Wraith the Oblivion

~e oblivion. AStorytelling Game of Deatn and Damnation Do notgo gentle into that good n~ht... - Dylan Thomas

By Mark ~ein·kagen,

wit~ Sam C~upp an~ jennifer Hartshorn

DesiJln: Mark Rein • Hagen with Sam Chupp and Jennifer Hanshom Written by: Steven C. Brown, Phil Brucato, Sam Chupp, Briall Campbell , Jackie Cassauo, Graemc Davis, Da11 Greenberg, Mark Rein • l·lagen, Jennifer Hartshorn, Robert Ha
Editing: Robert Hatch, Brian Campbell Art Direction: Richatd Thomas Art: Tom Berg, John Cobb, Anthony Hightower, Larry MacDougall, Anson Msddox, Robert McNeill, Ke11 Meyer Jr., E. Alle11 Smith, Richn:"L'
Dedication: For Joseph Campbell, reacher, philosopher and scholar of the world's mythos. "The conqutjl of U.. frar of tkath is the recovery of life's jttd tkarh, nor 4S contrary w bfe , bur as an a.tet of life. Ufe in iu becoming c< alu"'ysshedding dea£11, and on ohe point of deau•. The conquest of fear yields~~~ cour/'4"' of life. That is U.. cardinal initiation of every lu?roic advenrure - fearkssnas and achievemenl. •

4598-BSTONECAJE IND. BLVD. STONE M lN., CA 30083 U.S.A.

BIT[ WOLF CAll£ STUDIO @1994 by Whirc Wolf, Inc. All rights reserved. Re· production without the written permission of the publilhtt is expressly denied, except for the purpose of review-s. Wraith the Oblivion, Mage the Ascension, Werewolf the Apocalypse, and Vampire the Masquerade are trade· marks of the White Wolf Game Srudio. All names, titles, characters and tcxr herein are copyrights of Whioc Wolf u11less othenvise nored. The mention or reference to any comp.,nies or prod. ucts in these pages is not a challenge to the trademarks or copyrights concerned. Because of the mature subje-ct matter contained herein, reader discretion is advised.

prelu~e

Book One: chapter One: intro~uction chapter Two: Setting chapter Three: Storytelling

24

34 70

Book Two: chapter four: ~ules chapter five: character chapter Six: Traits

90 100 114

Book Tnree: chapter Seven: sha~ow Chapter Eight: Systems Chapter Nine: Drama Appen~ix

174 192 206 230

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toull never know the hurf Fs~ferelf - IW ~ uis.lilrt!r

Nor the pain i rise·a~ .,

And i'll never know the csame ~I yQU,

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But sooo we'll be together ~

jn t~e clasp of obli~on. "'

Thls ~llll!lortal Coil

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Iothe modem reaaer: rcct!ne;t to you, whoever you ~ be. an4 howeve~ YOU' Ol.aJI h<1,\'e comt>upa11 tl\is

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twas tbe fashion, ii\:.~, d~ of my \'011118 mnn\iO<>d, thaf th&'e wliQytetendetf~~~lf\i.W,~ ''~c1~ thl ~th-<'1~~~:. idle, r\cll anclnwcn ~ve'1 to,whfm!i.Jil\d.fa~•illa, whlc'h w~.Jndult:'ei!lOlled forever byfd'e sp<.'<~L~ of err• nul. 5tmn1;dtlnknn!l had coml"''}YFwfe.} a 111~; "attho:r, opium and the like 11a~ ~wh,¥ ..~ bit-nothlnr <'Wid ''"'" Dlf fnre\'mhl~ of'otrro...-n loves. Empriness)"<<""'ed uponusm.n\ allstdts; whntrnorenatund~ tb~~tbat~mouf'cl di>tnKt our.Clve> from our inner ab~.l!(conrem~ o( IIi lcscndary pr<>~•·mtor?

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. Hete, I maiotain,lay th~ seed of thnt mnnta.eqlled Gothic. ··'&'"" ~IIPd Reasdn sta~;Vtl!' the :~Put ro'f~cld the lmell<..:t; and st'61ng ~LI rom!!Oct"'~~ myst~ ~utl\l~~~r.exol~ed from the , Wllverse.,LI\O~o(ta:l blood're~ted ~lnst rhl.$ gl'\l~ hew world of atQms' aqd \l"<:llt~· 'III > 1\io tbollj(ht wicltcd, and \lvt~fo~a:omannc and tnrlr~ting. Y~hm proclaimed ~~vC> the vanguard of Rea>10n, probing te mysieriC$-"of ~ r:!r-!t rt, tdo,-mjgln bt,;n:
~e journeyint9 'Death pO\lthe,~\on of my~ p.'ISSage. r must accusro~ habit as by de:filp' ofNarurc. Had U>L'Y t....,n ltvrncd lldm1t thar I felt adcli1:loU> mi,xtureof !'ear and limged~ith lea~ win~ andt>~rWd ••11,,1 or<:n d•C)ll>dv<:> to • for my passing,o1J't.'<:iul 'nlut. ThC811 teeltn~~\lcJ'uucrly, how.:v<:r; a. I cro~ the How ~t knowttdge woultltq,·e ~well« :,q~wllat lilc~~.,bo:i~ Under water: both sight and sound ·c ctl ~~pporttd by r~mriM. $0111 beinJ torn asun!ler, {,~. ~ 'ral>bit contc>tl I diJ¢Q"'rcd In dll iMtQnt, but wore. wert mo~ cJ\i~ ~·n'ltl"'itnessed lJfany-i.ltriblu thinK> Jucin!! "'l' capth i11, secttll! vet ((>J\!floq\cl. botl do noq~~pOS& !!'tell them ~r.. FM now, lr Mrfhm rhat S~ }l'Oved.ln ~ v~ld :11'0~ mol>bttl ! could neither I"Wl\1> •l:tlc'tD ~ibul rhe nruurc ul fllY co!l,lP!)6ure quite WI! n)<\'rml world is hot one, anJ ~Y.~'!}.soli){ricl ,t~n~h~l!cnt cl/vcring upO(I m~. he~d. in rrutny. 'YilVS'It is the 1~1\S' ~pil;al. l~~t~tg dOwn Jt1 somt cxtcli'Gall \~1\jynd lily ~q<\y.,r't"llis rhc cr~a· Porfions \)( this knovl~cdge rosr 1M dearly, ~nd l 1mulcl turerquiclil\l'dui!!SI~td.fr~ln m~, iin~f.hu.dderlngrf beheld thelt oor have ~ers, peih•l'~ IIliiS •ble, pay'i,n the same klnJ"' I m•a- fol'lll•· ,' ~ · lkwore. !l\ough, fQr m_)',knOI"Itdge Is by nn mean• Ctllllpletc, !'lo d.~l\ion~Jrom th¢ rtt were 1he.o;c, merelY 110ubi like "'Y '"and 11.ay nbt be thorooghly eccurol'<:.ln th~ Underworld, rruth O\\'t\,tk~~ in an '!Pproximarlon'(l( hum :On llkene!f as much by is
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be a wratth u !U be forever ru,:ar tQ those ptehed$ion.-.ndfear, atleast(IIIIODfl the llYio"' F~r nrn..nt; thr thing> Qnt\held d<:;lr tn life, )'et eternally dead i5 a~it(en...u ~tcr cntirell.- i'rldeed. near!) an emo.>• bani>Jll!d lt\im the pleasure o( thdll Wlutt (ion onto, iiirJf 311 QXqu~•nc mtlur~ it j,., 111 >ce .Jail~ ~ Alldtit~feorthaf h1unts~deaJ t< no knt lovtf: ro' w;nch them ture an tHis cut-ofl'l i/nprisoum..-nt. llin!eh bUth off.r, nnJ thuy wnfront the buffets of mortal fortune; 'denl&thO!!e thlnf)l o•\:·J•we.. The fear dmt "''"""the •lc.kl'l>

11

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tn,1!te •RO•t><•ilrh~rloob and witlwt thci1 limbs; ro Wltn<~ cheir joys and the1r,..,...- bur {orev"'-to be an unseen a~l:'"'"l denied c:onsress with tlwm mOK $illely rh n a thearrc·~OIIT is pi'Qhib.tt«l.a part in the ;!oinll:l> ul)<>n the oC!lfje, One. c~n neither celell't'tlr... their Jc>j'l! nor comnu•erale un their lnMot~uucs; oue.~ oi\ly Wl\tdl, ond watch. For even ilwuc~J, :;th'-t11mc lcam<.J >kill onJ llQ little exertion, Qll< IJlO" oc:~lonally mamft~\ phy~tcnlly l1r
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evcr.P.sting ,1111d unallotinj!,.fur lt i<':rh'-" fear n( Ohlt\'lnn, tht• almtghty dnth-within-d~. Even In death I!.C conn~ I c;c.1pc: the black specrreofn01hi11C!'~ .,..i~htoltht, tern.,. han~;> 11pon "" alwal'•· 0\i!ivion'• cvil\Jligchl fJ'lrtcarontc illour fellow opirit6. We p'oor losuouls feed and !frey t;flon etch 01hcr without cca•in~. and feor ro ll'liSI onell'"Otli9r completely. Fricndhitl' >uch fd

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lo~h1p u; nuulc olul'ost l~lbl• ~y conditi()n$ In, rh/Un· bur seldom arises the warm,ana spontro'l~'"' fr}\;(ld;hip be· derworld. E;.ch pttttllllh and tw~~ two like-minded IndiViduals who ~U b~ll'e rhc §wcot well-being, and pl•ce no trta~ in offered &OI~e from ~nother. ait ThoUf!hu of be~?val and icu:onl>Ctj~es ase never far from our min~. making fear a pr!59n fur the ~ulas sure and Over ye-an. ~nd deem o( wMting allian<;e.< and doc!ntions ("(t call such ltrolj~Qr\:1~), n•'i"C"pable as a~w lror\ bat:'·

obli~on'sConsuming·shadow

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1\\1 I have ~ n~, ~~¥111' i.l')tcP,L in I~ atcu~t6tned sh'!l).~ J;y babl!ii aiid O)lly,b<: alte~ by !.&= of wW1 if o t~shoulll ~tluujpr - yet 'ha11: txtarence, w we have leumed'thediscipljire of 4<>Lng{o. The wilt: it'seen)-', ill mu.>t Wre(y ,~;iY'¢6\lf!stance of n ~d, (lve.n lll~ter nf th~ p18$1ll.'\'l!t It rnay llf,lt be tf•e CJitire serv~nt II{ the If 1t be only n ldi)d of wblt~c'e. That S'abcotlSCiQIISt'!OW, ltiS 6llvlous tope r;nlonal'niinll, (otln&tance, Sfhn'r we ~II plosf11.Jox I~ ~nothlng thaL tlja~ to waik t~ousf,. a wallllf !;tOne IS>Im~ihil~thc mind migHt ~d~"' eaghliselenc:e'~regi· has carried this knoWt.tbrougbout life, hod brought It ro men o1 ..,!iJ find flt1~ l\l4ll,t£f. Jlut ~­ "tPe Underworld ,with 1he teSt of'~ ~;.Thus, II wr.rlth rhmg bJxed u similar shape to dr.ltof the fl~hlll: l<~ form by whieh tjte with tbe new wildom that plasm may '1'" be hafted ~· maner. >p•ri• ,. IIU il,a $liglu: maner; bftf!P.iying a little COilfF&ntion, talned through habit. Qnnln wrnithl., b4/w<;9Qr, bave learned one erc.ome ihe . . .ani:c tl !Mtt'ff If d\e Glind he 11:t the art of .!!aping thelf own plasm~~ ·!IOQ\~mt$ ~hat of upon the rask. Mon: ~reachet&s. tim•~. ate t)i&i: blmll and un1ess the rnin!ll\e relaxed dUring tij~lmamt ef their roik· 1'1asm or another, )IJ.\'t ns 411 t~tn the wJ>tld ¢me \lvinJ: fl:lg,jhen harm they will most si11dv a~lisl>, (l!r 0..: minJ ore based upon"""'" wrietY ~~~~~(w. ' · !k>aJuse we are lnsu~nt)al,lit may b: Sllppooed tha~·we wd.!Ja 1\ave ltl$o. it' is t10~ shf1!>lv ~nd <:tiwre\r $Q.- f -of rhe llesl" TI1oug\'l ~ 1-·wlncrabfe, It Is unkind Fnu:, all of 1.\lcih~rdshill' rp lb~ poor wtaith, w411e de· oor ifcstrucrible by Sli~h mundane, ca~."'''he e>f rlw.whidi,foul~ b:e ~li. . t ;, rli r'Ul.turc:,Of)"talthA !}lar ~o aril iru;ub-:

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rh~ spirit 4;·~ gteiatcr r~k. de quc!ll plus infra, and more ter~~aware. rhe living "'9Stly shun th" much of the dcaJ, for rhey are fearful and dist~tful of thO1\ichle. How is lr, further, (b:ll"~~ unwalcome blow may strl!f.e !IS &¢m behind the veil. Tite will must be bent to accept the I'<"' solidly._, ir\n ttl'e, while the touch o~o d= one- so ear- sibility of roueb,]mt.as a wr.nth's will tnU>t be bent to a""PI nesdfand arde!)tly d~red- is ever denied th.: pclol'>riri 'It the bluml~ess of:~ bull«, ~fore .fi\Y touch 1< f""•ahlc. h L• Is the m~tm!Seroble pottOfourdi
...

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The Wretched Bondage. ~~11 'tlltls- uon''-1. the iuaj6i-.1y -ac"

F~tte~are the tab!& rb~r h9fd • wrauh an the trnppe they are the anchotl! rhat h"ld ~ and obligtd to ~ndu~ the wsttnc.• of 'W'G\jlh's ~enses: fmm'tlissoJ.ying-into the chmJ> of the iemptSt wrnifhs. Til<® of \l~wbo wandet tb.e shllll- ~ ~ wha:r we ate~ "' ~re 111iplif<.>n~d by fore~ fmm, wathin ~ ~~· is'llll ati~ ~ 11\llch n• It il a jailer. Wtrhom lj.jl•Jrse:hies; .r:naklng our own dunaeon,by ~'\)a foo;w ~ape onc'a existence, the Jrcnry pn:.~in~ ol d1c . tbu ltvialg wor!1. l yl!a!S'~ tbe'l~rt~ri~ mndot$.< nwl~mtnmlro Underworld :nw !I~That blnd •PS. I~t m~~le ¢0ndit•Dil, • hado;s, exl~e.wea~wav at th~ ml1 causing rhe wmlth m In•~ hav• niimyd'~ttcr!. Yuu n~dt ko10w this, dCI'It "'~;b~riw 4Wilty ~ e.•is\el\cl! (>'.)l•l- so the current wisdom hu< It t>;<;'t yourkpQwf~, \2r'r~>f\Ot !:11 the Shnduwlund> sillS filled rtth l'et~q;, !i,y.Y..btch the roor~jri!'l~li~lll.R<\"kfrbm 1 an'W'urled. in\9 •th~ rqlll'n~.'"ll~pel'\\te heart of the Ttml''"'· ~~~ gropclr'i~(~d~ .~~ ghao~ of the mtserwh~~nnot lcav~ 'r.hough the p~i~( uP ihl> wraith' ill the Shoclo,vlonds be hlr w<~rqJ~_"'.'~r 1r 1s far pre[elable m 1h~ hclli~h ohau$ of 1h" .the murd~J~it!t who htllllt:$ t!l~\1:1\lfllerer, 6~ dje evildoer hclcl ~cmp!!&l. " in!!>~ pl~cc Ill ""''"~ clarli' de«<-llll'th~e nre fjtt~·

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~elics of life forll!ffi

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~"' ft bo!lnd 10 emainpt.cq, ~""'*'"'or o!)jccu the deck:''! a dngon~ burnt ln Osl94)ord ~re I was hom.

in

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living

!!so~ an:d )Ieard the s,_,thing n
worltl.,

101) may an objc~t be trlll~tantiated lnlo.

the Underworld wath ats owner. SUi:h bbjc-ca;.n callocl rdtc.s,J"' they are 'he.l'f.lOOcc w co(ne. plllvc!W(! .

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O~dias.

In theSe enlightened rltnC$, the livln} ~not"" J10> tible fot.a'-l'ivoritt obi,tct.,.tQ.pa.ss rl\roud> With"' owner and be~ sei'ticiln mo'" char. one e.XIstenoe. When t1 thmg i$ 10 fruiiiltv thro!aah.acc:u,q:-"151' rhar iq, owner 111ke:. it wilh· Ollt rellei:'tion-10.~ an ~ble p>rt 'bf h1• t
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the UnderworM her.e m hegon 1TI1~ Und~rworld i.s such a plllcc {IS to ~'3r rhr 1maginatl6n, und ~vcn >udl IIJ\ nrt ~ my o~ - far fal"' mQde6ty 1• nCndYlllue whetc I now~ ·""'"'·c01l100t ~ak me un.spt'3kij~c. noruncllablc C11Cl\ che most1¢1e ot'll•1'11g'minCI< f io~eonce.lvable 18Vt through po:r>Oolil tncowner. And yet, I mli.'it rry. Selena would have "-' ltcli~e thil,t tile work! - l spe:U< now~ your 1\'0rlll, 1\-b•.q,Hhc •un is wann and che ~~mss Is~ - wnoll.11. of mmter and energy ~llln~. and all rhc'!iub.lllllce> and forms to he fuund tl..-.·cin nte o( !he ~me compon~nu,

differ me only lg 'proportion' and J)mmgtmcnr. Som~ II" fur• !her, saying that,m~~ 1s but a fonn lch r.. ba$ed nor on en· ttl!\' but t~>trorl' - where nCW~)'ltc,ls the, "3Y >n which Stienc! w<>uld describe the VnJetwodd. Jf it i equations and pro\lfd by moti...'IUllti~l ptOC>f• t<> be 'lnt idenlll)', then the Undef"-•oild Is .urely d>c fm•l cnd1111C of d>e uni\'erse, whicl\ •"}uses its.:I(while awniting iu Jl'!"'mt<...l tad< ljy manifesting il! a plallo! r.~mer than1l tnQment

~e shadowlan~ l:w Undcrwurld is incotlcelv~bl~ In lt$11!1At• ~:remer~~~~~~ worl#•. it Is 011 ontiUnlvcu~. Wh'Otevl!r II no't rf rhc Univer.e 1S o(CDblivlon,luJ\~t\s 'h~ttl\ Is but 6nc am:( I p11r1. nf th~ Univcnw, so. t.licce •Is n IIC!I$ -

oM.Illl l>art J clle UnclenV<>rld that eorrc~-p~mdS untp •nd )mplt>fl~ lo[X>n your hv ing Enttb. :fhe;Jtfllpns of rhi• w~td wrritl.lfy arc the Abodes of the bulk ·of FcMr·boul)d wrolth&, 3nd ore km~wn a~ the Sl\3dow41ds. The Sbrtdowla.nd• llc, :\lilt were, otbwatt and ami<.~ cho liv1~, material world <)nd derl~e-rnuch of the or fOrm Croon it. Pernap$, ~~this point where Univ~ nndlln(I·Untv•t:On· vei!N, <.'OCh rokeson somecli{Jl~ ol' thcuthcr's nat~; such phUOsophical cOnJ6t:turcs, howt~r. are of little t ntL'relt to those who ml,L whttc !hose wnulhs who are forblplric·Utedlun!$ refer whL'Il they speak of !he Etbtr or.!ha Astrnl P\aJ'C. Many Wee

It ro be the w,holeht'j>.e Vndatworld, but they at~ dte<:iveJ. FGI\I llvi,ng ~uls ev('ll suspe~t th~ terrii1C.1'11'11n,. nml Wli>IC• a nils fhadle btwond theM.' bordc.rhwlsl ~nd of 1hosc (Gw, ilw g{dter p~t1tave le{~ tl1elr reall)n In pnymc1lt for1thc1t knowl· ~~. I The Shado,,Jand$ are,.,~!ll)am~ indeed, for they clln~ \O the;l>utlines ofi'the wodd of fj..h, apmg it as a $hudow nru It& ~··· R'¥ms,':bouses, atlll ~ven rbole Citic• cxiM\ i!• the Shado,vlan!f<.ocqopyinll the pn:ds~ sR~tce and dimension. :o~ their earthly counterpa)ts; while they arc not ~lavish felf; lftl•i> b eo, w n it""W'd ~ly acc:owl~ for the Shadowlond$. Jont II> the pllf(e of a book takes ooly the ml: aud ti)e ktte"' sh.'I'C ftnm rhe printer's plate, .othe Sbndowlands rake only wl:wt is gloomy and squalid !rilrolhe living wQrld, reminin~ '(!mcWhat / thdorm of it.

