MET - Dark Epics (5027).pdf - MET Journal + Other - osaka.sensei

REDITS

Authors: Wade Jones (Nuts and Bolts), Steve McDonald (Plots), Randy Ochs

(Nuts and Bolts), Duncan Wyley (Introduction, Logistics)

Previously Published Material has appeared in Laws of the Night, Oblivion and

Laws of the Wild .

Development: Carl Bowen

Editing: Jasmine Milberger

Art Direction: Aaron Voss

Interior Art: Laura Robles

Front and Back Cover Design: Colleen Denney

Layout and Typesetting: Colleen Denney

S PECIAL

TTO :

Steve Balfour for admitting that he had nothing more to say before it was too late

T T HANKS

HANKS TO

TTO

rights reserved. Reproduction without the

written permission of the publisher is ex-

pressly forbidden, except for the purposes

of reviews, and for blank character sheets,

which may be reproduced for personal use

only. White Wolf, Vampire, Vampire the

Masquerade, Vampire the Dark Ages, Mage the Ascension, Hunter the

Reckoning, World of Darkness and Aberrant are registered trademarks

Apocalypse, Wraith the Oblivion, Changeling the Dreaming, Werewolf

the Wild West, Mage the Sorcerers Crusade, Wraith the Great War,

Trinity, Mind’s Eye Theatre Dark Epics and Laws of the Night, The

Shining Host, Laws of the Wild, Laws of the Night Sabbat Guide, Laws

of the Night Camarilla Guide, Time of Thin Blood and Oblivion are

characters, names, places and text herein are copyrighted by White

Wolf Publishing, Inc.

The mention of or reference to any company or product in these pages

is not a challenge to the trademark or copyright concerned.

This book uses the supernatural for settings, characters and themes.

All mystical and supernatural elements are fiction and intended for

entertainment purposes only. This book contains mature content. Reader

discretion is advised.

For a free White Wolf catalog call 1-800-454-WOLF.

Check out White Wolf online at

http://www.white-wolf.com; alt.games.whitewolf and rec.games.frp.storyteller

PRINTED IN THE UNITED STATES

C REDITS

REDITS

T T

PECIAL T

PECIAL

HANKS

C ONTENTS

ONTENTS

HAPTER O

O O NE

NNE : I

: I NTRODUCTION

NTRODUCTION

HAPTER T

T T WO

WWO : L

: L OGISTICS

OGISTICS

118

C HAPTER

T T HREE

HREE : N

: N

: N UTS

UTS AND

AND B

B B OLTS

OLTS

4 42

C HAPTER

F F OUR

OUR : P

: P LOTS

LOTS

102

O O

C HAPTER

: I

HAPTER

NNE

C HAPTER

T T

: L

HAPTER

WWO

T T

B B

HAPTER T

AND

HAPTER

HREE

UTS

AND

OLTS

HAPTER F

F F

: P

HAPTER

OUR

Dark Epics

C HAPTER O NE :

CALE

When you’re sitting at home with your friends playing Vampire: The Masquer-

ade , or any other tabletop game, the assembled group consists of your Storyteller and

about half-a-dozen players, including yourself. Your characters interact with numerous

Storyteller characters throughout the course of the game, all of whom are filtered

through the imagination and portrayal of the Storyteller.

When you step into a live-action roleplaying game, however, everything

changes. In a tabletop chronicle, your Storyteller represents all the roles that you

encounter, be they pivotal to the story or not. Now, it’s possible that of the dozens

of people milling about the venue, any could be a Storyteller character, could be vital

to your character’s plot, could be irrelevant, could be… anything. Real one-to-one

numbers represent the creatures of the setting, at least insofar as any given scene is

concerned. You’re now face-to-face with the situation, and you no longer have a

central single person presenting the worldview to you.

We all prefer different styles of gaming. Some prefer one-shot games involving

immediate plots and resolutions. Some of us prefer smaller, more personal chronicles

that focus on the characters and their internal issues and in which the external

politics are merely a background to the central characters’ lives. Smaller games allow

for more personal interaction between Storytellers, players, plots and the rules. If

your chronicle consists of seven players and one Storyteller, it can be run like a

tabletop game, describing the reactions of the World of Darkness and helping

everyone through the challenges they perform. The feel is personal, the plots can be

grand and world-changing, and the mechanics of the rules can be governed by the

consensus of the players. In a game of this size, the Storyteller has a good idea of what

each character is doing, and he can work on character development, personal horror

and intriguing plot twists from each character’s past.

S S CALE

CALE

Introduction

I NTRODUCTION

S S

A S

ENSE OF

OOF S

A S ENSE

O OF

ENSE

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