path) and Empathy (having a feel for what works and what doesn’c). The amount of time the changcling spends trying to inspire the dreamer (also important; the more time taken co plant the proverbial seeds of inspiration, the larger che eventual har vest of Glamour Once the dreamer has been inspired, the inipieation rust follaw its course before any Glamour is generaved. It is the act cof creation thax brings forth Glamour, not che act of trap tion, TheKithain must cay intooch wich the deeames cheowth: ot the creation process, which requires additional rleplayinng, and he may have to afer further uid or encouragement to help the dreamer along. A chasacter’s interactions with her duricg this cime can be the kasisfor a stony. expecially ifthe comple: tion ofche dreamet's work is interrupted or theeatened in some way: How long the completion of che wow cakes is up to the Storyteller; it could happen very quickly, like a Towesstruck youry:man who sweeps his lady dove off hee fest and deelanes bis eternal love for her; oe it might take a long wbvle, like an author working on the Grear American Novel IF the Seoryteller rules thac the attempt to inspire the dreamer is successful, the chongeling muse gains Glaonout equal ro half her Manipulation * Exwpodhy, with adjustmcnes snade forhow well the inspiration wasresearchedamna raleplayed! Distinctively moving and clever inspirations should grin more Glamour, while burried or repetitious inspirarions with acseal ‘Chapeex Theee: Playing the Rules 5= If theowtor performit fr thereat ofthe pane troupe. Such tlre should be rewarded math extra Glamour or the ofa permanent point of Glamour, since it encourages players wo da likewise. {Fx player has no artistic Stalls, she cher poesbilicies for Rapcares, such as those mentioned Perhaps he can design a webpage forthe troupe, of he gerolinner at local crisis hotline, or some othec means of a oe, esc as heir character tries to-read hope and fa the scory. Again, alwarsneward extra efor. (Create vision or idea. Once che medium of expression the player muse come up with a specifi work the g undertakes. Even players with no ability in theie den oesium should at east évern and describe ip much eel the work their claraceet ks creating. Fer ioweance, a sucmvich of anarvst but has a Kithain character who sscatnicabilry. The player can suilldescribea character's sp oveall goal, which is just as creative a actually the work in question, Challenge him rodescebe the goal the Ropaure so that all ope members can clearly imagine Theputuitofthe creative visioneun forthe basis ofa story thechronicl, ort can cake place emily in a player's bhe- oraspartofa special vologame. Trynot tolet acharneter’s toRapeure take wp ton much ine daring asegular game tle all of the otbers arc occupied with something elie Direting che story for the sake of a single player sloesn't “pecaily si well * Bring the vision into being. Once the medivi ond dhe work have been decided, a character tries ta bring the Greaive vision inca being, This process involves che player setuily creating a work of ast fas dessribed belore), or a _ctanncte "builds" it within the context of the game. The “iwalt depends on a character's faciiey wath the medion (appeopriate Attribute + Ability), a character's level of Bunality, and the ployer’s work in eanstauccing an desenb- | ing the creative work. A suceessful attempt at Rapture seteates an amount of Glatour equal to half the Kithan's total Atcribute + Ability. For every point the changeling’s ‘Beraliey exceecs herGlarnour, suberact one pout for every fine that Glamour exceeds Banalicy, add one, Modify the [tonal based on the roleplaying of che creative efior. An _sacellent description and effort en the player's partis worth in extea poincor twoof Glamour, while actually perfortning ‘nace should merit at least afew extrapoines of Glamour ot ven a poinn of permanent Glamous, just a+ i the player tolled five of mace successes with the dice method Ravagji ‘Ravaging isthe simplest form of epiphany and allows a thangeling 1 6p Glamour sway feom a mortal dreaes. Ke requires lite efort on the Kichain’s par, bur i implies certain risks because itrelies on usingthe changeling’s Banalityt steal Glamour. A changeling who utilizes Ravaging r00fieely may ain Banal for sruifing ou the creative epic of dreamers, Ravagin has rw bose steps as falls © Establish a relationship with a mortal. To Ravage a mortal dreamer, the changeling must firscestablish some kind cofrelattonshipwith him. The nacre of thus relaioestip can be ‘very casual friendship — che sort of thing a Skilled Kichaie seca upover the coun ofa single evening. Itean have adeeper rrature ifthe Kithast’s player desires and some Unseelie sa articular have close ffeendihips and tonancic telationships >with hetr Ravaging viccimu. Establishing therelacionship uses the guidelines far social interaction on page $4 andl should be roleplayed. The Ravaging effects ean be modified ifthe Stary- teller eels the player basdanea particulary poor bad job a ‘establishing che relationship. ‘The choice of victim und the nature of dhe connection should be related to the changeling’s Ravaging Threshok! (Changeling: The Dreaming. page 215). A Kichoin who ‘hrives on Destroping Love, for example, mgt firs with bis target and try to seshice het inde to spe jealousy or brie aboot a breakup. A changeling who prefers ta Creave Angee ‘nigh work on wearingaway her targets self-control, devine him toward destructive actsof violence. Each player is encour aged 10 choose a Ravaging Theeshold, even players of Seclie characters. The tempracion to give in to Ravaging is alas peesent, eapecilly when a choice target presents itself and is perfectly suited to a character's Threshold, A Kithain can [Ravage throwgh simple payehicassaulk hur the use of Ravaging ‘Threshold personalizes the act and stresses roleplaying. © Wrest Glamour from them. Once the Kithain has ‘tablished relationship with the victim, she ean actorpt to tear Glamour from hica, The exact moment when the change: lingrips away the victim's Glamourshould comeat the height ‘of the emsation inspired by the Ravager. The rush of Glamoxt ‘happens at the momenc when emotion overcomes the victim. How long the process cakes depends en the roleplaying of the Kichain and che judgroent of the Storyteller. Some-victimns may be the work of an hourorewo, hile ochers a VDD aoa RAMPART ral yes Terr SASEASES anytake the destruction of benign ehitnera as of Drearsing The CDalleable Spiric Five Theurge Girl be used co affect chimera if che Garou is G ng Pulte of the Invisible, above). Spiric Friend {Level Three Childgen of Gala GiFc) ‘This Gift allows the Gar chimera will ace fen (such a8 nerves) are Facric Kin {Level Theee Fianna Gifc} When this Ont is wed, aay mile radiusfeels a mental pull danger. Even if ie has never andhear. A.word of wambg, thigh ‘Changeling- Garou Kithain souls inhabiting a human or Kinfolk beds elude the posi Locks the myscic connection to: Gai are. Henee, even within a body chat has the the changeling canmot become a Garou. Any 1g! who are also Kinfolk do not suffer from the De- even when wholly in their morral seeming. The Detiatum Changsknge rho ore actively in che fae mien are not affected by the Delicuss. Ourtooks ether Me thon ice Wlks- Wek Td fll: He drop oy che frecflast righ, and layed some ret roes on tha fie he bas, Fee Ach his fekcan fave nasey compas. Rell he’s never shown oncemed, he Garou aealnays weer at 9 Thom Whittlewod, boggan