-

Shaaow ana Sunstance h01och the SMdowland. abut the realms of the IrviniJ, cotllmumon from one into the other"' J'O«'thle only rarely. n:o.tlCS> dead m~y ~rvo ~"' Uving world, :u>d moy ~ven ' ~n~vehluuugh it by traveling tit~ th~ OOt· rcspondofll: Sh.'ld.lws - but to anal<.: on..cl£ $'tt'l or heoni by the living Is an undertaking ofgreat di/iiault)'. To~hor n1ove~ onatcrial thmg Is lwderstill.

n••

A lilntmtfc,.c/1\>rtaf williS ~«¥•1~ roelfecf material c:hang.: 'I! rhe livihg WQr!J- so mueh $0._that such effort. are ol'ttn clumsy and !mper(ecrly.dirtaed.l ft>l" ml\ny JlCitcq..Ci.n• att but poor wraith., fnl5!1Uted in the eft'oo !o tltrform I!Qme 41mple toskl

Oft bave I dreamr, if1.~~thlflidiiys, dl9t I moved a.• a ~ho.t through some &un!liar SO!ene, ohk:tvillll •ll·bur un:\~le t" mnlc.. mysel£knowi>!e,.the~'lldf ru;><:Jircd or.lod nor an bur~ theJl!lnl!!.anll mc:e$ r:lw l6QU)lht to eonbmcc with f~ of ll'iistU:hrer ttrqe JleomelJ the di:lcipline of mond

required co coudl, ti:'.r ir Was an an!~ pnd kinrr ll)nd.l declare ¢cost me less el!bt~ !t) life to swim~ Hellespont 1o eriPI'Ied porody of~. t!}a"tUrd<>e~o J)OW.todo«>oliAAt" thillll "''tum the page ofi'bOOk, . I

Haunts and Nioils here R c, howcvur, •ome fc,~ p)n
,cn•>J;ri~i' l>ot\1'e~n tile wt>rlds Is lc:l! ardut)o\lj. now•ow.ro my}Cl~ hlixJ]l~ tr,,c:f i,h"Q!Ia ~loo"'y ball6 os tr Wmilh, ••• ' livblJI ~tc ~~t~!\'1ctcd 'J'Ocertain, and havingsc•n Wir.~ d)ind e.yes tl\e d~luded folly nfnrl.r~r ~hnot• In their wurkl - b~lgbt di'ies, ~~ hunt~rs! !II '' lllOJU(I!illnS >H1d fashldnnbla>opj!.S, for ex· lf i\.Hl\1\bCis a plattl' 'l!h'\ire t/1e lltap~lll scpnmtillR llic nmple_, $0 th¢ d~nJ cm\groj:atc in cermin ond de~dll~tc]lesm!D• cl\en ~ Nli:\U off pinprick in rl\e veil, nreM, which arcJnqwn in lingua mcrramln tl)roUIJI\ whoch soghr, ~nd' -l.;and. ~eun1c.; otlwr rli(nG"•• H•unr~. 'These pinee. >O >lrongly rewln rht substance ol' may 1'!!'1§ wiohour k~rlnce~ Nili1il are liuh)l! ln th<• (nbtlc ,,( death that they begin I<> ~h~po th~lr living eounttrp•rts m· o~r ~lty, wells cll9r plunge direqi.Y.tn\1) rhe depth> or 1hc sread of II>Crcly imotarirag them. A living tl)aci: thnt correspond$ Tem est. Enrrogy •• drawn rhr!lltgh a Nihil b>'thc iliflwnc~ of to a popoll•r Haunt Is J'OSMJS\<-d of a curt~~in aura of dre~d and Oblivion illS~ as )Va~r is ~1\91 by i/evuy through o holt In o gloolll, by which the morQ SCI\Iitlvc of living souls can know ~..hllcker. Nihlls QI.'C maaves from whic;)l QO explo~r rc· with un:.pokcn C4'rfAint)' rhot riley wnlk among wr-•rths. Occa· • tums,a.lil thcpno!iwhichan~queSib9ff"'Y. Tiley arohnJlo!"'lly the Shroud between the worlds'' ropllJred somewhllt with te,rrl,llle. mysmy and une.~plaint:d e•·crin., e<~clnlly ap· in th~ pluces, and the de:.d rna1· mnn\fest ro living sco~ pearanc'efand di~mnce<~. Ft:or rh(!ll, for they rue door· rhere. "'"JJf>With twll:sldes -;md it IS Mbad ~ bcdmwl) it\11-' n ~' tn

TheJC are the howu,-d p!llcC> I SOI'I.!ht out in my bra-t\ •vnfront what may emOJge. youth, thinking tO oold COII~{C.'
Citadels and Necropoli "'I!I'O••d

I

.

,!1

erlt I~ oor w be th.,t the 1\11)(1 of The dead remaon un.lhaqgt,dihom rhclr fom1cr hlihorudl'!l th~ depl) olcpcndi >ol~ly upoh the land of in,manypan:icul~. 'TheydW¢11 neJion~nnothcr, M~klng .,,{cty the liv19~ for 1111 form ond di>positim\. in numbtl'J ond the p,Precri.r>n o( s_t;!:OJ'Il:ft fellows. Their vii· 111•r~" nrc, lnJ,'Cd, many ihlltances where lnges and cities ovedl'j'il>c c.\Hes ,Qrt~t llvlnR almost wlth<,>ut rne reverse is the CHMl, nnd such Is the ver• cxceRtioll, fot !he livll)g "fe thc~i; nf \hcl~.weohh ~nd ity <>f the Necrn/1011<, chc city of lhc dc>Od .. BIJI!(~ non~e. The NectoRQiis, .htpl~ IIWiPl~~'t:; a gerwln

"'"'IJI

~

kin•hip to the tlt$hly cicy t.h~'Jl•r.e 11 oc:cupij,:l!; hut I 1$ an equal partn, til such places, b;we )'011 fe~Jlle-Jlltill bt namelco
~e Eternal fiepths..

II.&

'"

behold oulv your own side prme mtqtfr. t'of!>ad you the sight Of rhe dead, vou would ~6td wot<~e si~l~:t(ll!.ler the o( Ihe thieves'kttchen witnCssed, 1Uld piQl;< rhilnvould !!hame 10 maiden blush!!'!: rhe bl~staincd i>al«cts ,qf pcrlldjOU& 13ytltnuum. The Haunts i.D a Necrupolistru(y ~ roany;'buLallare lmked by the ~lnshiP: of dry ~~ and dilirri<.'t boundary; Qvcr all stands dle ltCI'O(>O/U whe~e ~~~ rbe Hit~:· arch ~acreom wfto rulii'in dil! name ci t\)e .oeiithlor.ls, 'lu not inevitably ~. ~I"Sllfl~C f~w ~li fly d·•.:-i>lr=rs of R1:1legade or Heresy,'\lot by fat lhl! JII'P!Ita' l"'l'l Is h~l
..,.u,

~

~

•

bdg~~nds wqo s~~ tO Rt~Y on tlmy~ry travelers; lt is 1\
whq5 or @e repon of a pi$tul, 'l?d ',lU'Y not~ tvad,,l by aoon. donmg a hotS mwel if a peqlousone, andhe$t leftlll\cohSum1111ttep~ve oc che m"'t pressing l}e(ld.

The far shores -

,..

.~

I

M<>nc aJl t~ercaJm~ m~che Underworld, the .~~'f~IOI.cd walj. ~nd thi.> Vll>lan(\ haples.< oournc ereo~est ~~tof$tJICi~. Founc!ed, acco~,. lie,tt~~.._wall~fStyg~aJ,rhcrc nen•l1t'ad wiUini!lr. ing tO ~dlt1on, by Charon hinuel£, lt'is" JJ;e ~~lgn ofChamn is!lllal"(cd si~ hi> ahJl(l che".-;lfP!ltt bas become{\ prison. The O...rhlords hoiJ u IOOIOS'Ov•T the world of the dead as 1n:n1 B1'Wajs cursed jailejl. tb«~~~gh the Ttlllllt't IO:re th~ thac conduct the !nlvcler !0 'that ~·.; knOwn of~ygla, 11nd for my J'l'lf, it "alii the §"'~ of Sivgia, for they are oftm~t tr•vel<;d, and 1110$1 J.6; to ~. Once d\rougl\ rhos&~ gate>, 11 " '-1td, all ~<>Osly llllllnannl!ll. • h(>pe fl~ an'8 an '"'i"ity Of Cl\$lavenlcm b.:c~nns, <:1\'e for MCillttd rpuftr;J. dl' Real1,11 of Seygllll$ the Sea o( &!ulS;, a t:ll@;.~ fill.., achleo;td JU6lcict;u'.!carus in the llocnnchv. Vll$f and remble IOt the ragi~ · tJ

5

T~e legions of t~e Darnne~ he mention of Fei'!Ymcn reproochcs me, that l huvc aonc :.0 far in nifd(><;our.;c without any but th.!_ mo.' .rer.i9nal and subjeet!vo exp!nnndoo of the st.a te in

whlcb I find l)lysclf, nor yet hav~l c:.>aye
T~ose who Gui~e h.e lore of tile 4~ad ~116rds ~lal t~t tO tho3e cblleJ ~l'l,111Cil, fUr they h11vc lt ill their powcrto oondye~ ~)e de~tteJ~ul to S<1fol"(, av2_tdtng the thQt•IJlnJ n:ards.of l:h~ Underworld Qnd the dci!6lt1 tent ions of •l•v~r;; and orhtrs c:.rwtyl'in i ~h·ll wrire anon. Yoll alr~d~ know their nome$: Aht~l$ls1 llcrrrteS, l)ru,lhild and her ;iucrs ~ and 11!Uny b~!i
,..

~c FetrylllM tn~vel fr~Y!through the UndcrworlJ\ suf·

feTing hin~Jmnce.'h\,m

nQnc..'llo iii Sllid that their )I>Jim~ytn~ main!'<'uf.• in some P*t' the 1:\ywa)·< thnt 11'3Verw the 'Thmpest, lu\t as lteq~ent,J!affic keeps n roM (roro Au>winA ov~• with weeds·and bcconilng l0$t. "".lr,il' !>WJl n1,1 mft~tur ~ut rh••l•~wn appolr.!cAl11ui"()OSekth~· d mre lq,deed nmong r.be clend, 'and speaks 1'1\ore el()lluentl their P
. ~!

~ose who Rple

•

~~ ~...-.u;.(lJ.

pr'16ts of rrnde and the spoils of \Ot\1 thon upon cnll.f!htencd pbilosophv and high moral principle. Tite '·a.sabofthe Hier· 11rc.hy 1111! enr:hus!aotl'c ll•vers of l, ~nd piUI!lih orhrn< who ~e in dtat ~d~ th~y. ru~ 3-nd ~ny others the rlaht to rille theolieh•es, calllll§.lhem "Rct~e,lllld<:l>" and "HeMic.." Th~ arc the enemtes of llll ftt.... m. Tl'rat much, 1know. Much"more I have h~rd. though :u rumOr 11nd heausayonl)" (;hall nuttroUble~= w!lh unreliable tRl.C>, having completed my main purpose 1n dc•crihmg the Hi,rim:hy. Ill l}t, that aqy who love freedom shoul~ fenr .md "!'re(ld. 'hup' the'Dea.thtQI'd~nd thelr mlntons, fot t.hough thetr lu· Like uny empire of,f\lllnallllitory, t,hc llicrarchy ru.IC> rl\Orc ,:,.,Yoll'er.j prnrcotion ftYm manyql)hc UndcrwnriJ'$ pen I<, h tluou8h fear than n1iiJ l"""'uasilin, und iJ bnsen lrolll rh.e~lves.

orne c irl- the Uuder" world. Its rnflucncc nrervll heyoncl lu bol\ltlll In the manjler at1 eanhly em· · and it> nlllnt Hicrarcll'l ;, a po11·er that none fll1\Y ni~c Wtth. The lor<~!< of: De.rh nwe fenlry tn Ch:Jrpn, bu~l~ h.ls dU!Ippeara~none un s.ay '~hat !hey ""'Y do. Their ~lollS ht~ve been more ac~ive .I lute, tbat nweh .. unafn,:flllclrhm abuse.' mnre wl~·

of

~ose who ~evolt here arc mAJiy who accuse the D.:ad>lords of doong Aw3y w)d\ their maHer Charon ro hee d)eir hand> in the pu111uir <;>f power. MnnrSQUlll•~ roill~<Sdves from tlw Hier~rclly upon his dK'appcarallc~ many mace. whu had never lot. ~ Renegt~de$, a.; they Mmc-d th~ITl$Civ~, were crushold bfnt,~th me lc$iON' it'llll he-el, b,_ot llot Were d.:.ln,>)'IXJ, aQ'i

rul

Those Wha kope hwe already nlluJcll to the corno:non b~ libf Chill rhc Far Shores, If rbe~~xist, "{U thllughr tO be tempos~ O( J~UTC r~ith, "'t ({~red tangq,le b)• tl\1! na!ur~ of the Under' worlil•nd lhc cjua)1rlry of souls devoted 1~ the iuca of cbelr reality..'li~Mics $eek m cmplov this pecull~ low of lhllir •urr;ounding,.by cr¢afins a belief on,d {cmerinJt it growrb. •nro a stable rc:llm. Su$ Qn operoLiool is ()ncmus ondee!;l, for thebeUef-foun· dation muse be pure 11nd rons\ant If th~ resulting edifice, as it were, i~tt> hav~ any hope of smbllity. Some of lhese lie relics, liS they are duhbed,1espouse them cretd> bi:.'11U>C of namrall!}'ll\P.'Itby, othec::; beqit..c they dread

Those who kam

••

the; allcmat~eil J~'i!'eMipg w3nc:lcrlng ln the S\1-1dpwlnnd~. ete!'l'l~ y~ar fricnchhip wuq Htr· erics ~~~~ lie.eJmdentwound. (or d~t<>fl">ratlon at rho hands of thiHieratthy, '

qr

-.

or all the power aod hu!ms of me Hierar:me gull~ w~re what th~y once> were, tbOSc lu who!V- they wtrhholdong- to lllhoch--even r1Qralet)'t$t t)'nlltt tn~>t bend open their doors IIUIY be of any backgrl,!und; the knee. But tha~ayIs loog PGStl and olOw the t;uM• ore bm oi>Ully 1.; the only quaiiAcatioo, not weald\, ruflectfnna oftheir former porenc.y..._They are no longer fqrmul posirion or alleglnncc. Whar a h111ve W..>rld might be wrought organi~ON, but simp\}> d,u~l •ll'tlt,lit~_ons of kindred .uul,, among rh~ livh'll• If~~~ education we(e apportioned thus! joined in common splrir and •Jdentlt.\1. .

'

~

As among the tr'villM,:iJ a~ong the dead there b(e seekett< after hidden truth and cf.!,lven; u'lto ;.cerci>, $nd of such minds are me~uilds no\.v compo~;td.Jiisl'brtnch of tltat which passe4for Se•ence am &:en >toh:n ll'iim them. The guild5 a~ now, by ri~ty, b~n and ~'CI'CI, •r.s m~bcn making no claim of tllcir allcgit,llce.

,,

De Natura Animorum 0

me livin~, ~olln)J11s ~n in1:$ngihJ~ Ulii\S!,

wlto~ price Is o(cen ch~p and.l"hose ~ery extst'crlcc i. fr..'quemly debated in this age _,. ~'J •L of Sdcn~e. I~ Is Otlly,.,frcr clear,h thllt U)C

h:lvrre~me
t,lkeTI,!Tla:..s at Ptarl'lslmee, l thlnt:S from tire guilll \jltajdtso;t;;,have sw.iafuq.l PJC wh~h thi; d~or CJtl~te(ICe had else ~ !MippotGJble. ArMng rpem I lwvc found the cloocst $fmpathy 10 Iii¥ own lpdili!UIave augl)r about g>em of phil~l~y. rCQion, or justice, the,gu~d haunrs.~~ens amidJj1e gr•m world of the dead. ~!dis(,ip!ine IS~a$~lgent than Lhadfound:uC,m· bridge, but \he ~~~~thcy 1eath are f~ely more worlh~Ue. And mo"' d(an 'lJl<:e pave rtw.r offclrCd \aiiCilr•ry from mooe who woutd-have done me bonn - I f "''"aunry whJch Is nor to be ~ised or d"'l)Oiled.

.

places o{bwJtil aTe JS gl;ltl1aries <0 th~m,

•!Jd ~vtn thu fh•ing

m~y -lhcir-f>~e th~e. "' More alS'AuOilsly~ "~ t~c other plnoes of ~~nth: ~ ~

places of executlotfr . ' leYn"\\•pi sc:trct mutclor \S Jone, i;oul'sltUtVall!cbecomes~ppor~n~,fououl~ mills and q!ill'es,.)Y~ereodllasret I~IJI~ ~nd mony othl'f suah a(c bt~thJnalcrfalnnsl$urrcncy in me.world - t~ev ~:Ill them• of Wl~lths. Thu 'fra~il(ty and mcngtb of a 1elves _.j\'Xert;.~ atOm of their mnuenae, hkc fllihcrmcn realm dcpcl].jls, in lnt,Qepart, upchi rhq qu\1\\HN·A'r).~·characr'er c:t•fln~ arid rilJSin~cir t!ll"tl$)'1P ~-the oorl!lly balallr.c 10· of rhe souln~~~ tlj)ty, as on Earth, Is m~asyltrd l.n th~ l\lnn'?e~ of Jqul3 under com- , Wars an({ mlssacres J''! ilte~t ailraction>, if <'tlhcmC(ll\ 111•nd. oncll! Great (il!ra~~.mlk the Shodowland& behind Hving 1 The mqre p11we'rful tl'!JllZt l)s of thi~plac~ oan shape souls" annles, in eatniv;~f IJI!)6d lilgtthe!,l~JSe wpper and tin, and t~<>uri~ thcn1 pare rhe comll\g ~lau~er. Great c~ltbmtill'"' follow lhe cnrinlo obia:\l11r:~rnq I>QWer. Styginl) Iron Is ~ld ro lli m•de nagc and it.(feasEbfsouls,like rhe'F~roese festrvitle& upon ihc 6;om me rW)due of thl,i. 'cpulsivC' pr~i$; it is the only sub· CQmlngofmigrntihg,wbalc$. It i:> Q fierce holiday. stante that may bind t)le .Shifting pl~~o~m of a. wraith'$ corpus, Should ~e suddeniand unforeseen cac..stroph~ occur, and is h~ly prized by slavers. the wl>rd goes out liken~ cJ gokl; a ~~ rush of wr.ntl» Th" poor ~llnyed soul> ar~ bound to~cthcr in their new contests the prize~'!,lld di!vil ~.00: ihe hindmost. This happens form, >~nd !heir vltal.~p:ult dnves the objeq In perforrm•nceof ·but rudy, however~or the barvurm qf.J<>ut. keep cl.ooie \Yatch hsp~. Thc'Oo!al!¥rtls&ftentlmes~ndgt'e!ll:$f. upon the living, and ~e~t!citX\[ed :llmost w11hoor from thousunds t:lcompound<:d .nul>; their k,;:nlne ls terTible exc~ion. lnde<:d, a great many an: plarmed and e!!&ineo:rtd, to h~. as surely as the nlulv~ Amenar dfove bolfa.lo over dill• to Just as the liviuR"*~heltserdemellhciOIIO by dl~ thin&S furnish th~it banq_ueu. · from which they <;in
nave

~

Servitude and li~erty lavery Is the inevim.blt fllte o( n10>t of lhc souls who cnt~r the Undcrworjd. Ma:.ed as rbcy are by uperhun\an force nod guile n\DY liberty be mlilntllfncd. Though the Cl1$1avcd may dream f'i.oe1l0m 1 rhe.y pave~0 causi lo t)l~ lts CQl1dili!VIlS· >

nr

or

However, toile el\5Lwed, as among the livinl!, i> ro enter· rain the hope ollibertV in some dejUec. Tha.'c cnslawd 10 the Hietare:lw seek liben..t. in rank, ""''""C ro rJ>e IQ{ty J10S! of Anacreon nr Dea,rh!Otd. Othtl$.likewl~. «eapo is to for>akl all rro· teclioli 11naessay a -.."Wid rl unrhinl:abl~ peri~. Those sool~'harvesr~ by Rtnep!ts·cbafe bs in rh~ir conftnt(IICDI, for like the mtionaJ 8M humnnislo" tfunk~n. nf my own lifetime (bywho,.,hahi'no~wgroul", TtMy !lOy, ha'·e been founded), the- Rent'l@des prtach ~![tater respc'<.t for th~ indiv!dlllll, plolcing mutlllll bcadlt and wrllinr. c:ooperJIIOn aboy., the cofumandm~""' of rnaan fore~. Their dtvotlon to the practice of their philoemc few pcl'¥mal ra~hts. by whicq measure thuir lo"''illpen;ede< thni)Clf rht en.sloved. As £<>~ r.Mse mken by Hetoerlu, their condition depcn.b upon tbearoWn inclinations.11to:.c wl\o aredilifll'
Transcendence '

ow th:aa I h;lvedmwn1he hortotSofthe Un• ofan inner trallqWllity that will see itsa[eantlund.l.-.rnay..J throia¢1 o;lerworld In such •llll\111ld tenible .:olon>, it thu journey l be confnHll<..l, cno· nUtin prtOCCUIY.tnon bf m.•ny ~cless Is ({ bmced ana_ brought inro harrt>nl' With U\1' nohJeir lot. The ll0$Sibilityofsuch a IA'>k conflict and pain m,.{Cncej <\IJihnd unttOOb!ed;t!igreiSanD dream:. 01~ he unNnlcned from and it L' dooot't'd"" fervC(lrly 3S the pra)-erful the spirir by fu1r.Umeiit- in ;hon, e'"''T arom cl dl.fe<.'ii"': •nd desrre Heayen's ~· Such.lndoed, irmay be called ;nnoogsou\c ~rive ahoucl>t mw;t be ek!on.-.ed, leavi~ Oblivkltl no fir1l(tr· philosophiC$, ti\QUMh ic; corrunnnp~occ lllllllC is T"'-fl'Cl'ndmc:e bold;tq mat:tliterniOM-of th~ dr<-a"(, 3nd homlk plact. any thin&Qr~ins:J~I a u-orldll$ thk may bedignilk-.1 In part, Tnii1SCilndcnce ;, tl1e thiowing ofT of tb.,.., Feners with d\f;qllalityc/bemg~ ....- aDd I> no lo»&niUOU> :u-.1 no'"'' thm bind the :swl to tht watld of the hvmg, ~nd tbw ro the fiaugbt.wilh PE:ril than thl! ~ilgri~ol bycnnc d:11~ th11.11rgh "11J Slmdowl;moned then:, fOrest and hr\srile ~!} nu!le ~t <>1Ul•Fehc11."<1 :.oitl m:a~ bcJtrckod Into the m>1<1nuc.IC'If nnv Jltitc. 'l;leaven bdr~aU.

Valediction 'f

"lin'lshed; l have :.ct down th~ matters beJn: I m:ty, you ~ucnd tkem ciQ. I pn1y that. it rna~ ; ""' q t

M

It roll •btcbau~lhlniJSsetdownhere lh;t 'f<1U are_incUned to ataibute iliem tO the rovl~ o(o lunattc or the noghrmarea of opmm. When I walkCll uoth¢ fleSh, much ~r is here woul~ have beggared even my imagmatt n'/fur lib( m) briftJ;!ctime's, delvin_g into Deatb's tfitsr.etles. Yet miU\y thinx> are heo1: 'YbiCh will QOt be saanae, If¥®' will only loql< at them anew. ;Try 11idl'wriUp1" v!pinst. t.he

3ppear too fanwdcal (OJ; <,Jedtnce, lind

gh06t stories and old wtves' ralt$ Qf yQur narlve land aod you may be '.SSurcd of trndlng cottespOI\dences. How could it bt otherwise. when these tales are all woted in the same reality! let~ be my wlm~ AM ~trapr ro the. vmu:lty of the rest ohhc work, fbrall that 4 b,re is~, by mrownt~xptrl· enee. Once morel wish roo well. Perlwps .... ""'Y t.ven me"t, here in me Undertr-·or!¥; tbb{)gb I do nor wl5h I[ llp9l\ )'0\L For now, soltoe "!'?"! urk, and if yoo wi>h to obll'ge me, ueat i:J'e l)nderworld ""ill·prcrared

ilf l1

A hfe "'htch d~ppears on~ and for all, which does nor rerum, is like a shadow, withouc weight, de;~d In advance, and whether ir was norrible, bca tiful or sublimc ... mcans nothing. il -Milan Kundel1\, The Unl>earable Lightnes, of Being

The •ttnch o( D.r.>tll ralnt• ev~rythlng we say and do. Life of rh~: mind. The body exim in a diflcrcut world from the Is so often pointlc$$ and de•'lli.rl of 1\'-'llninU, little more than a mind, a r~lm <": in~tjncr1Ultl emotron. journey mr~(')~lrv111~. The Jl.l'''l JIIAt won't go away. Animal C ba~-J on pllttorn:.. SurvivHI nnd rc· Our (c!lr of de-nth \und'lifc ir\lo fMlij\htrruJre. TI·tC terror production are r\le l'"~"§ Of rhc.lill cMistence 1;0 much th~t we fail P3tt~~- Change !n n p;mem ~lgnnls dnngcr. c;li~ngc In a ro live. lts~. tormcl'lt41ls tlw·ewape becorne&•prunm61ln~ We hunrtng pal:tem, sleep panem, ·eai:in~t p>mern, mmil)ll pnttw• find refuge lil ®piousd. an nl,llm~l, chnn~e Is o ·'""· s.'irnc fincllt 'll..dC~tl\ illllking que.~tinns. Ouilmima! l;>odie§cootiiiue to.pr In this way. Qven when we kno1v that death is nowhere ncar. Ar\y ltl!ll nf chun~c cun "The fear o{ death sus\airu a wf1ol\:. h&t of ~crron and evoke is >n>.tincdve fear. The mind can reprer<< It, l~lflnrt· 11 craving•. The mo.UI· abiliry to embrace life a. w~ .no)lld. and we load1c Ulc hold. vi Llurt our fear of death haHweo u.<. ~ Animal$ are sun•ml machine., each truature the pumudc We so seldom do wha! i> (ulfaUil)l(. We arc ;oc:ialirod tu of .,.,Jution, each possessing a pm(oun\1 capac:1ry fOr (.mr. E..ch follow tl~e dictate.< of mhers, anJ •urp,_ our own narur:!l dt· of us is-here~ every Rber of Qllr belna r< lnfu>«< Wllb a sue~ ~d •rnpulses. A6 we-~• older, we·become more and will to flgkor flee at the slightest him of trouble. What.,.,., more re.entful. We watch bur dre!llll~ .Up awat from U>, and once our salwtiOn is-now our dftmnanon. our cowardice haunl3UJ tO rhc end q( Ollr da1-. (and beyond). t The >cy rooch of fe3r sit~ on our •houlde~. but ~ldom do we In lhe modem world, death.-.. but try teUin!{ that to \OUT realize what ir is we fear, bo a•pimtlon$ of It ts'Ciearh, of cour&e-rhe imn'lllnt\l fear of nothlngnejS. the mind and wal. We kill qur a.piratton. .nJ hope> uut ol fear, fear that death is con•ing.

"'!'

'fo

•

val.

"

. We :rrc, all o( us, hqth skadow and lrgl:u, amm:.d and hu· We choose incon\pletene.o; and hmer dis.nrisf'n<.tion over man, lxxly nnd mind. Thli,l1\i!ld c~n·~'\!On, the b!xly cannot the irrlitionaltcnoro(dt'l!Ln. In illc. - yet rhe body ~111 cn.•.$e~nd tt~ct. However, it po:.:>c»C> We give up 011 life and em\lmce l'ilhili&m. We embmce nolh· illi own 1"\!ic• whi~h Me'< ll
"

~ng, ohlh·tnn ttself. The ttaRIC irony of our It veil i< rh.ar we die without ever having hvoo. Such a waste. What a pity.

Our velude m thi> game for exploring the theme of hfc· in.'lfeath and death·in-hfe " the hoUow, unll>'lng ghO
To understand this gam•, you'<* gomg to need (o e~plore your own fear... and your 0'1'0 dearh. le& not a very plCliSant subject, but rl>en again, ncorh~:r i> n life liv<>d In fear. So deal with it. Get o grip on yO\n fMr...

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ne: j

He who pretends to look upon k~rh wirhout fear, Ues. - Je•n·Jacqui!Ji Rou$SCnu

e are all, at one level or • nmher, game piny· is because you're inside the story as an active particlp~nt, not crs and storytellers. Through our gam
Storytelling

a wraith - a

tOrt\.lred, pa.~~Sionatc

creature trapped between

death and life. You'll have the chance to rei I stories about your strusgb. In the end, this game is more about you than ir is alxM ghom, for the stories come front what is within you. AlthouRh Wraith Is a game, it is more concerned with sroryrcllinJ;; thon iL is with winning. Wraith is 3 tool cnablinij you to ~come involved in tales of passion and madness. If rou've never done chis kind of thing before, you may be con• ~•sed by rhc whole premise of a storytelling game. Once you understand the basic concepts, however, you'll find thor scorvrelling isn't all that srrange. Indeed, iris somethinlo'OU've done all your life. You ore J:Oing ro weave wondrous tales - stories of frngile hope and intimate rroee
inspirarion of wluzre~~eY else rMylvn'< appeared out of the activities of rhe hull\lln body and mind. - joseph Campbell , The Hero with a Thousand Faces L~ng ago, before movies, TV, radio and books, people used ro tell each other stories: stories of the hunt, legends of the gods and great heroes, or gossip about the nel&hbors. They would tell these stories aloud, as part of un oral tradition of storyrclling - a tradition that has loreely been lost. We no longer reU stories - we listen to them, pass"·ely waiting to be picked up and carTied to the worlds others ere· nre. We have become slaves to our TVs, pcrmttting an oligar· chy of artisrs ro dictate our culture to us. It need not be this way. Srnryrcllin~ on a personal level can once again become a part of our culcure. This is c.:ss.cntially

what \Vraith is :1bouc: nor stories lOid to us, hur stories we rcll others. Through the gnmc and art of cnllaborntive storytellin~. we create new )loric.s and claim the onciem myllu :md Icc·

ends for our own. Stol)~tlling allows us to undc11rnnd ou.-.elves b1• ~i,•inx us a tool with which ro explain our rriumphs ami dcfe:u$. 1\y looking at our culcure. our family nnU nun£clves in new con~ ccxrs, we cnn understand things we never bd ore renlitcd. Storytelling is cmcnaining because It is so revealing, und ex·

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hilar.uing because it i.sso true. Our fascination wnh Sforit$ has

a purpose to it! of that there is no douhr.

~oleplaying

I

Wraith is not only a smryrell ing game, but a roleplaying not only ttll stories, but actually act through them b1• assuming the roles of the a:nrrnl charncters. h 'sa lot like theatre, but I'OU make up the Iones. To understand roleplaying, you need only think back to your childhood and those wonderful afrcrnoons S!X'nt pla1•ing Cops ' n' Robbers, Cowboys and lndi~ns, or Dress-Up. Wlllll \'OU were doing was roleplaying, a son of spontaJtc'OUS :rnd nanr· r'dl acring that completely occupie-d your rmagination This play-acting helped you learn abnur life and what it ll1l'1llll to be a grown· up. It w;rs an essential pnrt of childhuorea few rules ro help you roleplay. They nre used mainly to avoid argumenrs "Bang! Bang! You're dead'" "No I'm nor!" - and to add a deeper sen.se of realism to the srory. Rules direct and guide the progress of the story ami help define rhe capacities and weak· nesses of the dmracrers. The e~ntlal r.rles for Wraith :ore de· scribed in Chapter Four. Wraith can be playe-d with nearly :>ny number of players, but roleplaying ~,.mes rn genernl are best when there arc srx nr fewer players. The mystery and Oavor arc diminished when ployers must compete for arrenrion.

~me as wdl. You

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Tne Storyteller Wraith isstrucnr.-.d a linle difl'ercnrly from the K"•rncs wuh which you might be fumiliar. In the ft r>t place, there is nobo."d involved. Second, one player needs ro be the Storyteller the person whu crcarcs and guides the stories. Being the Storyteller is a bit like playing rhe Banker in Monopoly"', but bears greater rewards rhan a handful of play mone)•. The StO
talc. Unlike traditional storytcllc~. however, the Storyteller doesn't simply rell rhe srory. lnst~.
then lers rhe players flesh ir our by assuming rhe

roles of its leading characte~. Storytelling ill Wruith is a care· ful balance bcrween narrarion and adjuclicarion, between story 3nd game. Sometimes the Storyteller must set the scene or describe wlun occurs, but mosdy she must decide what occurs in re;.1cdon ro rhe wo rds ancl accions of the characlers. She must be as realist ic, impartial and creative as possible. As the Scoryrcllcr, you arc in charge of interpreting and enforcing rhe rule.'!, ycr you are a lso an e m erraine r - you musr snuggle co balance your two roles. Most of this book was writ· ten to help you do just that. It won't make being a Storyteller (•asy, because ir never will be easy, but it will m:;~ke you bener at ir.

The role of the Storyteller is explained in rnuch more de· tail in Chapter Three.

1nerlayers Most Wraich pl3ye~ will not be Storytelle~. They will instead assume the roles of the central characters in the story.

:;tory Oow:;, t he character.;, not the decisions of the Storyteller,

direct and energize the progress of the plot. To some extent, each player is an assistant Storyteller. Players should feel free to ad d ideas and clements to t he story,

although the Storyteller may accept or rejec;t them as she sees fit. In the end, a good story is the most important goal. Play· crs, chamctcrs and Storytellers wo rk together to make a :;tory come alive.

characters Many different elements compose what we like to chink of as the "selr'- coo many, in fact, to separate or identify. In rrurh , we really don'r know who o r what we are. \'(/e wear many

masks. It is from this essential dive~iry of self thar our desire and ability co pretend to be someone else originate. C haracters are the literary versions of real people- rhey are not real, bur they do capture some aspects of reality. Only when you enter the world of the story can your characte~ be· come complete. They are real only wirh you as rh e animaring force- the soul, if you wish. Never rreat your characte~ as projections of yourself (even if that's all they are). Treat chem

Being a player dues nut require as much responsibility tlS being

as unique ind ividuals, ~s works of arr, o r ~s (ragile expression~

a Sroryreller, but it does require just as much effort and con· centrmion.

of your poetic sensitivity. You must rr~asure the charactecs that you create.

As a player in a Wrdith chronicle, you assume the per..

Wraith ch~mcters arc easy co create. It takes le.~ rh:m ha lf

rona and role of a ghost, whom you invent and then roleplay over the course of one or several stories. The life of your cha•··

an hour to choose all the Traits rhat describe your character. It cakes more time and effort co turn chis collection of numbers

acter is in your ha nds, fo r you decide what the chamccer says

i nto a living , b reath ing (or, in rh is case, unliving a nd

and does. You decide which risks to accept or decline. Every· thing you say and do when you play your character has an ef· feet on the world. The player must also be an actor. As an actor, you speak for your character and act out whatever you want your charac .. ter to do or say. Whatever you sny, }0ur character says, unless you are specifiC
unbreathing) character. You must reach deep inside yourself to find enough chat is real and true to produce a complete

1

other players what you arc doing, you bec-Ome a part of the

ongoing srory. As a player, you try to do things that allow your character to succeed and thus "win the game." This strategic clement of the game is essential, for it is what so often creates the thrill and excitement of a dramatic moment. OCtcn, after describing the actions 'lyou" want to take, you

must make dice rolls to see if your character succeeds in doing what you have illustrated with words. Your character's Traits - numeric descriptions o( her strengths and wcakncsst.'!i dicratc how we l1 your wraith can do certain things. Actions

are basic elements of Wraith, for they describe how characters change the world and affect the course of the story. C haracters arc central to a story, for rhey alter and direct

rhe plot. Without characters, you can't have a story. As the

character. The Frankenstein monster w~s e~sily a..'\sembled from

available body parts; it was the breath of life that proved dlffi· culr. Ch;uactcr creation is discussed in greater detail in Chap~

rer Five.

Winners and losers h ere is no sing le "winner" of Wraith, for

the object is not to defeat the other play· ers. To "win" at all, players need to cooper· ate with each other. Because th is is a

storytelling game, there is no way for one person to claim victory. From the begin· n ing, \Vraith characters arc damned to

wander the Shadowlands, a dismal world beyond the living, but outside eternity. The malevolent force known as Obli,•ion softly creeps beneath the surface of the Shadowlands, while mad ghosts and nightmare creawres overtly threaten the char·

acLcrs. WiLh such powerful (orccs arr&}'cd againsl }'Ou, Lhc Lruc measure of success in \Vraith becomes 5urvival. If, however, a character has some overwhdming motlva· tiot\ (such as a need for vengeance), accomplishing this goal also becomes a measure of &uccess. Stories and exrended chronicles often come to conclusions that either benefit or hann the characters. If the pla)·crs can tum stories to d>eir characten' advttnra1:e, they have ijwon,"' at leaM for the mo.. ment. When a group of wraldu manages to trnek down a corrupt politician who has threatened or destroyed people or places that rhe wrnirhs hold dear, those wraiths have •won" a tempo.. rary victory. If that politician has powerful friends among the occult underground, however, attacking that politician may be • dangerous exercise in the long run. A "victory" under these circumnances can become worse than defeat. In order to achieve even partial victory, the chllr1lcters mt.L'\t usually become friends, or at lcasr watch our for one an.. other and have a modicum of trust In each other. The World of Darkness is so dangerous thnt trustworthy allies are essen· tial. A divided group will nor survive for long.

playing Aias For rhe mosr p:m, Wraith was deslgnt-d to be pl11yed arotmd a table. Though the game docs not require a board, a number or props require n tublc lO usc properly. Dice, pencils, paper, and photocopies of the chnr:ocrer sheet arc the only other things you will really need. The dice required are I O·sided; these you can purchase in any grunc store. The Storyteller may also want ro have paper on h•nd in order to sketch out a setting (making it easier to describe to the pla)•ers), as well nsa few other props to show the players wluu the characters sec (photographs, marches, scarvc.!l -

:myrhing ro make the experience more

vivid).

live-Action Live-Action roleplaying an be the most dynamic and fun part of playing Wraith. Live-Action roleplaying is •imilar to improvis.1rlonal theater: the acto" (the players) act through the scenes created and Introduced by the StOryteller. This cre· arcs a much more intense and imm\..c:Jiau: norytclling cxpcri·

ence. Players in a roleplaying game gentrolly describe what their char:octcrs do and even During Live-Action roleplaying, however, players actually do what their characters do and say what their characters say (within limits). They can stand up, walk around, hold up :• letter, $hake hands, or rw;h to a win· dow to see what Is going on. or CO\It"Se, Imagination is Still important, and the Storyteller may still interrupt the action to ck-scribc objects ancl speciul siLuntions. No dice ore used during Live-Action sessions; alternate rules, like those ~iven in White Wolf's Mind's Eye Theatre

••Y·

line of Live-Action products, mke the place of dice when needed. For the mosr parr, everything is decided rhrough net· ing. The Storyttller simply u"'s the characters' Traits to de· cide how well the characters manage ro perform certain me· chanicalacrions (such a.< pick in; a lock). The Sroryrcller mun also decide how the other Storytelltr-run characters react to the players' characters.

~ules You must follow a few basic rules to ensure that Live-Ac· tion roleplaying progrCJiSCS smoothly and safely. These rule-, must be obeyed if you intend to run any Live-Action roleplay· ing at all. Safery is always a primary concern. • Don't Touch: A player should never :tcrually mike or grapple another member of the troupe. No son of combat should ever be performed - that is one thing you should leave for the dice ro decide. Live· Action playing involves only ralk· ing, not fighting. If players or Storyteller oMistnnrs get roo rambunctious in their roles, the Storyteller should coli o tlme•C)U[ from the acting and remind everyone of the ntlcs uf play. Rc· pent offenders should be asked to lenve, or the octlon should be retumed ton table and conflicts should be resolved through dice rolls. • No Weapons: No props can he used If they must rouch another player to be effective. No real weapons of any sort con ever be handled at any time during Livc~Action rolcpln}'ii'IJ.t. Not even coy guns can be used. The "no much" rules mu.\t

alwa)
Wraiths Olt ti'Oitld know

rlre secret of lkoth. B14t how slwll 'o" find it unless ,o,. "'
Though death tel'rifies us, it also fascinates us. Through· om hiscory. man has glorified death, wrapping his fear in a rich tape-stry of rite, p3geantry and destruction. Science strives to stay the Reapel''s hand, while art and faith seek to draw back his awful hood and touch his pallid face. Death, in \Vraith, is not an ending; (he moment of de:.u:h is simply the end of one journey and the beginning of another. The majoriry of souls pass o n quickly, prcsumabl)' in to either Transcendence or tOt::"~ I Oblivion. Wrairhs, however, 11rc the spirits of the dead who have tragicall1• lost their way oil that road. They arc mired in their pasts, t heir memories, and t heir unfulfilled deeds. Wraiths' overpowering Passions allow 1hem 10 cheat dead\. Indeed, they forbid them from the final sleep. Sornc wrairhs :ue driven by bittcmcss and anger, while other$ ptii'\Sue ideals so powerful that even dearh cannor deny them. Some are driven by a longing for fulfillment denied them in life, while mhcrs cling to the Earth in [Crror of what might walt beyot>d. These Restless find themselves trapped in the Underworld, a spirinml half~ world beLween the living lands and an unknown ete"'ity. Here, they ~ue surrounded hy a persistent vision of decay. Though wraiths may tetnporarily manifest themselves in rhc physical world, or even possess mortals, they are doomed to wander forever, feuered to rhe world they left behind. Many wraiths are the products of sudden, violent or cruel dcmhs, deaths that came before they had a chance to resolve important life issues. Such \VrHiths may dwell bricOy in the Underworld before they accept death and pass on. Player char· :1ctcr wrJiths, however, have profound Passions and Fetters chac bind then' co their lo."lt l ive..~, and arc likely to remain in the Underworld for a long time.

jne Underworld Dctween life and death, between Transcendence and Oblivion, lie Stygia, the Shadowlands and the Far Shores. These spiritual reflections of mortaliry, collectively referred tO as the Underworld, tantalize wraiths with reflections of the life they have forever lost. Ver~· few dead acru:.llly end up in the Underworld; wraiths disagree as to why this may be. Some say that the Underworld is merely a waiting room for unbelievers, a temporary way sta, lion belween E.:lrth and eternity. If this is true, !imnc wraiths have been waiting for quite a while, with no end in sight. O ther wmi1hs p<:x;tulatc l h n t mOSL human souls simply pass straight into Oblivion, the embodimenr of nothingness that Lingcs the vcr1•air of the Underworld. If this is true, then hungry Oblivion has grown fund of the taslc of souls; each year. more mortals f:.tll inro the Void. Some optimistic wraiths postulate thm re~ incarnntion exists: one Heretical sect even embraces Oblivion ns the wellspring of reincarnmcd souls. The possible truth behind this idea would be cold comfort m the wraiths; the knnni4:

wheel, if such exists, has left them behind, stranded in the Underworld. Whatever the nature of the Underworld m.~y be. wraiths are stuck with it. Though the Restless are not without power, only TrAnscendence or Oblivion allows them to le.we the Underworld forever. And no one who has embraced either option hns rerurned to tell of it Fear, then, binds the Restless to the Underworld: fear of judgment or annihilation.

Wraitn Cnaracteristics Wrai1hs have ccrrain inn:ne abilidcs. Systems for these

abilities ore given on pg. 124. • Deathsigbt Wr.1irhs see a world tinged bydearh everywhere they look. Obllvion'slnOuenee colors the Shadowlands; a new sports car apprors scratched and dented, statues appear chipped and crum· blin~. :md people close to death h3\•c a corpseltkc pallor. Wraiths can see the degree to which ObiMon has affected someone or something. With this insight, the Restless may assess an obj<.-ct's \\'t..-ak spars or a Jiving person S gcneml heal£h. • tifeslghr Wraiths nrc also able to perceive the life energy in all be· ings. A wrttith can interpret the •'life aura" of n hcint,:. thereby determining that being's mood, identity nnd level of h0$tility. Even the most shallow, transparent person usually hns several differem colors composing his aucil. TI1c colors of the aur• may shift In a predictable cycle or completely at rondom, accord· ing to the current emotional state of the character. Few auras remain one ck-ar color for long; •hades of intent and emorion can liGhten, darken or mLx an aura's hues. • Heightened Senses All wroirhs are hypersensiti\"C to sensory input. A wrairh ean h<'llr a whisper a block away or read a license plate off a speeding car with ease. The Oip side of this is that they are often startled by loud noises or da>Zk-d by bri&ht lichrs. 1

The Shadow docs not always mle a wrairh, bur ir forms an inextricable jXIrt of her being. It Is not a cmzed cr.ature, but a malicious, malevolent and subde force. The Shadow is the eo«: of a wraith's unconscious; as such, ir has access ro all of her powers, memories and associations. It Is the most terrible en· emy a wraith can have. Itwill plot and ~chcmc. h willwhis(ll'r and torment. And in certain circumst;;lnccs, it wi11 mke on :1 life o( its own, be# coming a demon whose onl~~ motivation is its own destruction as a release from ils own pain. The Shatlow's ulthmue goal is to force ill< hosr ro embrace Oblivion. Many Wraith tall!$ revolve around combating the Shadow, stopping its plots before it goc• too far. In the end, e1•cry wmith conrains within herself the 3eed of her 01vn trogic destmction; all are driven toward Oblivion.

Transcendence A life perhnps t00.1 spumtd, who knows! A chance at happinm """ rhne and gi<'erfw -tiS if It were no longer r.oo soon ro laugh and soor.

- Rainer Rilke, "The Lace II " To deny that something exists beyond rhc Underworld would be to close one's eyes out of fear of truth. Many deny it anyway, claiming that only Oblivion waits for the unwaty. Other Restlc:;s believe that even the Underworld is bur a pur· gs exi>tcncc. Thanaros, the dC".rh·urge, 1he siren song of Oblivion, forms the dark side's lifeblood. Goodness, hope, po1ver, sheer will - all fall before the Shadow.

..,.,1.

Byways: Paths through the Tempest. Caul: An ectoplasmic covering that shields a wraith Wraith is a game about death, loss, isolation and iden- during her larval period. In some ways, it protects her, but it also warps her perceptions until it is rcanovc:d. tity, but it is also about human interaction and emotion. In Charon: The founder of rhe Hierarchy. Charon has pla1•ing Wraith, you will be confronting the darkness within been missing for decades. you as well as the darkness around you. Oblivion gradually Circle: Any group of wr•iths. consumes the Undetworld, but characters can make a differ· Citade l: An indiv idual stronghold ence.1l1ey can fight the forces of Oblivion wirhin themselves Necropolis. as well as those around them in the realms of the dead. Cohort: A Circle of Hierarchy wraith>. The mldi
Do Not Go Gentle

lexicon

Common rarlance

rir:y.

"

Enfant: A recently deceased wroith. An Enfant is pani~•lly ~mmcsiac, and a C1ul covers his fuce, alterin~ hi~ J>cf·

ccpdons of wh:Hever he encounters.

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Fnr Shores, The: Llistant rc:tlms in the Tempest, of· ten corrc>rxmdin& ro mortal beliefs nbout the afterlife. Fetrers: The ties that bind a wraith to her old hfe and the lh•ing world. Gang: A Circle of Renegade wraiths. Guild: ln times pas-t, an organi::ution that raughr :. pnrticulnr Arcnnos to its metnbers. n,c gui lds were disbanded by C hai'On. Harrowing, The: The ni~lumnrc ride through the Tempest that periodically tonncnt:l hi• eXL a presence nnd wr:1ichs :.re more nt home. Hlcmrchy, n1e: The largest org:mi2arion of wraiths in the Und
Hell: Any of cnunrless realm5 claiming to be me originrll, real, honest-to·coodness. acrual l lcll - there arc so m~lll\' rhot they nre known collectively as the Thott
simply "the Tl,uuSltnd." Host: A per:10n possessed during Puppetry. legioos: The army, police and enforcement arm of the Hierarchy. lemttre: A roung wraith, Ollly r~ently tkccast-d. Maelstrom: Terrifying swnus th:tt occasioMily en· velop the ShHdowhmds; they are ro rhe Tentpesr whnt Jupiter's Red Spot ism :m earthly hurricane. Mnlfenn: An elder spectre or beast of rhe Void. M.,.k: A Stygian arrifact •vom by many wraiths in order ro conceal the true self. Necropolis: A city of the dead. Necmpoli reflect the cities of the livinR nnd occupy rhe s:Jme •·geographical .. loca· Lion.

Nephnndi: Moges who have turned ro Ohlivion. Nihil>: PiiJI in rhe Shadowhnds thot lend into the Underworld, usttally dumping me wraith Straight into the Tem· pest. Oblivion: n,c negnrion of :~II things. like torol en· cropy, Oblivion, in irs purest form. is nn ordered state. TI1c Void is its ph)•slcnl manifestation (or lack thereof).

Obolus: The Underworld's basic unit of currency, forged fro•n the souls of the dead. Advocates: Powerful wraiths of a Heretic ctolt dedi· Parho.''i: Emocion; the "food" o( the spiri[ world. Plasm: Any ectoplasmic substance; rhe spiritual stuff cated to rccruiti1\g souls for a realm in the Far Shores. They are persecuted and hunted by the Hierarchy. char makes up wraiths and their belongings alike. Agency, The: Nickname for the bureaucracy of the Projectors: Living travelers in the Shadowlands. Hierarchy. Quic.k, The: Another term for the living. Arisen, The: Those who have passed on to Tronsccn~ Reaper: The wraith who first removes the Caul from dence. an En(:mr. Consort: The host possessed by a Puppeteer. Relic: An ectoplasmic object brought by a wraith from Eidolon: The higher, more enlightened aspect of a the living lands. personality. Renegades: Wraiths who have banded together to Leg;ocy: A Fetter with powerful personal tics co a Rest· overthrow the Hiemrchy. Their individual motivations vary. less soul. Restless, 1l1e: Another term for wraiths in geneml. Onyx Tower, The: Charon's palace; also used co de· Shadow, The: The darker half of a wraith's personal· scribe the goal of becoming one of Charon's servants. lty. h must be mastered before the wraith can Trnnscend; con· vcrscly, it may eventually gain mastery over the wraith, fore· ing her m embrace Oblivion.

Shadowlands: The aspect of the Earth inhabited by 1vmichs. From here, wraiths can (with some difficulty) inter· net with the living or meet with Awakened creatures. The Shadow lands form an outer "shell" over rhe rest of rhe Under· world. Slumber, 1l1e: 1l1e sleep cycle of wraiths. Spectre: A wraith whose Shadow has become domi·

Vulgar Argot

Body Snatcher: A wraith who possesses the living. Boo job: Any attempt m scare off the living. Boojum: A generic word used to describe hostile crca· turcs and/or Tempest dwellers. Brain Suc ke r: A wraith who uses Phantasm or [he

lesser Puppetry powers. Crcepshow: 1l1c Tempest. nanr. Doom shade: Slang for spectre. Stygia: The largest realm in the Underworld. It is the Dothead: A wraith who was a hanger-on in life, fol· home of the Hierarch)'· lowing fickle fashion and fads without real contribmion. Tempest, The: The eternally raging storm of the Un· Fle.1h Freak: Demgarory tenn for a Skinridcr. derworld - it hinders passage between the inner realms and Hellbound, The: Nickname for a wrnirh rhought m the Sh.adowlands, and collecrs the nightmares and memories be well on his way co domination by his Shadow. of those who pass through it. juice: Pathos. Terminals: Small, rundown realms in the middle of Meat: Mortal Oesh. the Tempest chat serve as wa.y stations for those traveling to Stygia. Terminals are grim, Kafkaesque places where Ferrymen Mcat·Chains: 1l1e human body (which ties down the spirit). rest and unnoly passengers are sometimes abandoned. Mirty: A wannabe who never was - wraiths who Thrall: A wraith in subjugation to another of its kind. never fulfilled their dre3ms while living. 11che: The amount of Pathos due a wraith from a Fet· Molcmen: Derogatory term for those who claim to tcror a haunt. have e xperienced the "tunnel of light.u Transcend: To leave the Underworld completely and Scrooger. Slang foro \\T
Think you God built this place , wishing man ill And not lusts uncontrolled or stuords un.sh.athedl Not God, my friend. The tntth's more hideous still: There holls were carved by men while yet they breathed. - Alan Moore, "Amongst the De<\d Men," Swamp Thing

he world of Wraith is a dark reflection of Shadowlands. Setting~ however, is more than simply maps and our own. Here, beauty and corruption stand places. The dead have a culture and society of their own one out in grearerco ntrasti everything is mono· that mirrors the living world in strange and twisted ways. lithic, majestic and altogether twisred. T hough faith and human spirit remain strong, greed and despair seem stronger still; many revel in the flames of the last days. The world of Wraith is a world of darkness, where ghosts walk and the night laughs. Superficially, the World of Darkness resembles our own: the same bands, books and movies distract their audiences; pollution slowly rots the ozone layer; and all the familiar land· he night is my comjl(lnion, and solinule my mntks remnin in place. In the World of Darkness, however, guide. the supernatural lies close to the surface, barely hidden by the - Sarah McUtUghlin, "Possession" nit;ht•s shadows. Everyone can sense its influcnCC though few The world of Wraith is not our own, understand what they feel. though the two milieux resemble each The lands of the dead certainly contribute to the ambi· other in many ways. The World of Dark· enceof rhe living world (called the Skin lands by wraiths). The n.~.ss reflocls and embodies rhc passion and echoes cast by the Underworld leave their mark upon the Skinlands. Player characters, the Restless, are products of both decay beneath our civilized veneer. We all feel drawn to the romance, terror and mystique o( death. Here. in the Gothic . . worlds. Punk world, we can explore th:u mystique in a s.cning woven This chapter describes Wraith's setting in der.ail: from the (rom our darkest dreams. cosmology of the Underworld to th e geography of the 1

The Gothic-runk World of the living

1

Externally, little differs between our world and the World of Darkness- the esrablished religious, social and political institutions are much like those we k110w. Tite World of Dark· ness, however, is a film noir enviro nment - che cities are laby.· rinthine and gloomy, the bureaucrats are corrupt, and the im· portam people have skeletons in Lheir closers. Ghosts are not folklore- rhey exist, though few mon.als ever see rhem.

"Gothic" describes many of the world's physical features -massive, brooding, dark and ominous. The sense of oppres· sion and conspiracy i.s much greacer here, ancl everything seems

to be done with an ulterior purpose in mind. Buildings are huge, looming edifices, ofren encrusted with gargoyles and other scatuary. Houses often srand for cenruries, giving many sub.. urbs a "haunted house" ambience. Corporate and government agents are faceless and impersonal, dressed severely in black .suir.s and ties. lnstirutions of all types are more conservative

and resistant to change. Fashion and society have a medieval veneer, and superstition is rife. uPunk*' is rhe orher. half of rhe equa[ion. The countercu}.. ture of the cities, sick of the oppressive physical and social tableau, rebel with words, dress, music and often violence. The downtown cores of the cides are filled with underground clubs,

sneer gangs and bands inciting aggression and revolution. Constant rain and fog blanket the cities. Crime is depressingly common, and people generally seem coughcr and Jnore cyni~

cal than in ourown world. Though the dead can and do touch this living world, they exist in a spirit landscape pervaded by decay. They can leave th is land for short periods of time (if they have the powers to do so), but sooner or later they must return tO the Shadowlands. They arc visicors alnong the living- observers, occasionally catalysts, but ultimately strangers. Each troupe will have different preferences for the setting's mood. Some will prefer brooding Gothic ambience over harsh Punk rebell ion, while others will want things the other way around. The Storyteller should feel free to use whatever Gothic or Punk elemems she prefers, to whatever degree she desires. Wraith is, however, largely a game of mood. Without a suit· ably tense, strange atmosphere, the game can lose much of its flavor. In the end , you must decide what Gothic-Punk really means. The tone and mood are subtle and impossible to describe fully in words. It is up to you to imagine things a.s you wish, and ro creare the world of yourdreams.

Aspects of the here is a dreadful Hell, And cwrlascing pains; There sinners must with devils dwell 1n darkness, frre, and chains. - Isaac Watts, Divine and Moral Songs for Children "The Underworld" is a collective term describing the .,nleS$lands of death. The Shadowlands, Sl)'gia, the Far Shores and cl1c Tempe-st arc gcogr•phical locations (if the afterlife can be said to have a geography), while Maelstroms, Nihils, Necropoli and Haunts are aspects of these larger locations. Oblivion, cll(: end of all things, pervades the Underworld; ev· eryrhing in these haunted realms bears dearh's mark.

Atmosphere: AHope in Hell There is both great passion and crushing sorrow in the Underworld. To the souls trapped here, the afterlife is dim and p<>inful. Yet beyond the pain, hope beckons. The Shadowland purgatory is dangerous, ugly, and filled with reminders of the unfulfilled lives wraiths have left behind. Nonetheless, consciousness and identity live on, and where t here is surviva1,

there is hope. Spirit form allows the dead some abilities un·

known to monals, and wraiths possess unique and cogent in~ sights into reality. Willpower and the human spirit can engen..

dcr hope, strength and defiance, even when faced with night· marish despair.

Cosmology Darkness, darkness Be my blllnkr Co'"'" me wich chc endless nighc Take away cl•e pain of k110wing. - The Youngbloods, "Darkness, Darkness" The Underworld - comprising the Shadowlands, the Tempest, Stygia and the Far Shores- is the netherworld in· habired by the dead. n,e Shadowlands, the Far Shores and Srygia roughly correspond to "continents" and "islands"; the Tempest, a seething sea o( nightmare, d ivides and separates

rht'Sc realms. Oblivion, the incarnation of nothingness, waits below the Tempest's surface.

Oblivion is rhe aspect of re;~liry from which all desrmc· rive energy seems, the place where entropy deposits the energy that it steals. This lightless void personifies annihilation, the oblitcralion of every recognizable rh ing and every shred ofidenti~

.

As the essence and source of entropy and death, Oblivion is not so much the ulrimare source of evil as it is a fund amen.. tal element of reality. Along with the other great forces of na· ture, Oblivion fills a necessary role in creation- the destroyer of substance. All ffiings musr come to an end: rhe corn1pr musr be cleansed and the old must give way co the new, which even· rually becomes old and must give way in turn. Existence is a cycle, and Oblivion is the catabolisc of that cycle. The Underworld, crafted as it is from the death of all things, bears the perpetual stain of Oblivion. Everything in the dead lands reflects the passing of iL< living coumerparr.. To the Restless, all but the strongest sources of life appear to be dying: flowers seem withered, paint peels on crumbling walls, and sick or corruptt.--d

mort~a ls

wear t heir approaching death

like invisible masks. This has always b..'Cn tme; as Oblivion expands, however, the taint of deacl1 has darkened the Under· world to hut..>s even the most ancicnr wraiths have never seen. And because most ghosts died without truly having lived, the obliteration of everything left is the worst nightmare a wraith can ilnaginc.

Souls: The font of power Souls, ir is said, are the atoms of reality, the fund:Jmental building blocks upon which everything else is constructed. Everything in the Underworld is, to one degree or another, composed of souls. Thus, souls form the backbone of Under· world trade. The Restless harvest new and old souls alike, hoarding them for srnclting, conversion, labor or as simple Shl.~ tus symbols. The darkest days of Rome or the American South cannot compare with the brisk trade in souls chat drives the Underworld. Indeed, rhis insdtutionalized rrade in souls forms rhe bed~ rock of Sl)'gian economics. The system has been in place for too long and m.eans roo much co LOO many (or rc(onns lO have much effecr. Most power and influence in rhc Underworld are measured in souls, and such power is not an abstract social concept - it is a very direct and measurable commodity. Souls are energy, pure and simple- rhe Hlmighry gold of the Under· world.

kye15 of the untteoofO M darkness always teemed with unexplained sound -and yetllc sometimes sl10ok wirll fear leSI the noises he heard subsiJJe and allow him to hear certain other fainter noises which he St
sion made up of innumerable realms and domains. The "structure" of the Underworld defies simple g<-ogra· phyi some modern wn1iths think of rhc Unde rworld in cerms o f outer s~ce, viewing the various re~lms within it as planets

and solar systems. However useful such a metaphor may be, it cannot hope to explain the scope o r subsrance of this enig· macic "place."

According to ancient myrh, the Underworld has layers like an onion. O nly the most powerful Restless can journey to the inner core. The living exist on the outer skin of this on· ion, but the inside conrains the dead. The outer layer is called the Shadow lands. Wroiths can exist here as ghostly observers, viewing a world they can never again truly inhabit. Jo,~t b<;n~~lh rh~ Shadowl~nd~ is the Tempest, which surrounds and pervades all the other aspects of the Underworld. Deep widlil\ the Tempest, virtually indistinguishable from it, liesrhe Void, rhe heart and soul of Oblivion. It has no dimension or physical existence; it is simply the final abyss of de· struction. On rhe distanr shores of the Tempest arc said to lie the various Far Shores: the hells, heavens, and places of ref11ge. Also within the Tempest is the realm ofScygia, home realm of Charon and rhe Hiernrchy of Death. Stygia is the political and economic center of the Underworld.

jne Snaoowlanos Gonna giw up life in chis necherworld Gonna go up 10 where rl•e air is clean. - Siouxsie <1nd the Banshees, •'Overground11 The Restless call their version of the real world the Shadowlands. This gloomy realm, though physically similar to rhe Skinlands, lacks the vitality of the living world. Chilling ~nd oorren, the Sh~dowlands mirror the material world from a twisted yet often morbidly beautiful perspective. Although barriers and hazards are quite real to wraiths in the Shadowlands, mundane objects remain immaterial. With· out the usc of Arcanos, ghosts cannot even open a door or touch a living loved one's face. Walls confine wraiths as they would any living thing, although they can pass through them with little effort. The Shadowlands epitomize the tragedy of the Resrless; the living world exists for them, bur they do nor exist for it. Everything mortals can see, wraiths can witness as well. They watch TV in morrals' living rooms, attend meetings, and

witness deaths. However, wralths can see what the living can· n(){- the pattems of death and life in everything living. People and things chat are very close to death arc marked by it, and wr3ithscan perceive this.

jheSnroud During the rime now called the Sundering, a barrier of disbelief and fear divided the lands of the living from those of the dead. 1llis barrier, called the Shroud by many Restless, isolates death from life. Because of this Shroud, historia.ns say, the living fear the dead, while the Restless envy the living and llteir world of sensation and warmth.

The Shroud Is strongest in places where life and reason have banished random chance and mystery. Laboratories, fuc-

,-·

tori~ ~nd clas
Even wrairhs find the Tempest di.srasteful. It is darl: and extreme!)' cold. Howling winds lash through the area. Only Sp<-.::ues- insane and Shadow-co09.omtd ".,."hs- choose to exisr wirhin the Tempest. Echoes of past evil and pa.s3ion assume a nightmarish reahry. A murder scene onighr be con· rinually reenacted by Drones, or a house long demolish<-d in rhe real world might still stand, a shadow of its former exist· ence.

I

Hauous arc earthly connections between the worlds of the living :mel the dead. G reat passions - terror, agony, berrnyol, lost love- have weakened rhe Shroud so completely in these places that the Shadowlands and Skinlands nearly overlap. In Haunt$, more rhan in any other places, wraiths feel at home. Ironically, the darkest emorions rhin rhc Shroud most readily. W.s and torment of all kinds seep rhrou~:h rhc mem· brane and """k mm the very essence of the place where they uanspirtd. Ghosts. many of whom may have died near the Haunt itself, journey through the Shadowland. ro savor th<-sc pas
OOr$ and nigh tclubs where despair and desperation gather all of rhese locations make good Haunts. Many wraith groups seek oura common HaliOii once there, rhey srnke their claims and hold them against nil comers. Visi· tors, both living ~ nd dead, are usually discoura~ed. lr\ the living world, llaunts seethe with gloom and despair; pcoplo avoid rhem unless thc)•'re depressed, insane, or just plain stupid. In the Shadowlands, Haunts are prime real eswte, nnd the "owners" guard their territory well. Domains (see pg. 42) art almost entirely hast...! around Hounts; the more powerful the Haunt, the more important the domain. Whole rhe buildings and •trccts atOUold the llaunt might be patrolled, the only thing o( rrue impon is the Haunt iuclf.

The Tempest Tloere were dr
Those who venture Into rhe Tempesr often receive snatches of memories: clues ref(arding Fetters, whispered :Jd· missions of terrible guilr, vision< of past lives, and the like. These fragments of thought and memory come (rom agonized souls. In some wa)os, the Tempest is actually made up of rhe essences of weaker souls who did not have enough will to cling to wraithdom. There are places of scmi·consront reality within the Tem· pest, nor the least o( which are the r<'lllms o( the Far Shores. More familiar ro wraiths are the B1•ways: "roads" and "rivers" rhar can be =..Ito cross the Tempest in some degree of sa(ely. These Byways connect realm to reulm and are used by most travcleos in rhe Tempest. The grearesr o( rhe."" Byways is the Rivero( Death, rhc source underlying mortal legends of the River Sryx and rhe like. Ar the very center of the Tempest lie. rhc Void. The Void is rhe source of Oblivion as well ns i~ resting place. Those souls not ready (or their limo I dissolution find the Void nearly impossible to reoch; rhose souls wirh norhing left to "live" for find rhe Void nearly impossible ro avoid.

Nihils Srep on a crack, brtak your mor!ou's hack... -Childhood saying Things fall aparr. Oblivion extends its tendrils from below, probing the world for cmcks, flaws, rwurcs, imperfections. Like a cancer infecting a pure cell, Oblivion gradually infecrs the world wirh irs darkness. Such infection sites often manifesr in rhe Shadowlartds as whirling pools of pitch. black darkness lending inro the Tern· pest. These rumors on rhe fllcc of the Shadowlands are called Nihils, vortices of nothingness eroding rhe world. Those who srare roo dccp1y into them expcrier\ce powerful h;c"~llucinations of overwhelming despair and pain. Usually Nihils are very sma II - riny lirrlc cracks - but some have circumferer\ces equal to those of large pits or even railroad tunnels. Nihils ean funn on the surfaces of pools of water, in shadowy come!'$, in elevaror shafts and under man· hole CO\'C t s - anywhere that leads down. Some Nihils don'r exist permanently, bur inrcrmiuently appear - ptrhaps ran· dornly, perhaps in a cycle. Things dropped into o Nihil fall into the Tempest. Spec· tres are often arrracred ro Nihils und f<-..-'11 off of them. It is said that one can yell into a N ihil and sometimes be heard down

below, though doing so is considered extremely unlucky. Things have been known to crawl up in reply .. .

Maelstroms Black wind cmne carry me far away.

- Sisre~ of Mercy, "Temple of Love" Periodically, vast sronns known as Maelstroms emerge from the Tcmpesr and w-ash over the Shadowlands. Sweeping away

all those nor properly sheltered or bound in Srygian chains, Maelstroms reaffit·m the almighty power of Oblivion. These stornt.li arc feared not only for their destructive power, bu[ also

for the rerrible Specrres rhey bring wirh rhem. In many ways, a Maelstrorn is as rnuch an invasion as a storm, for the invading s
orbeings can often be seen within. The storm's "'inh
and slightly nauseating to any who breathe or touch it. The stench of the fog is difficult to remove, often clinging to a wraith's Corpus for months or even years.

In the Skin lands, a Maelstrom often heralds a particularly b.1d stormor other natural disaster. Seldom is the Maelstrom's passing unnoticed by the living. Among wraiths, Maelsr.roms have assumed vast cultural importance. Maelsrroms are used

to mark "eras" in the Underworld; time is typically counted from the last Maelstrom.

I~e far shores Across the vast expanses of the Tempest arc said ro exist orher realms, suppose
for, and perhaps by, lost souls. Many claim thar the Far Shores are not the abodes of true gods but are insread fortresses ere· att>d to pro(CCt souls from

the ravages of rhe Tempesr. It is interesting ro note that many realms claim ro be the original Hell, and many beings refer ro themselves asShairan, Lucifer or S:uan. In fac[, [here are so many of these realms th~r thcl' have come ro be known, collecrivell', as the Thou· $o1nd l·lclls. Howe"er, none has conclusively proved irself the true Inferno of Dame or rhc Bible. There ;uc an equal number

of !leavens, each claiming tO be the true divine •ummit. The rulers here, rhough often mighty, have yet to prove their om· nipotence ...

Stygia Deep within the Temp
Necropoli In most human cities there is a b'men, rusted section, where miasmal odors befoul the air and even the poor do not velUurc. Here is the Necropolis, the City of rhe Dead, where Nihils sprout and wraiths cluster. A Necropolis is a colony of Scygia. It is the polirical ~nd social center of local wmlth existence. The politics and in• Lrigue.• inherent to existence in a Necropolis occupy much of the ottention of those wmhhs dwelling within it. Most wrniths native to a given Necropolis will know one anorher by either name or reputation. To a stranger, however, a Necropolis is a wasteland of crumbling building~, dark streets and peering eyes.

Domains Nccmpoh a redivided by areas of"mrf,• or domains, which arc claimed by one wmith Circle or onorher. Mnny Circles claim the Skinl:md~ and Shodowlnnds around their Haunt; though the Hlemrchy doesn't always recogni:e these bound· ades, its minions are wise ro consider them in their actions. Many Legionnaires have found themselves devoid of support when they wandered from Hientrchy·controlled streets into the back alleys of the Rent-g;cdcs.

The >trongcst and largest flaunts In a Necropolis are known :l.'i Cmtclcls. Citadels (orm the polilical and social cen.. tm of the Necropolis. They often rescmhlc forri£icd mediev:ol citil"S, t!Omplc.:tc with n thrivingcotllmcrcc and permanent resi· dcnrs. Q ( cnursc, l hC)' don't actually huvc woJis, but l'hCy are

nonetheless strong points within the Shadowlands. A Citadel is usually b.-ued in a large. abandoned building or c:t~mplcx of buoldings. Old W'drehoo><.-s, bumed·out
Citadels are nearly always under ohc contro l of the Hicr· aochl'• but nrc not under the influence of one pMticular Le· g10n. Varoous l.egoons consranoly \•ie for control of the Cira·
A~evision of the imperial

History of Sty~a

y most Gcmlc lArds of Death , I hat,. set noy p.m tn fla/H!T in thtlal1gl"'8< of EotRiisJo kirw. in order to txploin 1~ f>ar a manne, as I can. I have smcod in ohe •luuk of Cairo's fryTa· mid$, li,uenetl m ohe comedies of Ariswphanes , he~tna , of Rome and Carrloage, of Frmoce and l'roossia, of the Colonks aoul England . the \Var of /812, ohe American Civil \'ilar, oloexwoo \Vorld \Vars, and the war in Vicnuun, I Mt'O! licoed throoogh olo. /i<'< G,..ao Madsrroms. In lioat time, I hat'< seen and ~ard much Allow me, if yo:t will, 1~ lobmy of rtt'
one nor f(JI' my minor tmbtollishmenn: rlw
cordb1~ of HisiOt)',

Tne Dark oefore Time There is~ time known as ohe Dark before Toone. the pe· riod of 11~anatic history that precedes Charon. The legends y••<- well: there wns no death. But th:lt perfekein of Fate, she foretold ohc conoong of Charon, whu would lead o1hcrs ro rhe Far Shores. Durong ohos rime, rhe Malfc:ms, d:ork lx-asts of fiercest de· struction, homed and frilled and .cal
TneComing of Cnaron 0'1:.ron srmde our of lhc glcxml uf the D.u\ lirncs when Atl1ens was stilt new. The l:>ade of reeds. lie took 10 poling this reed·boot down the Ri,·er of Death, explorong oo. Oo:.orun. who "-ould one da1•t, Strl!in's Creat Emperor, exrlor«l the oowshy hockwarcr.; of

the river. Evenmally he came ro the place whore it ran imo the gre:>t Sun!~~. a cavernous place where the~ of Souls ebbed and flowed. There, at t.he delta when: the ri~~<:r cmcn:d that star· less \'Oid of water, Cllaron dLSawc,...l the ($le o( Sorrows, a par· ricularly hilly and rocky island jU$t offshore. The lady of Fate app<'1lrcd to Ch:uon :md s:ud, "Behold! Afrer you come the mru!. You may rake yottr tithe from the detUI as the)' offer it. to brighten yo11r existence in this gray world. Al"we all , help others 10 find U.e tn~e light within,'" tltatth•y may pass from this place anr across the waters; other> found their own way to the r•r Shores. Charon bore a special love for those who helped him bear the dead on their reed boats. These he named hi.s Fctl)•ntcn, at'ld the Ferrymen began mccune .. the Isle nfSorrows to dis· em.• rheir work and lend e:>eh other aid. They performed mi· nor jobs for one another in cxchnn~c for relics and light that they glean<-d from the recently dead. The Ferrymen, realizing rhat rhe Restless could wreak much evil in ll1c world they had left, swore to protect the living fron1thc dead.

11te Ferrymen were soon forced to uphold their vow. From the depths of rhe vast Labyrinth bored by the Malfeans periodiroll)• erupted a variety of bi2arre bemgs. Th= beings, collectively named "Spectres," displayed a venomous hatTed for Ji\ling :md wrairh alike. Spectre eruptions, while not nearly so numtrous as in later d;:tys, were 3 constmn thrc.:u.

tvcntunlly, several Ferrymen de<:lded to embork across the Sunle., Sea on " voyage of discovery to fond the Far Shores, .,here so many had alreody traveled. Each of thc.,;c wraiths, collectively wiled Shining Ones bt<:ause they lit the way for ought htJi own F-df Shore. Shortly after rhe Shining Ones' dcponurc, Charon was visited by the lad1•of Fate. Soon thereafter, he descended into the l>thyrinth hy '"'"Y of the Venous Stair, n marble opening to that foul place. He carried with him only hi•scyrhe and a single lantern. unci went alone into the darkness. We do not know how he fare-d in rhe darkness, but he was golle for many years. Even during this time the Ferrymen continue-d their sojourns up and down the River. When Ch:uoo emerged from the labyrinth, he brought with him an ancient smith-wr..oirh named Nhudri. Nhudri was well •·etscd ill smithing, and used for his material the =ff of souls.

Then Choron sounded the gre•t horn at the Isle of Sor1"0\\~ nnd summoned the Ferrymen to him. Herold rhem that

while in the lnb1•rinth. he had confronted the Utter Dark,..... the d..,pesr Shadow. He had seen Oblivion itself, and it "'aS growing. Charon chided his Ferrymen rh~r he had se<:n wa)·ward souls, souls who had not been coll~ted by a guide, lalhn~ into rh•r pit. Each soul fe-d that foul blackne$S, as rot fttds n fungus. There w-as genui ne concern among the

Ferrymen, muny of whom set off to the four directions looking foraid ng:1lnsr rhe ~;rowing threat.

As If In nnswer to Charon's revelation, rhe Shining O nes rc
signs that he had gleaned from the Shinmg Ona who had become custodians of those place$. By these signs Otaron wao gifte-d with rhc authority to judge the disposition of rouls. He pl:>eed the signs inro a great iron tablet and made this the cor• nerstone of a new dry. Usin~ sroncs garnered from the f.lllen temples of Greece and Israel, from rhe lmt city of Atlantis 11nd from the destroyed cities of Sodom and Gomorrah , Chnron huilt his city in the fashion of Athens and t,he new Rome: bc~utift~l stn1cn•ressym.. merrically arrnnged on the hills uf the Isle of Sorrows, with cleared roads, an aqueduct, and monumentS ro fallen and lost Ferrymen. Charon donated the lantern that he had used in the Labyrinth ro serve as the citr li~tht, and it shone from the tallest monument. In the m3nner of rhc Roman Republic (which <..l>nron srudied for severoI years), he instimred rhe grand Repuhhc of Srygia, with the city of Sr)'gia as its capital. The Stygian Senate consisled of ~even 1;enatoni, each given charllc over diffc,·em parts of the world's Restless. These senators were seven of Charon':; 1nusl Lrustcd licucenants. Charon set himself up as Consul of the Sennre. The senate's forst act wa$ to grerve as clearit\1! hooses for the dead. 11>c senate received emissaries from rhe O..rk Kingdoms of Ivory and Jade, places much like Styaia that handled the dead of Africa and the Far Ea.r. Ar rhe time Stygia was at

peace with them, though this was no< to last. nte scnare like· wise ><:nt Stygi~n emiS$atles to the Dark Kangdoms.

C haron began th. Charon was determined to save all of crcarinn from the power of Oblivion, wh ich hod begun ro manifest Itself. Spectre> unci b
ready and easy •ccess to the Sunless Sea through a straight line, not a crooked river choked with Spectres. During the great Pax Romana, Charon's roadbuildcrs spread far and wide, building a network of roads through the Darkness. This netwOrk was truly CX(l'lnstve, connecting the Shadowlands of such far-off places as Brim in, Gaul, Maurctania, Rome, Thrace, Oalntla, Damascus, Armenia and Tan• is. Wher· ever Rome went, Scygia followed. A s Roman legionnaires died during the wars of conquesr, many became soldiers in the StyRian militia, protecting the Ferrymen as they went about their business of gathering souls. Ferrymen regularly embarked from the quays of Stygia, departing for the Far Shores of the Norse, the Celu, the Gauls, the Romans and othen;. Anyone who died found a ship waiting. It was also during the Pax Romann that Charon discovered the horses that lived in the great Slough of the Rtv<:idon to his brother I lades, but had broken free, swam the Styx, and now ran wild in the Darkness. Charon coveted these beautiful, pure, milk-white horses, with their long, flowing black manes and blood-red eyes. With the help o( Nhudri, he created the tools n~-cessary ro came his own. Soon Charon had per;onally r:amed l.l death-sreeds, which he presented as gifts to •II the Ferrymen who wanted them. After spending many months talking with philosophers and listening to the ~rcatest minds Rome, Charon intrO• duced the doctrine of "Lux Veriw," the Light ofTruth. He felt rhar Stygia had both a right and a responsibility 10 pre· .erve the greatest thoughts and works of humanity. He gave word to all his Legions and minions to bring to St)'S'" any !Jntiquity of merit, where it would be safely hidden In vnulrs deep beneath the Senate. But all was not well in Srygia. Charon's incn:-.uingly au· thorir:arian rule, coupled with the deatlu of various rebels and martyTS in the living world, produced a class of dissatisfied malcontent wrniths. These wraiths, known as RcncgadCJ<, de· fled the authority of Charon and his minions. Renegades began to harry the Ferrymen on the road> fiS well as on the River of De<>th. In response, Charon mounted

or

severn! solditrs to act ~s e~~eort~ for the Fcrtymcn. lie c~lled his Equitres, much like the Roman caval!)•. A$ Rome began to fall, Stygia felt the dissollllion. Ouis· tianiry "ons spreading in the hvmg world, and suddenly m.1ny Fishcn (a:. they were called by Charon's l.egioru because of the Osh •ymbol rhey used tOsiAnify themselves tO '"ch mhcr) bc~n appearing in Stygb. Building vessels from the flotsam linin8 the shores of the Isle of Sorrows, rhe Fishe" >et off for their own Far Shore, a place they called "Par:>dlse." None of the Shining Ones had evrr heard of such a place, but the Fish· ers had faith in its existence. At about this time, Scygian wrniths began "' nmicc more ond more Speccre.' along the roads, in the Shadowlonds, along the riverbanks- everywhere. Wherever Spectres went, chaos, Oblivion, destruction and confusion followed in thdr wake. They skinrode wild bands of barbarians, particularly • cribc called the Vandals, and attacked Rome itself. In the banle th~t msucd, the Vandals were slain. The wrnirhs of rhc dead Van· dais, uron seemg Srygia, thought that they were being brought to another version of Rome in the afterlife. Accordingly, they annckc-d it as well. Although they were repelled by the organized and berrer-armcd Equill'CS, the subsequenr siege laid by the possessing Specrres resrcd the defenses of Stygla to rheir limit. Charon himself was often seen on rhc battlefield, his ..:ythe curring a sw-•th through the armies of the dead. Then, in A.D. 476, Rome fell. Simultaneously, the dark· nw o( the great Labyrinth seethed and h issed. Sentries at all the rorrab of rhe Labyrinth rang their grtat gont;S, trymg in I'Oin to warn Stygio of rhc :opprtrdch of the ~reatest di~ster ever w befall the City of Death: the firsr and grcotcst Mael· stmm. lr enoptcd from the Labyrinth, wracking rhe Dnrkness, Ooodi11g into the Shadnwlnnds, and pouring down the River of Death. It screamed across the Sunless Sea. The roads cnombled and crack<-d.

1htse soldiers

But Stygm ""'' hit harS. The livin~ world likcwi>r •uffered. Barbarian> und brig· onds ran rampanr m·er Rome's fallen ~lory. S.xm Rome was but a dtSmm ltgend spoken o( b1• pc'dSdniS M the)' cowered in rheir huts. Charon rcahzed rhat only a stron~ leader coulrl prevail in Lhc years m cmne. T.1.king n cue (rom rhc Caes~rs o( the living world, Chnmn appointed himself Emperor. l ie ret:tinL-d his seven Senator•, hnt renamed them, dubbing them O.:.thlords. The Ferrymen Immediately wok i.suc wirh this: they felt that Charon had o••erstcPix:d the mnhority vested in him. They would not serl'e un Emperor. In o mge, Olaron bamshcd rhem, tdlingrhem 1h:n lheywould have tusurvive rhe l)Jrknessalone i( they would not serve Stygi:t. Many ye:ors p:~.~ed, and Stygio was slowly rcbutlt. Storms \ITdCked Srygi~. ~nd only the pr<-.cncc of rhe Equit~s kept the roods from fulli~ completely ro Spectres and other bolc(ul crca· rures. Wild Renegade.<, seeking to hide from or defy the power ofStygia, huilr villages and towns ulung the river and the roads. The power of the Shining O ne,, waned as belie( hl the pagan god$ died; conversely, rhe Fishers convinced cvcr~incre<'lSing numbers of dead ro navel with them un theu ont~'''-'Y journey to P~mdise. DurinJi( 1hi~ rime, some wrniths began employing Area nos lOscarc ~•nd
Finally, after cemuric-s o( cffmT, rhe last o( the Maelstrom· spawnedSpect res were destroyed or driven into the uthyrinth once nmr~. ~ow chere was lime lu rccognhe the honor and glory of thtm who had (oughl: fc>r Stygia. ChotOtl institute-d

the Imperial Order of the Sickle and named se••ernl Equit><:> "' its ronks. It is still rhe grtar= honor that St I'J:i:o can bc..row ro a wrdirh.

During chis tinu:, Ch:uon rebuilt his great palace ami ~t..:l about recovering some o f rhe antiquities tl1ut were losr. A5 rhc

ncxJglrng Church of Christianity struggled thi'Oirgh irs carlr )'e<~rs. Charon ocdered a great sea-wall built around the hie of Sorrows to protect If from future great Maels1roms.

Also during this time, Charon crcnred the Dictum Mo rtem. the Code of the Dead, m countemct the Dark A~c wmiths' horrific abuses of power. Though maiuly d~..~igncd to protect rhe living (rom the dead, the Dictum Mortem also made tt ;:~bsolurely clear that only Charon and his designates 11crc empowered with the authority to gather alld dispatch souls. As for rhe Fishers: they soon made thetr presence known. Inco Stygia's harbor tl'iumphantly sailed rhc Fishers' Gulden Ship, a marvel of •hipbuilding whose home port w:IS the Far Shore of Pnradise. The Fishers brou)(lll with rhem building materials ro c:onsuuct a mnssi\•c remple on one o( the hills of the Isle ofSonow>. They demanded that Olaron tithe to rhctr temple, bur he refused. saying that he :.crvcd Dea1h, not the Far Shores. Instead, he mmlc the Fishers a counteroffer: if they woold donate to him 10%o(the relics they collected, he wnuld pruvidc rhem with the souls of those whusoughr Parndise. This w:os OJ:Tteable to the Fishers, although rhey ne,•er stopped :ot· tempting to con,·crt Chamn ro their beliefs. Stygin became an excellent walled cily in rhe gr3nd rmdl· rion o(Paris. As the Crusades begnn in rhe living world. ChttrOtl once again had the rc>ources to send his Equitres (now known as Ktlif(hts) om on the roads, The whole network of parhs was dClml and repaired, and new roads were crea

not an uncommon occui'Tencr for the Knights of the Sickle to ha•·e to break u1> poor-mortem fights berween the •h:odes of Moors and Chniii.Ul). c\·cn as they waited to be judged in their "'J'Ktive temples. Tin~ munbcr o( wmith ..Knights bt-cnme s.taggermg during the C:ru5:1dcs, "·' m:ony cru"'•d~r> left behind lovers, wives and family whom the)' cared for and who bound them to life as ~llcr>.

Once al!ain proving his knowledge of his own citizens,

Cl>nron changed his Imperial rulcrship to a more feudal style. He crem~d whnt he termed the Hierorchy, whcrchy wr.•irh• could knmv r·hcir plac~ in the Shadow lands and in Stygia. The topn'IOSt runG comprised Charon and his seven nppointcd

DeathlorJ>. llclow them stood the Legions and the Knights, followed by the Frccwraitlt>. At the botrom came the Thralls, wraiths who had for one reason oranother lx..-cn bound in chailu o( St1·xian metal. Thralls became widely t•~ as hmh slaves

arkl CUITCilC)'· In re~ron~ to thiJ, the Fishers appoinlcd lheir own Knights, called Crus:1
0 11

agriculture, rhe

Hicmrchy Wll>O<)l:lr)ized on rhc collec1ion of souk Frccwraiths \\'f >OOI> from the terrible sickness. Then rhe rmr o( the Second Mncl•rrom hemldc-d the thousands of souls claimed by the Black Plague. 11ti> tim~. St)')tia held agains1 1he Mndstrom, and the roods sraye.l open. 1l1e wul tmn SOUJ(ht to funher the building of rhe Srygian Kin~.Jom

by increasing taxes against the Shining Ones. Especially did he tax the Fishers, who had grown powerful. Finally, the Archbishop of Stygia, leader of the Fishers, presemed himself to Charon and demanded char Charon re· duce the fee placed on rhe SQuls h is agents collected for the Fishers. Charon responded by disbanding the Crusaders and doubling the fee. For many months there was darkness on Fish· ei'S' Hill as rhe temple stood deserted. Crusaders still retained their mount:i and openly wore their cross.t.'S.

At the urging of rhe Archbishop ofSrygia, and with the help of many Shining Ones, severn! former Crusaders attacked Charon's palace guard. Unfortumm:ly for thern, they had been betroyed by one of their fellows, and severo! Knighrs lal' wait· ing in ambush. Defeating the Crusaders, Charon made an ex· ample out of them by hanging them on burning chains fronl. the h ighest monument. Nor did Charon stop there. l-Ie sacked the f ishers' temple. in the proc\.~S discovering great trov<.-s of rdics and anifacLs tl>at had not been passed along ro him. Hesenr his mosr '"""'" Knights to the far Shores to speak with the Shining Ones there, and issued an order th<'H all Shining Ones were to depart SLygin with the next tide.

As Stygia's tide·gong struck, every single boar, skiff, and mft was employed in the great Evacuation. ClulchinJt all that they had, the Shin ing Ones piled on rhis ramshackle fleer and took to the Sunless Sea. The only lighrs left on rhe banks of

the Isle of Sorrow were the conflagrations of rhe temples, which Charon's minions bhtst(.-d with the fires o( Ouuagc. Even as the Shining Ones Jc(c, Charon's emissaries re· turned from the Far Shores. They bore horrific repons of realms where the dead still waited for relief - where they were herded into grear antechambers and (orgotcen - where pcu:y diem· tors in rhc shapes of gods and devils bound souls in erernal tonncnt or dcnmndcd unquestioning obedience. None had reached the promised lands. None had found Transcendence. Charon appeared on his balcony and read aloud the Proc· la ltulliOn

orReason, highlighted b\ these words: ··oecause rite 1

Shining Ones /vwe no love far rhe dead, /will nor hnrlxrr rhem. Because rhey do nor care for rheir prorector Stygia , I will nor c~re for tl•em. Because c/1cy seck only ro fool, cajole and [n'oselycite, I will no longer lisren ro rhem. Recmm~ rltey do nm tnd)' bdieve, l brand them J-lerecics ."

During: chis rime rhc Freewraiths' guilds arrcrnpted to seize power in a weakened Stygi(l, but rhis revolt was pUL down. In rewliation, Charon ordered all the guilds disbanded. He im· mediately rraincd his Legions to do the same thing that th(' guilds did, but later reemployed guild members when it became clear lO them that Charon would nOt allow them ro reform. The Third Grear Maelstrom changed the face of the Slmduwlands. No longer were there any impass;:~ble places dominated by rhe D.r~rknc.:;s. Quite clca•·l\ there were now two levels to t.he Underworld. The 11ppcrmost'' level comprised the Shndowlands, the areas closest to the Sunlit Lands; "he· low" them, rhrough rhc Tempest, lay Sl)'gia, the Isle of Sor· rows, and tht> Sunless Sea. The s.-tfcst. MI}IS to SLygin were via the roads, for the River of Death hod become choked wirh Renegades and Spccrrcs. Additionally, a power called the There;.lfter, the Heretics were prevented from entering Shroud separated the living world fmm the dc;~d lands. This Stygia and were constantly hunted by the Hierarchy wherever Shroud limited the power of Mystery: the power of magic, of it stretched. Taking a cue from the Inquisition now taking place wrairhs' Arc~mos, and of spirits and faeries. Many magkttl places in the Sunlir Lands, Charon fonn(:cl his own Inquisition tO were lost, and m;my wrai rhs in the Shadowh1nds retreated to root out Heretic influence in Stygia. He even gave the lnqui· their Haunts, where the Shroud was still thin. sit ion its own Equines (called "Grim Riders" by some, but off;. Once again, instcado( tldnlittingdefeat, Charon surprised cially desigrmed "The Order of the Unliddcd Eye") to carry all around him by respondi ng ro the impending A~e of En, out this mission. lightcnment. \'\/here once Stygian steel w::1s given only to Lhe For several years Charon d id not prevent the dead from Knighrs of the rcahn, Charon began arming his Frecwr:Jiths lc(wing on rheir own to find chc Far Shores. It was a fool's and other sup!X)rrc~ wirh swords u'ladc o( Lhc material. The vo1•age, however, as the Second Maelmom had transformed the Sunless Sea into a place of strange currents, even srrangcr bcas{S, :mel chaotic weather. n,e trade of souls began to suffer: there was no room in Stygia for more souls, and Charon was loathe to continue to send souls to the Far Shores after hearing the reports of h is agenrs. Srygia became a refugee camp as the souls of the dis· possessed and the abandoned swelled in number. Renegades walked among them, sowing seeds of rebellion and dissent. All grewquiet in the City of the Dead. Meanwhile, some of the Heretic.• left Stygia altogether. lly riding along with the explorers of the late Middle Ages, rhese Heretics found their way across the great area of Dark· ness in the Shadowkmds corresponding to the Atlancic Ocean. Thus was the New World discovered and, soon after, coloni!cd and explored. During the cMly 1500s, rhe Renegades mndc their move. Theystormed the Onyx Tower and made off with many antiq· uirit'S, including the legendary Spear of Longinius, said to be the spear that pierced the side of Jesus Christ as he hung on the cross. Only through the sacrifice of some of Charon's fa· voritc Knights were the Renegades pushed back. Soon thereafter, the Third G reat Maelstrom blanketed St~·gia. This Maelstrom wasn•t so intense 3S {he orher two, but much more pervnsivc. It saturated the D:lrkness completely. Wraiths stopped referring to the area as the Darkness and be· gan rcfening to it as the Tempest, for it had become a place of continual srorn\Snnd wild chaos. 1,

11

Grand l ligh Artificer dc•igncd a wicked crossbow that fiml chr~c qwtrrcls in rapid succession, and bc~un w cxperimenr with cxpl011ives and muzzle-loading guns. Charon himself moved through rhestreecsofSrygia, rnaking Thr•lls fmm what he called the "wastrel>": the shifdes.s dc:ul who had no purpo5e a11d providt-d no help tOSrygia. Sc Labyrinth and served Stygia well. Flll'thcrmurc, the spirit of Imperialism infected Charon. lnsre:td of trying to run everything from Stycin, C haron sent trusted wraiths to the Slmdowlands to S ofStyl(iu, which Chamn c.1lled his "Necropoli." NL-.:mpoli were porpoocfully l0<::1red in abandolled sites wtthm living cities, near population celltcrs where the dead could be more easily collecLcd. Charon hnpccl £O esrablish pNmAalCnt culonics Hncl thcreb)• case Stygia's ovcrcrowdillg. During this time Churon mimed the first deathcoins, abo called oboli. This was becau~ it was easier to tmdc c.lcarhcoins than 11 w:t< to trade Thralls, which had been rhe former stan· dard unit of value. J)y <:xpmuling rhe road $ystem to connect with rhc New World, Chamn was fil>ally oble to selld wmitl" to places like New Amsterdam and Boston. Wars were fought in the New World between Stygian colonists and the estnblishcd Hercuc sculemcnts. Also, during chis time the nunpanrcolonialism of the British Empire (followe-d closely by the Hierarchy) brou)(ht

rhc Stygian Empire imo connictwith rhe jade Emperor to the e"sr and the Jvvr~' Queen m rhe .so~uh. Afrer bitter Stl'u$(~lc, a mutual agrccmcnr \Vl\5 re(lched. This compact gave the Hicr nrchy CUSlOO)' of the souls of the European dead, bot left the indigenous dead alone. Hicr.rchy, He retics and Renegades banled consmntly during the War between the States. The Ivory Queen de· manded the souls of the dead children of Africa who hod been enslaved in life, :md Charon allowed her minions to tnovel with rhe Hiernrchy 's forces as they move-d south. As a r~wlt of this. the Ivory Qu<:ell later took control of New Orleans and forbade Hicr•rch)• nnd Renegade alike from adtniuance. To thi s rlay, ChMon 's llierarchy doc• nor ope rare In the Shndowlnnds of New Orleans. As the Victnrl:m Age blossomed, Charon's Hicrnrchy \\1>rked like clockwork. Souls wetc lo;Kkm 111 die without belief, falling Immediately into Oblivion, which hnd growll stronger and stronger as the Industrial Age Stablished Haunrs or Feucrs. Charon, notinu this, began recn.Jicing his Hicrarchs from locoI people, people who had Fetters whet•e he needed them. Finally, late in the 19th century, the Deathlords and Charon made a frightening discrwcry: they cook! no lon1,ocr travel to the Shu<~>wbnds. As they neared the Shatlowland•, 1hcy began ro discorporate. lnvcstigfu iun soon rcvc:,led that thei r Fetters had lo11u since been destroyed. Even Chnron, the mythical G rim Rcar>cr, could not sroy long in the Shadowlancl<. The mability of Charon to interfere directly in the Shadowlands promp"-d the fO
During the Victorian Era, nKtn~' g-re3t inventors were born Charon dairncd more than a few for his own, and soon knowle
charges rh:u_they had instigated the concept o( trench warfare and influenced the monO' Is in co using mustard g-.1s jusr Survcyers of violence and pestilence), to tn1vcl along trying to abduct gang~ of shuffling, confused young soldiers for with the pioneers and leave Citadels wherever sculet'nenrs were their own armies. made. After rhc war, the H ier:;~rchy made sure rhat Hmmrs in France and Gel'lnall\' were protected or rebuilt. Everyching At the turn of the 20rh c
:ltKI died.

4

4

Still, Spccrres mok ~dvnntage of the chaos to infihr.uc the empire to ~n unprecedcmed degree. Rising frmn rhc (lecp· est pits of the Labyrimh, they fnllmved the ron,ls to the Nccmpuli and hec::.n inserting themselve$ in S\."(rCL places mnid mortal cities. They belfoln to Skinridc IJ<."<>ple in America, rak· ing advantage of the Citodcls' laxer vigilance: this resulted in :.cvcml mmpanr crime w:wes ~nd many dark doin~:> in the b:tck alleys of the industriali:ed cities during the '20s. No event caw.<.-d Sp<:etres more glee than the Great De. pression. Specrres reveled in the misery caused by poverty, and rhc Hiemrchy had Its work cut out for it dealing wi th the flood of scnrved, disposscss..:J, it I'd dcs1intrc dead while trying to roO[ out the S1>ectrcs. Ch:mm nffcrcd a bounty of 30 oboli to any wrairh or wr::tiths who brought him lhc cars ur other impor-

mnt pmts of slain Sp<.-ctres. h was discovered th~t Spectre teeth were pnrticularly h:~rcly and hard to fake: they became the >tlln· dard. Many wr;>iths became what nrc known :~s Dcx>mslayc,., professional bounty huntct> who hunred down Spectres nnd turned in their teeth for nholi. Meanwhile, in Europe, SpectreS gleefully flocked to the N:.zi r~gime in Germany, gorJ.:ing on rhc hate and terror. A I~ thOu!lh we arc fairly sur·e 1ha r Hitler himself was nor a puppet uf rhc Spectres (r:rrher, we believe him to be a purely human foulness),sever;>l of l litlcr's wp aicb were influenced and re~u· lorly possessed by the Sp<.'Crrcs of Berlin. When World WM II bq:an. Charon finally ;;rw a chance to make war on the Jade EmJ>en>r, who had denied Ch~ron an entire section uf S:m Fmncisco and threatened to usurp sec· tiUI\S of Srrgia. One of the reasons that the conniets II\ the PaciOc "·ere so bloody nnd destructive was rh:u, right alon~· side the mortals' carriers and battleships, rhe iron cruise,. of St\'l:(in's Legions battk> the dcv· astatlon wrought by the Atomic Age. When Far M:m and Little Boy were droppe-d on Hirc>
The Fifth Great Maelstrom was che rtlOS( widespread o( all. 1l1e possibility of glob.1l destmction had become a reality, and the repercussions in the Underworld were dcva>tarmg. Tt:\vel to and from St)•gia was rendere-d impossible, and wave after wave of Spectres hurled themselves at the J licmrchy's Necropoli. The Clmdels In the Shadowlands became i:~~>i:rred outposts battling for survival. Stygia itself su«ercd the worst camsrrophe. A gn.-nt Mnlfc:m, a reptilian horror nnmed Gorool, lll6e up out uf the Sunlc01 Sea and threatened to consume St)'gill completely. Evety ship thnt went out to challctlj,'C It wns sm:lshed and its crew devoured. O.amn knew that he alone scood a chance against the fc>ul thrn&· He hung his great Mosk in d1e d1rone room of his palace, re· rrieved Siklcl6, his blade, from the llmtOI'\'• and piloted a single skiff imo the Weeping ll.1y to att:\ck the thing. ll>e banlc is, w rhi• day, depicted In tapestries ond murals throughout Stygla. Charon drew the ~rent bm.c '"""Yfrom Scygi:o and opened a whirlpool in rhc Sunless Sea. Charon nung himself down inro rhe midst of the whirlpool and was follow<.-d clu~m, the l lierat·chy rccn1ired some Reneg:1dcs to "icl them in rootil1)! ou1 Spccrrell. Severo I times during the dcc:ldc, Spectres sought m c.:1usc II\~ tcrcontincntnl thc:rmcmuclcar \Vflr ::and were rebuffed. The '60s were n time of great change. In addition ro rhe changing morn Is of the day, people srarred experimenting with altered stat(.'$ of conscii>U
often seen laughing.wiLh Klcc in the jungles of Cambodia as more and more )'Oung sold"'" were kill<-d. By this time,lllernrchyggents had stopped trying mdomi· nate their Necropoli. TI1c Spectre threat was pervasive, and any and all wrniths were needed. The Hierarchy had devd· Oi><:d a kind of attitude that could best be described as "don't m, don'r reiI." Mnny Shadowlands wraiths were not even re~:· istered with the Hlcmrchy, cspeci:~lly in America, where the Anncrconsdid not believe In Impeding a wraith's personal free· dmn. O mups nf disr>osscssed wraiths began shuffling from chy to city as rhe Om Vngahnnds. 111e '70s saw the contimmtioll of the Cold War and count· les.~ Spectre incursions. During the '70s, Srygian agents re· paired the shauercd l'(<>ds and rail., allowing renewed coni• munictnion with the Shadowlands. Charon wa.• srill missing, and 1he Dca1hlt>rd• had, in his absence, assumed control in a great and powerful olig:nchy. This, as you know, was a 1113S!Cr>trol.:e of diplom:>ey and statecraft. Everything MIS to continue un -

bus.incss ns usual.

My lords, you hnvc often expr<>sscd your displeasure at the relatively low number of sou ls chat the Hierarchy in the Sh.1w of the current day, my lords, and for posterity I will record what I know of rhe currenl and mosr n..-ccn1 sil.mllion.

As you know, my Innis, the Hierarchy of the Shadow lands

has recent!)• devolved into an almosr anarchic mass of self. intereste-d An:tcreotu who rule to further their own persnnal po'A-,r. I om remmdcd, my lords, of the Roman leaders in Brit· ain to"oard the end of the Roman Empire. These >O·callcd Hi· mrchs have adopted the policy of "might makes righr." fnr the reptl!arion of the Hiemrchy i> insufficient to instill correCt

behavior among the Renegades, Heretics and Vagabonds of the pmvincl:S.

Also, my lord<, It is well known that the Hierarchs of the Shadowloncls seem to Ignore the Code of the Dead in tnany cases, especially when dealing with the Children of Caine (the 1·amplres, my lords - a ""''t foul and perverse wee) . I have C\'CI\ heard rurnors th:lt ccrr.lin Hierarchs have bcgu1' workil\1( with vampires, performing services for che "unde(td" in exchange for the ,.,(e-kccping of their Fellers. TI1e 1vent her of the Shadowlands rhese days is atrocious. The TcmJ>Clol seethes with Spectres. Maelstroms continually ori~e, and although the Citadels still keep the ravages at bay, many souls are loot to Maelstroms on a regular basis. In the citic;, povetty, race bias and class struggle have wrought a deadly lcgncy: nmny violem deaths have resulted in the creation of more wraiths. In fact, sever•I N<"<:ropoli harbor gan~>s of wmith> thAt owe allegiance to no faction save them· selves.

enrh follnw
With no disrespect, great and Dread Lords, the Heretics and Renegades sti ll operate relatively unhindered in the Shadow lands. lkcause of the fact that the roads, the mils, and rhe river are all blocked, and because the Fetters of life bind rhe wraiths who now live there, there l5 no eoocJ solution except to continue to .send weapons and soulfire to the

Wraiths sec dearl> in everything. They do not see things in rhe physiaJI world as they appear, but as they someday will be. A person about to die might appear cadaverou., with hollow eyes and jaundic.-d slcon; a car destined to crash will appear denred in advance. Much of the world :seems dccaj·cd or near collapse. Billboards are tattered, roads are porholed, paint is peeling, metal is n~>ting, buildings are crumbling. To the Restless, much of the world Is already dead. The hazards of the Underworld add danger to despair; soul· slavery, intrigue and looming Oblivion take their toll on the Rt'Stless. Worst o( all iJ a wraith's eternal struggle with her Shadow. In the Underworld, there is no place: for a wraith to hide from her darkest aspects. These threats to mind, soul and sanity are the lot of every wmlrh, from the youngest to the most ancient. Srill, hope re· mains. The wandcrin~ souls rcrain rheir identity and can ac· quire grc-ar power and wisdom if they seek it out. After all, Oblivion notwithstanding, they have all the time on the world.

Shadowlands. Although the end of the Cold War suhsranrially reduced the threat of absolute nuclear holocaust, conflicts like the Per· sian OulfWar and dl:seases like AIDS still provide endless hours of amu:sement to the foul Spectres who feast on such carnage. My most majestic Lords of Death, I have but a few more pieces of onforrMtion ro impart to you: It is said that the Lady of Fate's mark has been seen on For all the suffering and corruption of the Sh•dowlands, the some new wrai ths. ngotty of existinu beyond life, and the periL; of the afterlife, the 11te Ferrymen have been seen lot the Shadowlands. immorUll spirit continues to bum in Restless souls. Though many Some souls arc dying with such violence rhar they instantly wmiths have given their nfterlives over to hopelcosness, revenge become Spectres. and trafficking in souls, others have used their continued existAnd, it i! wh~red that Charon has been sighted in At· ence to n:discover rhe (XlMion5 they avoided in life. Some wraiths lanra, Chicago, San Francisco, Edinburgh and other places, pursue enlightenment; death has tom a veil from t.hcir eyes and although these nomono have by no meaM been subsrantiated. proved that there is something more to creation than simple ex• I was greatly sorrowed tO leam of the disappearance of istence. Orhers glory in rheir newfound powers. Freed from mor· Charon's Mask. I do hope every effort is being made to secure tal constminrs, they roke ndvnntnge of their insights and abilities Its rerum. ro explore, experience and pr06per. Great wealth ;ond power may be acquired among the Rest· I do hope rhat rhe ~:eneral nature of this history does not offend you. I enjoy writing these historiC$ ro •how myself how (e.q of one is ruthless enough to rake it. Many among rhe Hierthings have chang<.-d as we leam more about them. archy have spent their nfterlives making up for opportunities they never took while alive. Some wraiths find them:selve.s \Vith utmost humility, I proffer my deepeSf gratitude. gifred wirh potent mynlcal powers (called Arcnnos); other.; Your Etemnl Servant, simply wheedle, betray or enslave their w;oy to the top. Many Herodotus Resdcss embrace the pursuit of material gain ns their purpose for existence. Others of like mind hop "Skinride.s" on the liv· ing, saturating them:selves with vicarious thrills, or pursue some ns:endaleft over from lofe. The afterlife can be an advenrure if one can supersede the gloom and sidestep the pitfalls.

life in Death

More circumspect wraiths use their insights and Arcanos to learn from their mistakes. Like the Skinriders, these Restless possess mort:als and live again through them. Unlike their wilder cousins, these ghosts try co recapmre the pain and joy

of life, if only for a short while. By traveling the living world again, fu1rilling some last mission or savoring the rastc of life, such wandering souls learn more about creation rhan any mor-

tal ever could.

Metapnysics: Tne ~ules tnat Bind tne Dead Lwninous beings are (VC - not [his crude numer. - Yoda, The Empire Strikes Back Alone, even in a crowd. Dead, but able to touch and sense the living. Real, but intangible. \Vrairhs hang suspended betwcl.!n life ;md eternal death,

versely, wraiths are largely unable co affect the real world. Wraiths are ghosts, and this fact changes all the nrles. There arc, however, nurn.erous ways that wraiths can side, step the rules. All Restless can briefly discorporate, passing through solid objects (or leccing them pass through Instead) with minimal effort. Moderate levels of Arcanos allow vastly increased conrrol over rhe physical world. Because wraiths are

formed of spirit-matter instead of flesh, most pain or damage inflicted on them is minimal. A car speeding through the living world will onlyslightly harm a wraith, though some forms of damage (Spirit magick, Stygian darksteel or raw Oblivion) can inflict lasting harm. O n the other hand, wraithsaffectone or her as if they were

still living, and Underworld surroundings that mirror the physi· cal world have as much substance for the dead as they do for rhe living. And in rhe Tempest, nearly ~mything goes .. .

and this half-existence dominates their perceptions. In the world, but not of it, the wraith reaches out from the other side orthe mirrorand tries to pierce that cold barrier. Like a drown~ The dead can be as hidebound and sta!lls·conscious as the ing man srntggling to break through the sheet of ice under living. The myriad social and class distinctions among the which he is trapped, the wraith struggles to touch - if only Rc!itles.s ampl~' demonstrate Lhis nuism. For the most part, fleetingly- our world. wraiths arc distinguished by a combination of (lgc, arcane power, This is not easy. The laws of reality apply itt a different and freedom of movement. Counts, who are able to leave rhe manner to wraiths than they do to humans. Objects in the real Sht1dowlands nnd return at will, nrc accorded considcrabht more world may impede or even harm wraiths (albeit slightly); con-

Social Status

respect thnn Drone.,, who have practically no semiencc left at •II. While Enfants and Drones have the most m fear from the snul tmde, all bur the mOSt powerful wrairhs muse beware the slavers' chains. Ahhonsh orocial mobility and intenoction are nor un~n among wmiths, most wraiths ally only wirh those of similar statuS and trust only those who have proved themselves. Gaunl> arc particulnrly notorious for their cliquishness. In gcncrdl, rhe whole Sl"'
Domem

Enfant

An old and powerful wraith, l)'pic:ally one who conrrols or influences an entire Necropolis. Not only have Oaunrs managed to maintain Fetters in the Shadowlands, but they have traveled deep into the Tempen- possibly even to a Far Shores realm. Fear..d and respected, Gaunts are the only wraiths who know the truth of what lies within rhe Tempe>(.

cnfnms are the recently deceased who have not yet joined w"'ith snciery. Typically they are only a few d>~ys or weeks old. Enfan!'4 wtar a plasmic Caul, which obscures their thoughts and vision and induces a dreamlike stare. Until this Caul is ren>ov<'ll by another wmith, they do not have full vision in the Shaclowlands.

Drones are wraiths who, having losr all rooch with their mOrtal idemitics, mindlc.'-ilY H•unt their Fa,•c neither scmienc.e nor willpow~r. Many still manift..-st the marks of rheir dearh, or endlessly reenact their demise.

Thrnlls are the slaves of another wrauh, held in bondage by "manaclts of subjection." Some Thrall• have been caprured and enslaved; others have heen sentenced to Thralldom for their crimes. A few Thralls have even sold themselves volnn· tarily tn pay off debts. (Thoul(h indentured servitude is sup· posed to last for a limited duration, many Thrnlls find tbat escaping such a conrract is much harder than they thought it would be ... ) TI>ralls wear leg munacle$ and cannot trove I freely. Son•c vnrinms uf the OJde of Charon declare that no Titmil shall be tormemed or abused. Such prohibitions are widely ignored, and abusers are rarely chnllcnged or punished. Thralls' Shad· ows often rake great delight in the suffering their hosrs' P"Y· cha endure.

Wraiths who still hold moot of their Fetters are consid· ered quite \'OUI\1:- Lemures nrc rhe m0$t common wraiths found in the Shadowlands. They are manipulated and abused on • regular hasis by the "old hands." Most Wr•ith player charnc• rers full into this catc)(ory.

Domcm arc older wrniths who no longer IJOSSI!ll:i Ferrers •nd cannot rerum to the Shadow lands once they leave them. Because of their limit<-d mobility, Domem are not as respected as Gaunts. Many Domem are created tlS a result of their Ferrers being purposely destroyed. Moot Domcm flock to Stygia, where they serve the Hierarchy bure•ucmcy.

Gaunt

~eapers A Reaper is a wraith who collectS an Enfant, removes its Caul, and penuadcs it by means fair or foul to accompany him. Each Reaper facesa moralcboice: will he take care of his Enfant and see that it safely completes the rrnnsirion to the Under· world, or will he sell it to rhe highest bidder! Will he help it, or find a way to bind It ro his service! All wraiths are interested when someone die$, for souls are the gold of the Underworld. Some stake out rurf in hospi· t.als, homeless •helters. jails, and retirement homes, while oth· cts ride amp ambulances or police Cll.rs. Some wraiths are frl~ht· ening Reapen , imprisoning and enslaving all the souls they obtain. Many, however, act as g11ides, teaching their charges the intricacie.• of the afterlife. It is not uncommon for wraiths to warch after loved ones, meeting them after their dearhs to provide a safer and kinder passage inro rhe Undtf\\-'Orld than they would otherwise expe· rience. A few rry ro convert the Enfants to their particular cause or faith, torturing them if they refuse. Othe •·s odopt the Enfams inro rhelr own Circle, treating them as kin. Trnditiorolly an Enfant owes his Reaper a gnat deal for his service. It is dishonor.tble to ignore the debe, and even moo: dishonorable ro horm the Reaper. Of course, thi• is not the case if the Reaper was abusive or caused rhe Enfant harm.

possessions and Trade Yort can sell one anolh.T fur fiftun anu \Velllrye-lryt nwr!.n, ir's common sense. -Sisters of Mercy, Doc.mr Jeepu Because wrniths can only r.rely cross between the living and dead worlds, rhey hunger for the things they sec bur can· nor have. Accordingly, a thriving economy has developed in 11

the londs of the dead. TI1is "shadow trade" r'Csembles the triangle trade of early America. Raw materials- souls - and relics are harvested in the Shadmvlands and rmded in Necropoli for material goods made in Scygia. Wraiths cannot touch normal objects from the living world

n,e grear Underworld commodity is souls, for souls are the raw materials from which all the goods ofScygia are manufactured. Souls arc utili,ed in all things, from Ciradcl walls to

items in~

Legion weapons ro paper for hooks ro Moliarcd rorches. Some

arrnmecl into the Underworld - c,1n be used freely and are thus highly prized by wraiths.

decadent wraiths even distill souls, drinking them like fine

without using a degree of power. However, relics -

Most goods in the Underworld me made from

~oul s,

smclrcd and shaped by the arcane secrets of the Artificers. Because of the weird magics and secrecy involved, distant Scygia has a monopoly on such guods. Many Thralls or h:~rvc>sted souls end rhcir afrerlives as building scones or Stygian coins. The demand for goods creates a corresponding demand for souls; while strong or clever wrdith!i can avoid this (;;uc, chc •.,.,.k or unwary end up bound for rhe furnaces. New souls are gathered in rhe Shadowlands and shipped through the Byways into Sr1•gia. Some modern wraiths Me repelled when they discover the true nature of Underworld goods. Barter for service is the pre· (erred m.ell10d of exchange among these dead. The remnants

ofStygia's guilds are strong proponents of rhe barter system.

wine.

~elics Relics ore objeccs (ron'l lhc real world that huvc been de~ :nroyecl and now e:..:isr in rhe Shadowlands. Rel ic.~ no longer

exist in the physical world, but possess substance in the spirit world. Though most relics fade away sooner or later, they form ;m imporranr p;mofUnderworld rrade. All Underworld goods other than relics must be smelted from souls in Stygia. Not just any destroyed object car; become a relic. Only nhjccrs rhar h}1d gre-..r personal significance ro rheir owners

are thus consccra~ed. The life-force (soul, if you will) imbued by such care allo"~ the object ro exist in rhe Underworld. Nor are

;til

relics creared equ<'ll. The porency of a relic

depends on its "freshness" and rhe importance its owner placed on it. A teddy bear that was treasured in childhood but Liuown away when rhar child grew up will become a weak ancl cphem·

eral relic at best. Onll' rntly m3Sured goods become potent or long-la.S or 1he fi~r issue of Derecrit;;! Comics. Pow• crful relics- guns, cors, computers, etc. - exist, but arc rtnc ond highly expensive. Exnmplc. nf porcnr relics include n hacker's cuswm~bu ilt compurcr. a restored vinroge cnr, n1ld Dirry Harry's favorite M:lgnum. Such relics n~\!J more cmo .. !lonol investment 10 function in the Underwnrld, nnd roon fode away in any ca>c. i\nt~cnr relics, like the sword of Uthcr Pcndmgnn, cxosr fur centuries, but modem relics tend to fooc ofter a few r~rs. (Perhaps modem obj~-cts mean so much less because modem mort• Is possess so much more.) Mosr wrniths possess relics of one sort or anudtcr. Senne wraiths still possess the objects tim£ were buriecl whh rhcm, but chis pra<:Lic.:c is nut widel y known in the modem em. More

fonu, is the only 'uhsr:tn« with permanent shape in I he Un·

dem·orld. Goods, therefore. must be forg<.-J from >me Iced n•ls to ha\'e tangible ond ln~tinR form.

Skilled smiths c;m shape plosm imo ""l' form or texture desired. However, the techniques of srnillting :1rc difficulr ro master; only the S l yJ,(iUtl Art ificers know all rhe.sccrctso( soul~ forging.

Soul·forged goods function like normal material ohJCCI~ Srygian coins anu clmin> arc cmfrcd from plnsm, hence their value and mystic:olpropcnies. Bec:lusc of the skill r"'tuir.-d 10 make such goods and the high cost of the ,.,..t, ""'''· •nul·

forged items are scarce and cxpcnsi,·e. Some Stygi;m u-cms ~mir SO\Inds (rom time tO time. Tiu~

smelring process is irreversible, so no one rcull\' know$ wlw1her or not the trans(OI'Illcd wnaiths ;uc srill scl(~aw:.re. M:my sus~ peeL chnt they arc.

No o ne really w~mts to fi nd t)Ut.

often, wrnirhs c1ucr the Shndowlands with an item or two if

those irems "died" wirh them. like the rcsrom1'57 Chevy ro· rated in its owner'> fa lUI acciclenr. Enfants wirh tdlcs often have to fighl rn keep them: a ;'donalion" to one·~ Reaper is a common occurrtncc.

Soul-fo~ed Goods Ry the usc of various Arcanos, souls may be smchcd nnd cnrnbolhcd into a ;ubso:ntce called plasm. This plasm, ~lven

Artifacts Anifacrs arc ohjects thnr hold arcane powo1>. 11tcrc arc tWO types of artifactS: those from the li\·ing, m:odc fnnn reliC$; and rhose of rhc de•d, made from souls. Both t)"f'Ci are unique items, and each has irs O\vn powers and limitation.). Ani(acu :.re oumgeously C'XJX'nsivc, but nrc sornctin1c:, bcl'tlmwd :1~ !'.l{,'llS

of (avor or I'C\varJs for service.

Multirud~ ol th~ living :rr~ needt
Guilds Guilds were once fraternal organizations uniting those who pursu(.-d mastery in cenain Arcano!i. After a series o( uprisings,


. . Important Items

Certain items have special importance amnng the dead, a

social signiOcance above and beyond the Item's purpose.

Weapons Archaic weapons ate widely ust
Highly ornnte and srylish weapons are prized badges of office nnd wealth.Some ancient weapons have passed through the Shroud after their desuuctio n, becoming relic.~ or even anifact5.

Underworld coins, or oboli, are minted fmm souls. The disconcerting feel ofSrygian coins dissundes some Restless from carrying or exchanging tl>em. Nevertheless, lhcy remain legal tender for most debrs. Sryglan coins often utter faint wails or sighs. Older ghosts seem not to notice, but more sensitive wraiths have been known ro drop their coin$ and run when they discover the m>e narure o( their cash. Rumor has it that oboll have Shadows; this has added to the currency's decline in recent years.

Manacles an~ Chains Chains arc seen throughout the Underworld; indeed, one ofSrycln's many sohriquer.s is rhe 11City ofCh~ins." Chains are used to control and bind wraiths. They are also used as sym· bois of authority, are worn asornamentotioll by Hiera.rchy types, and arc used m bind artifacts and thereby prevent their theft. Chains and monad~ ate actually artifacts cr~tt
Masks Masks ore a fundamental element of wraith society. Not only are they symbols ol high station, but they hide a wrairh 's tru~ laee from others. Many masks are artifacts lorgt
life among the Dea~ r was rhe besr of rimes and rhe wom of rimes, and it was all of them at once. -Alan Moore, •{Revelacion.,." Su'amp Thing 1137 Like the human society it mirrors, the Underworld has itS poliria: the esrnblishment, with II$ rules, stability and com· merce; the rebels, with their spirit and fractious vision; and rhe faithful, whose fervor and belief inspire rhe socicl)• ro grear· ness or drag It to tyrannical depths. O ld habits are Indeed hard to break. This Is nor ro imply that all wrdiths belong to some socieml group; In death, as in life, most just fall betw«n the ex· trem~ that drive the body politic. Out as the modem world grinds forward, engendering Restless in ever·increasing num· bers, the extremes of Srygian society affect the urban Shadowlands of the newer wraiths.

For the !1105t pan, the society of rhe Re&legs mlml<$ the l'!lW influential ages of irs histods o( y<-ar.; fldd up. Many Restless souls have p..s<.-d beyond rhc Undcoworld (to either Tr:m·
Circles Circle,; are tightly knit groups of wr:oiths that have banded together for mutual deferue agalrut slavers and Sp
factions Three major political factions flght for dominance over the Underworld. With the removal of Charon's stabilizing in· fluence, their batde,; have grown incrc-.singly bloodj•. Addi· tionally, each faction iJ fnK:tured lnremally by dispute. The fucrion called the Hierarchy insists chat it represems the authority of Charon, now departed or. lain b1• the Malfean Gorool. Its minions dem>nd respads" of the Far Shores.

•

Intrigue Oh children don 'r ~o" wtep and moan Children saue ~11r l>re<~rlt Yo11'U draw a f>reuy pension I'Cikn yo11r dMdy muu his ckarh. -"Hard 11mes• (Traditional Ballad) Politics and inrrigue are e"en more convoluted in the

Underworld than in the lands of the Quick. R:nher than enpting in all-out war with other factions, wraiths commooly rum lO subterfuge and (>spionagc

10 combat

then cncmie.a, as

...:h seeks to collect as much power and inRuence as possible to stave of( the inevimbility of Oblivion. llccausc wraiths with different mMters and nllcginnces $0 ofren form alliances to achieve common goals, there are nearly al•oays several different hidden agendas withill every treaty, negociation and mission. Betrayal and suicidal

nct5

of ven·

gcancc are common.

Ihe Hierarchy hilc nrLi!il~ and rebels m1-1y thrive on chtm:s,

the majority of people (and wraiths) pre• fer order nnd stability. Evett nftcr death, mnny soul£ crnvc 1:1 (umiliar routine, a sys·

tem of trade, nnd some degree of order. They want to follow a set pnnem, llOt wall· dcr off on their own. The world of the Hv· ing is frightening enoush; mosr RestleM seek shelter In num· hers when faced with the gloom and terTor of the Shadowlands. The Hierarchy answers Lhcir nee-ds. The Hierarchy is the name by which RestleM refer to the \'ertically integrated institution of wraiths directly bound by ooth,loyalry and submission 10 Charoni Death lords. Ito reach extends
and procec:tion in rctunl (or liCrvicc to the Hicnnchy,

bu1 must obey rheir S\IJleriors' orders without que$1ion. Now the foundations of the llierorchy arc crumbling; with Charon gooe, the system has fallen into a loose conf
The last century has seen an increase in tensions between dtcdistantland ofSrygia and rhe more lndcpe11dcnr Necropoli.

While rhe former suppons ~ labyrinthine network of old souls, titles and traditiOn$, the N«ropoli bear the stamp o( rhc modern world. Even citil!f rul..:d by overlords who ched centuries ago have had ro change wirh rhe times. The political structure of the Hierarchy is as con\'OiureJ and insensible as any creation of the hvmg. The webs of in· rrigue, ~I! ian~ ;md de~l·making are too complicated for e1·en intimare participnnts to comprehend fully.

Deathloros The seven Death lords were each ~iven :o realm from which to govern their Legions. The seven realms of the ~thlords

(Fate's re~lm is rumored to lie Ol\ the Isle of Eurydice) nrc all located within the conr.n~"> of StyMi" upon rhe Sunless Sea. From these bases the now-mastcrless O.athlords of.

fallen Angels Originall)', the ~thlords were appoimcJ to their posi· tions by ChHrOn. They wcr4! 1.0 serve :l!Spirirual cuides in roles similar w elder Ferrymen. 1t i&Ironic dl\lt wmiths who wer~ originally placed in their positions of power ro aid other wrnidlS now strive w prevent th~t very rntnsform:.rion. All De3thlords currently strive to collect as many souls, and thus power, as possible. The Hicror<:hy fccb that even tho.< who think of thcu»<:lves "-'Heretics or Renegades fall und them to the applicable DemhlorJ is well rewarded.

legions Each Legion has ics own srylc, techniques, 3rtifucrs and special capacities. • The Seat of Silence - hdd by the Qu ict Lurd -Overseer of the victims of Oesp<1ir • TheSe"' of Golden 1cnr. - held by the Beggar Lm
• The Sear of Shadows - held by the Ashen lady -Overseer of the vicrims of Old Age • The Sear of Succor -held by the laughong lady - Oveneer of the victims of Madness • The Seot of Dust - held by the Skeleral LurJ - Oveneer of the victims of Pestilence • The Seat of Fate - held by the ladies of Fate - Lic~c of thel-lnnds of Fate

Deathmarks Long :.ago, the Fern•men no(ed [hrtt most wraiths were adomed with peculiar mark> that could be perceived only by thole with the ArcanosofFntalism. These =rkscoold bcdas· !IRed on the hasis of the patterns they made upon the Corpus. Those who could discern the marks srnted thar they resembled birthmarks scell on the livin~, although they varied much more In color and rcxturc: some were seemingly carved Into the wroith's Corpus, while others were sharply raised like scars. Eventually the Ferrymen nowd a connection berwccn the t)'peof person rhc wraith had been while alive and the pnnern tithe marks. Experimcntir1g, they noted that the marks re· Oect<-d the way the person had kd her life while among the living, and thus showed what her illdividual path to Tmnscell· dence enrniled. Prior to the great Evacuation, when Charon banished the Heretics to the r-ar Shores, the Hierarchy utilized dearhmarlr.s ~sa means of imerpreting which group of Shining Ones the wroith should join in her efforts to pursue Transce11de11te. In roo:nt times, the Hierarchy has all but Ignored dearhrn•rks, p:eferring ro classify souls on the basis of how they died rather dun how they lived. Ever si11ce the Heretic$ were banished from Sryciu, the Hierarchy ha. begun visibly brnnding wr•iths ill ways that re· stmble deathmarks, in apparent mockery of the way in which they used to classify souls. Because they now divide souls bas<--d on how the pcrs011 died, they use this method of brnnding ro mark souls as rhe property of one Death lord or another. Those whowi.sh to demonstrate their loyalty to the Hierarchy Moliatc themselves in elaborate panems ro proclaim their obedience to their Lord or lady.

ratrols Many Lemure Circles in the Hiemrchy are formed into

louse unils of multiralenced wraiths; these units. known m:; pa~ trois. are the backbone of the legions. Once they were merely

another ann in the great bureaucracy of the l liernrchy. In re· \'C'31"5, however, some parrols ha\le grown more autono.. mous and have begun co dcmnnd increasing freedom and power. lnclccd, many Shndowl:md~ patrols ha\1e become virru;.1lu11.:r~ cennrles. This increas«< autonomy enrages and frustrates the O.:.rhlords, but there is little rhcy can do. Instead, they work covertly to manipulate the Circles t hrough bribery, blackmail , coercion and inOirmtion.

cent

Bargnests The Deathlords tnrn certain wraiths Into bloodhounds, or b.•rghests as the1•nre most often e~lled. Onrghests are wrnith.s who have been Moliatcd into monscmu_, shapes and "loboto· mitcJ" by the gr.•ftingof a spccinlly prepared mutde of Stygian iron ro their Coopus. The wrohh wbu holds the corresponding "whistle" for a bnocc of bar~hens controls their actions. Boughests are animnhsric and feral, but have extremely keen senses. Braces of harghesrs search the Shadmvlunds for wrniths (or other beings) who bear significant nmounr. of Oblivion taint. When barl(hests catch the scent of a minted being, ther emit a terrible, gleeful bayins. Cerrnin scll>itive mortals can even hear this baying throu~th the shroud rhat separates the Shadnwlands from the Skinhmds.

~anks of tne legion legionnaire Legionnaire ,. the lowest mnk. and rhc >tartillg point for every rncrnber of che HierMchy. Legionn:1ires do not u::tuall~' have regular duties, but :ue smmnuncd tO o Citadel and ;.~s· si~ned dutiM as nccdc.J. Successfu l completion of such duties is the unly way t·o rise in r:mk. L~.:gionnaires are encour.1){\.-d to recrun new members, and m;"tny usc their Circles to helpcmry ouc[heir rnission,"'. Putruls ru·c formed primari ly uf Legionnaires.

Centurion Cenwrinns arc the leaders of H iernrchy patrols. Cennori· ons have a great de::1l of power over th0$e they mccl. Th~ir

positions arc constantly challenged by those beneath rhem, and C'.c:nturions must rise in rnnk 4uicldy or risk be· ing cast aside.

how~ver,

Marsnal The next most powerful mnlc is that of Mar>hal. Marshals are plucc.J in charge of a cermln >uca around a C itadel. Often based out of a
the Ciradel, M~rshals are somewhat more secure in their positions rhan are the Ccnturion.5..

justice System

~egent

ll1c H1crarchy has its own S)~tem of law•. The laws prorecr as well as punish, and the majoriry of the Restless quieti)• obey the dicmtc• uf the Dcorhlords without incident. ll10sc whn dn violate the laws may be called to stand trial hcfore a Hierarch)• maginmtc. In rheory, It is possible to appeal a judgment to a "higher" magistrate. ahhou)(h this 1s nor· mally o nly pcrmirted to wroiths with ~(_nne degree o( status wirhin the Hlcrnrch~'· In :.omc cases, a judgment may be :li>' pealed to the I land of Fllrc, on which cnse the Hierarchy :.1· most alw"l" accepts th~ ahemmive judgmcnr. This nonrollr on)~, happens in cases where chc juri.sdicrion of a case does not clearly fall to one or anorhcr Deothlord, ahhou~h certain cnJa have proved ro he exc~ptions.

A Regem rules u number o( the perimeter llaunls around

a Citadel and i$ ba-red in on~ of them. Mon: uf a senior M~r· ,,,,) rhan anything else, a Rcgcnr organite4 and coordinate> rhe activities of the Legions in th31 area.

Overlord Overlords arc bas<ible for many of the strategic
The high«t rank in the Shadowlands i5 rhat of Anacreon. F..1ch Anacreon is the leader of a Legion in a Citadel. A coun· cil of seven An;~creons governs each Citadel. The Anacreon uppoims all lesser ranks in her Legion. Anacreons receive urrlfacts and coins dire-ctly from Sry~la in exchange for the Thrdlls rhey send there, and personally dispense Styg1a's boonry to rhosc under their command.

Crime and funishment justice 1S mered out in the ShadowlamJ. jusr as ir is in tilt hmcfs of the living. l lowcvcr, bL"cause it is virt~lillly impossible to kill a wroith pcnnanenrly, "nd exiling someone to the Tern· pest only strcncthens Oblivion, executions of any sort are slm· pl1• n01 proctical. Some of the more common methods of pun· ishmenr are described bclmv:

• Enslavement -The most conunon Corm of pun~ isluncnt is ensl:wemenc of rhe offending wraidl. Ch::.ins are

placed around the offender, effectively making her the Thrall ol another wrnith. • Torture - Farsurrmssing anything imagined in chc living lands, wroithly rorture is designed to mark the offender. While wraid>s easily heal most ordinary wounds, marks inflicted by
criminols in Shadow lands reflections of prisons used by mor· mls, with reinforced walls and bars made of Stygian metal. • Branding - Bnmding is H \VHY to nlilrk criminals, thereby both ostracizing the criminal tlnd deterring others from committing chc same crimes. Serious criminals at·e btandcd upon rheir foreheads.

• Discorporotion - Ccrroin criminals arc taken to Stygia and hurled into the Artificers' forges, where they are Stnclccd into goods.

T' was hard the woeful
And !'II join che bold united men \'VJ.ile soft winds slwke the barley. - "The Wind chat Shakes che lli•rley" (trAditional) Renegades are those who oppose, deny or rebel against the Hierarchy and cvcrythi ng it stands for. Not surprisingly, the\' arc consnmtly hunred by the Hierarch~·· Over the years, however. Rcnegndcs have carved out their own niche in the Shadow lands. The cerm "Renegade" is a generdl one, loo.:.;cly cncomP'dss~

ing oil who act against the Hierarchy. There are nearly as m~ny Renegade ideologies as the•··e are Renegades. Indeed, the very ant.ia;u:horirmi:m narurc of Renegades makes cooperation within their ronks difftcult a11d sporadic. Renegades act alone oa· in small ,:_13ngs, and fight each other as often and viciousl~· as rhcy clo rhc Hicr.uchy.

In general, Renecades leod a ptrilous exiSlenct. They of. ren fall prey to Spectres and other Tempest beastS. Rcnc~Jades must remain mobile, and thus most Renegade Haunts tend to

be ;horr.tcml hidcours. O nly a few secret Haunts have lasted fnr ""l' length of tilne, and the locations of the-se safe havens me known only to the mosL Lm:ncd member$ of each f:1ctlon. Until the lasr few years, rhe Hierarchy dealt effectively with most active thre\tts to It by the Renegades. However, rc· cent internecine Hierarchy conOlcr.s :md Spectre incursions

h:ove occupie-d the Dcmhlord•' attemion, prompting a re.ult·

me incr"""' in Renegode tenorism. Many Renegades have infiltrated the Hierarchy, U$ing a facade of respectabil ity to cover :ocrs of subversion and sabo· l:II(C. Indeed, large numhcrs of Renegades have joined the Stygian Legions, and walt only for the signal to strike ...

Heretics ain utach rhmu IJT supplkaring prayer; He drives rhern exile$ from their blest obod<, To room a dreary wurld in cktf> despairNu frientc>Kl Ah· bey" Many wraith:; have founded rhcirown groups based nround common belie~ ~nd the ~~rch for Transcendence. Calle-d "Heretics" by the 1-lierarcll)'• these wmiths follow faiths dedi· cared to some higher odc:ol, fnrce <>< pl...:e. Many Heretics will go ro exneme lengths to galn new converts for their cuh~ us· ing their powers to ptrform "miracles" and promiSing lirhulous rewnrds. The only thong the majority of Heretic cults shai'C in com· rnon is a deep-seated antipathy (o r one another, (or they all compete (or souls, buth living :md de~d. However, In their cnllccrive persecution, they h\\vc learned co work toJ(cthcr. Tl\c Deathlords are greedy. and arc content with nothing Ius than ollthe souls in existence. In order tO comoot them. the ller· cries have no choke btu tO c~rme.

problems ror the kierarchy 1l1e Hier:uchy's problems with Heretics continue 10 grow as more and mnre Lemures put their faith in these cults. S uch wr:1iths ~rc often conccmptuous or even hostile to rhc Hlcmr· chy. rul'thcrmorc, iL is whi:;pcrccl rhat some Within the Hlcror, chy arc sccrcdy Hercri" themselves.

The Hierarchy mainrahu o form sn>nd against heresy, ' ing it out ruthlessly. However, mo
1hcr the m;oun:es oor the inclination to implement the policy full)'· Most ignothe peace and nor squander their Sll'Cngth. 1l1cy believe 1he real cm•my ro he the Renegades. \l'rah~ jilt ~ion

A wraith is initintcd into the sacred mys1crics of hi.s cho· sen faicl1after proving hlmrelf in some way. In return. the wrnith is expected to serve the cult foithfulh•. Service lllll)* mciln per· forming strange missions, c~apturing Thralls, as~tsslnatlng en· c.-nics, or recruiting mhcrs. Oond service is re\Vt~rdcd with in .. cre::~.sing: SGltuS ~md power. Some Heretics lo.c their foith and end up lc:wong rheir cultS. Mony arc recruit•"<~ mtn orher cults. Others attempt to stan rheir own radical fringe cults so they can acquire JlO"'tt for themseh•es. Many cx·nwmbel'$ simply depart ro orhe1 Necropoli. though most exist in consmnt fear ofhemg hunred down by the Hierarchy's ''"Shtsr racks.

Outsiders ferrymen hat bo.>ck'ning gloosr, alonR 1hc •noo11IW>r slotW hwites m)' su.!IJ, and fx>inu w yonder gladll

-Alexander Pope, "Elc~y" The Pcrryn'lcn a1·c the truvclcrlt u( tht spirituul seas, the pathfinders rhmugh rhe Tcm(l<'st, the wardens of the Byways, and In some "'11\'S the spiritual Kuiue> to all in the Underworld. For aeon> their sdf-appoinred durr has bdy to cross the chnRffi)US exp:mse of the TemptS( and arrive at rheir ju.r tlcsrin:uion. h is not easy to obtain tl Ferryman's aid, bm once one :tccrpt.u wraith as a tmvclcr, he wdl pmrect his charge at all costs. The Ferrymen divorce themselves from the penyconOicrs o( otherspirits. They Clllhtouu ly 'ravel hctwecn rhe Necropoli, journeying from rc~1lm ro re::~lm, never ce3sing their cnclle.ss rrnvels. Not even the Hicmrchydisturbs the Ferrynrcll in 1hdr sel(..appointed duties., (or their assi:.tancc is ofrcn vnal to n.1VI· f(lltc and mainlain the Byways thmush the TemptS(. FerT)men do not ~[ways take what the traveler woulJ con· sider to be the most direct rourc. Still, in 1he Sh:odowland<, where uncertainty is everywhere and truth is mre, Ferrymtn have an ex
•

these roods and p~~dtS arc threatened by r.cnds, monsters, and Maelstroms, ~nd everyone values the Ferrymen for rheir •hiliry ro find their way through the Tempest without ham1. It is said that Lhc Fcrr) 11'\Cn seck co guide wraiths toward Tr:.mscendence. serving as Menrors m rhose who prove wor.. thy of their aid . Still, most wrait hs' only contact with thes~ cnig1natic guides is in their roles as pad,finders and guides through rhe Tcmpesr. 1

~pectres

Though much fearful legend exists concerning the Spectres, rhey aren't quite so insane as other wraiths tltink, and possess the rudiments of a sociery. Moreover, many sriII have Ferrers, which allow them to enter the Shadowlands at any time. There are various species of Spectres. Some arc listed and brief! y described below. • Shades Shades a rc monstrous, twisted, cra~cd creAtures of Oblivion. The Corpus of a Shade is generally murared beyond human ken. Their presence is considered an abomination b~' all "civilized" wraiths.

Man.,~ wr.\iths succumb to tempmtion 3nd allow their Shad·

ows tocoalSumc d'lcirsouls. These wraiths, known. asSpeccre,s, are able 10 cxisr in the Tcmpcsr without being discorponncd. They

not only Sllrvive the chaos, but prosper frotn it. Specu'Cs have full1•accepted their Shadows and exist only in that mode. Needless rn say, rhcy arc exrmnrdimuily dangerous. Most wraiths know Spectres M shadOW) monstrous cnti~ tics, possessing tcnible cunning and ferocious power, who pe.. rindically emerge frum the depths of the Tempest. They arc why so mony fcor to travel the Byways of the Tempest. S1>ecrres a1·e able co cotnmunic.atc empathically with the Shadows of wraiths, ~:md sometimes directly speak m them. TI\ey ofrcn seem to know everything about a wraith - every weakness, every Feuer. Some Spectres are even able tO evoke n wraith's Shadow and usc its inOucncc to weaken their prey. 1,

• Malfe.1ns Ma1feans are Spectres who have ach ieved incr~ible power omd might by consuming lesser beinhrs· They arc lhe rulers of the Tempest, and "re to be feared. Differenr Malfcans rend to dominate various regions of [he Tempest, shaping it to their whims. \Voc co the wrnith who has one of these fearful crca .. tures enter h is H:.urowing! Some Malfeans have even deluded Heretic cults into wor· shipping [hem as gods. These Malfcans arc particularll' dan~ serous. for they h ave minio ns a nd emissa ries in t he Shadowlands. More infonnmio11 about Spectres is included in the Appendix (pp. 231-233).

ree: I once dream£ I was u:lli114: sroria a..O fdc someone pauing my fool in tllCOuragemrnt. llooktd down and saw ahacl«oas sur..Orng un che shnuk/crs of an old woman whu rvat sreuiiiiOsed w be." I saw cl1<1t she stood on rhe shorMers ofa u1onwn far older than she, who stood on rhe shoulders of a ""'""'" • ...,. older ... -Ciariss.l Pin kola Esti!s, \Vomen \'(!Ito Run wich che \\'/ul
Do you n.:mcmbcr swapping tnles around ~~ c~unpOrc or ~t a party, trying to

tell the scariest ghost story! Deep inside us all lurks che urge 10 weave :r tale that can score our friends- :rnd ourselves - half todc:rth. The urge to fascinnte is as deeply imbtdd«< as the u!J:C to tcllsrories, and no subject is more fascimllinR than a ~Hmpse :lt our own mortal~ hy. Wrnith is a storytelling game that allows us ro create oor own ghost stories, stories in which we rlay the ghosts. Wroichs - :md, by cx1cnsion, the tr.'me - ftfC metaphors for oursclve~. Oy scttin~: ourselves Inside the World of Dnrkness for an c-..·cning, we can look into a (unhmw: mirror thru reflects the cbrlt«t aspc<:IS of our world. The scories to be foond here are macabre indcccl, but In the end, they arc jusr rales - ghost mlcs, if you will.

When we press our faces to this ghos1 ly mirror, the reflection we see Is still oor own. It's disrortoo, perhaps, but recog· nimble. The Storyteller's job Is to hold that mirror before rhe playcn and give chem a long, scary look. If you're new to storytelling games, pbying or running a game may see1n awkward at first. We have become used to having our entertainment provided for us in nice, nc:tt p3c.k~ agco. Wraith requires you to be your own enterroiner and to rake an active h:rml in group storytelling. This chapter pre· scnts jtuidclinco, thoughts, hints and techniques for mnning your own Wraith game. Pla)'Ct'$ and Storytellers alike will profit by reading it; the quality of :my Wraith tale depends as much upon the players' r:rlents as those of the Storyteller.

I • I

t's llOI
- Peter Srmub, Cho<1 Srory Most stories arc passive. One talcteller sddrcsscii an audience, which listens

or watch« for as long as it finds the prestnunioJ' emcrtaining. Movies, TV, live theater und even books arc examples of rhi.s: a story is conceived, crcared :md glven to irs ~udience for

their amusement. Storytelling ganu.:s like Wr.•ith, however, are different. Here, rhe uaudience'' panicip..1te4 whh the Storyteller to ere· .,. a story from their collective imaginations. Each player takes a part and influences the fi~tal shapc of the story. Sroryrelling games are acnve enrenammenr, inrei"3Cdvt and original. as op~ to p3$$i\'t. The synergy inherent to play produces a story grearcr than anything a single Storyteller could create. Players create rhe story's chamcters, but the Storyteller creates the world. This is a challenging job. Guiding a group of players through a collaborative myth can be an imimidat· ing and occasionally frustrating endeavor. Fleshing our a world, creating and playing a host of secondary characters, arbirrat· ing rules and craftin~ sccnurios cnn be tli(ficult tasks. None· thclcss, [he chance to make n clrc:1m come :11ive is well \VOnh the trouble. While the other players carve their niches in the world, you give then\ the world itself. Wraith has a number of elemems to help the beginning Storyteller find her voice: a sample chronicle (given in the Appendix), a detailed 5ellinR chapter th:tt outlines the fundamental differences between our reality and the world of Wraith, a S)'stem of rules designed for simplicity and elegance - and this chapter. This chapter outlines the techniques of cff<-cti,·e storyrelling, provides some bnef rule· related hints, and discusses storytelling elements peculiar to the world of Wmith. While the suggestions given in this chapter will help the Storyteller juggle her various roles, bear in mind that Wraith is, forst and foremost, a game. It can be scary. enlightening, thrilling, heart~rcnclinf( or exhi larating, but if it isn't enjoy· able, it isn't worth pl}tying. The Orst rule is co have fun- be fair, be creative and rake chances. The second rule, however, is to remember that [hC' talc is Lhc thin,g: bogging a game down in arguments and needles.~ complic:'ltion robs it o( its magic. You and your players should enjoy telling ghost stories together. l( the game is aggravating, boring or frustrdting, why bother! Story comes firs.t; rules come second.

In fact, the third rule is that there are no rules - only guidelines. Enjoy!

<ertainment Jr's a lor f,J,~ bfe, and rhar's u:har's appealing If :fOl• despise rlvtrrhroooo""Y feeling fr
Using the ~ules The Storyteller rules system is designed to elevate drama and action nvcr dice ond chartS. As a Storyteller, you should bc:~r simplicity in mind. Trying to create a set of rules to cover every contingency and possibility would be a thankless and unrewardilllt task (not to melltion an impossible one); trying to mn a game while holding rour place in half a doren differ· cnt rulebooks is difficult
you should avoid breaking the rules on • ,..,gular bitsis. While throwing an occasional wrench imo the works is appropriate for Wmith, changing rhe rules roo fn,quently without good reason simply undermine. the stability of the world rou arc rrymg to create. You may decide to change the rules perma· nently in some way, bur everyone should know when the rules have been changed. It is important that you develop the style of storytell ing that best suits you and decide what you nc'<-d tO do to make it wot·k. Do you like to try to structure things as much ,., poS· sible, following the rules and creating a clear, consistent world for your ch~.m.tcter$; or do you prcCcr to win): it, rnrch' consul[.. ing rules or charncrer shefrs? Your style will most likely fall somewhere between these two ext,..,mes; this is entirely up to rou. h is nearly impossible to guess your sryle of storytelling before )'Oll actually begin to play; styles arc developed through trial and error. Only experi· ence will tell whar works best for you. Leave rourself room to move, bot be consistent.

Elements of Wraith e're so engaged in doir!R chinStSco achieve pur, poses of 0111er value rhnr we forg« rluu rite in· ncr t,l(lllle, rhe mJ>rure rhm is nssocinrcr of elements must be juggled wlrhin :t game of Wraith; rmmy themes and ideas nrc ur)ique to mles hwolving the Restless. Horror, terror and romance require special han· clling to i>c effective in a game. Atmosphe,.., and suspension of disbelief :tre all-important tools. Without these elements, Wmith becomes just another game- fun, but ultimately shal· low.

Theme A unifying theme or colltcrlon of themes is centr•l to otorytelling games. Wrdith has many themes - alienation, terror, tr:lnscendence and defiance :tre but a few. Themes fo·

cus the attentiOt\ of both the players and the Storyteller townrd a shared vision, rumin.g n simple exercise in inrrigue or mayhem into a &tory with resonance and meanm~.

A theme is a unifying idea or concept behind n story. One tale can have many rhemes, while an extend~-d chronicle c.1n have a single underlying idea. A chronicle about tracking a serial killer may cover a lot o( ground through different stories. E.1Ch of mese stories will have 3 central meme; ooe mar cen· ter around a mother-daught<:r conflict, while the ntxt con· ccnmnes on recurring nightmare$. The themes o( the SLorics within the chronicle will vary, but vengeance, the central theme behind rhe scenario, colors the chronicle :\5 a whole. The memes below mere! y scrntch the &~rfuple would ramer bum in Hell forever man leave their identity behind. • Inner Conflict - The wraith's worst foe is her Shadow, the epitome of everything she suppresses, hates and fears about herself. When you're dead, there's nowhere to hide from that aspect of yourself. I usr a< ghosts are trapped outside c>l' life, they are, in many ways, trapped inside their own heads. Will me wraith &~ccumb co the temptation• of rhe Shadow or hold (.,t to her beliefs! • Defiance - A defiant attitude is ofren useful in the world of me dead. With w rnany soul$ w-rapped up in mdr

own misery or in ch(tins held

by orhers, e;.1ch wrdith must ci·

ther cake control of his own destiny or fall into slavery. Wraiths continu~ to ~xi~t in
the Underworld as well, pursuing their own goals in the after· life. • Triumph- Eventual rriumph over death, despair and the Shadow offers a long-term goo! to Wraith players. Defeat· ing ~•gcnrs of the Hicnucl\y or Renegades~ besting Spectres or

killing your murderer all qualify as small triumphs. Larger tri· umphs include finding Tmnscendence by coming to terms with yourself. batding your inner Shadow and winning, and refus,.

ing to succumb to despair despite the pain that the afterlife may bring.

Suspension of Dis~elief The Restless, by their very nature, raise cermin questions

'"'d require careful handling. Suspension of disbelief, the prime elemen( of any swry, is especially important in a Wrcaith game.

If your ghosts seem ridiculous or inconsistent, your game will suffer for iL Setting a believable scene is essential; if you can get your

players to accept the reality of the Underworld, the odd fen· n1rcs composing it arc easy to swallow. Consistent internal logic i$ virol to believabilitYi all rhings should work the same way

all the time unless there is a compelling reason (like the warped reality of the Tcmp<.>st) why they do not. Establish a reali ty to suspend your players' disbelief. Consistency excuses a multitude of sins.

jragedy I acr rhe role in classic sryle of a martyr Cc1rved wit/a c~ twisted sntilc,

To bleed rhe lyric for rhis song To write the rites co right my wrongs An eJ>iwph ro u brolu:n dream To exorcise this silent sCTeam A scream that's borne from sorrow. - Marillion, "Script for a jester's Tear" Although the point of most roleplaying g-•mc-. is to be heroic and triumph against overwhelming odds, occasionally yot,~

may wish to tell a very dramatic and, from a storytelling

standpoint, satisfyingly tragic story. Tragedy is often handled poorly, but this is because many people think that it is simply a story Hboutsad circumstances. This is not true. A tragic story is 3bom t'l char
on to meet h is fate. l-Ie faces his fate with dignity, courage and strength, and in the end, we admire and empathize with him.

To tell a good trt1J.(ctly, you mu$t \mdersrand it in the literary sense, not the colloquial sense.

A rrngic srory con be just as bc:IUriful an
Horror an~ Terror Though the nnmcs :~rc often t•~ed inrerc.hangcabl~·, horror and tenor arediffcrcm cmorions. Each has its place in Wrairh. • Terror- Terror isrhe intcllccru:~l idea that something 1.5 wrong and it•s goinsc 10 gcr wone. Most terror operates wilhin the boundaries of whar an observer will accept; it ig :m oppre· hcnsi\m rhal h~1s bc~un to take on sub11mnce. When n shadow em rhc w:.ll seems nOLt luitc right, nch:1mcrer (ora player) can feel terror. Terror implie5that all is nor yet lost. While a roller-l be :m overr threat of ph\'Sic"l violence. h's much murc subclc thon horroa·, nnd can be far more et'feccive. TI1c anticipation Or ureacl of some di~-.sler is ofren !\\Ore com· pel! ins: than the di>:ISt
·n,c

~omance The ctL')' arrt~imnenr of lo~~e makes it of liule value: tlif{iCI
:r,wryrclling.

d() !lot explore ar least some of them, you will be sell ing your>df (and rour stories) shon. T,,ke hearr. Mnny people prefer romance when ir is presented :r,ubLly rmhcr 1h;:m ovenly. Don'L rush a romantic plotline 0 11 your ch:.u acccrs it will (eel rorC(.-d, and one thin~ that rnm:'tncc should never be is forced.

•

When n.mning romance, ir is bat to undersrand what the characters and ny to create Storyteller charac-

moti\
ters tailored to their desires. Be sensitive to the players' wishes. jusr bec~mse :1 charac£er lo,•ed someone in Iifc does not mean thnt the feelings remain in death. You should explore how the character feels nbout his Coroner loved ones. Show the wraith howa loved one is affected by dearh. Be paticnr- no marter how much you may like romance, you may never be able to interest your players in it unless you can be patient with them. If the player i$ amenable, you can play wonderfully romantic stories involving longing across the chasm of death, of a living lover essentially willing herself to die for her lost love, of the pain stemming from a fallen love nnd how rhe lover who is lefr behi nd remembers his fonncr love. You can also move these swries beyond the traditional to11Ric Rhostly love story by giving rhc lovers dtne m be [O(;CI'hcr rhrough (X>WCl'S like Phonmsm and Embody. Even more bo;,Jutiful are two who fall in love after death. The mhcrently tragic nature of their love ndds ro rhc story: will Oblivion erode the love they have woven from darkness! ()(ten, romance and tragedy combine tO produce stories of unsurp.,sse
Knowing When to Stop A funny rhing happens when people tell stories mgcthcr. They rake dsks. let themselves go, and evoke nspecrs of them· sclvc> that they suppress in daily life.TI,is can, in moderation, be a great thong. Everyone needs a release. SUI mking risks in a !OCial siroatlon leav.s many people feeling exposed. Player$ can take offen.e and become discurbed by imaginary things. Roleplayong •• carharric; rhar is to say, it brint,'S up and purges deep feelings and impulses. Catharsis is healthy. but le.wes that person fcdinu more vulnerable than usual. 11'is is especially m.1e when dealing with horror and fear. IL's fun tO walk along thor tightrope. Falling can be another thing entirely. Gaminu is n wonclel'ful way of facing fear and frustration he:1
Chronicle chronicle i!i a !icdcs of interconnected stop rles with common ch:,mcrers and a centr:ll idea. lf a story is a chapter in a book, than the chronicle is the book itself. Individual 6lories are 00.'100."11' impon:am to a storytelling game, but the chronicle pro· vidcs a backdrop and foundntion to the tales

as n whole. A strongly construCted chronicle can help players sus· pend disbelief by providing a vivid sellitlg for their imaginations. A good chronicle i.l memorable, enjoyable and meaningful. By setting )'OUt ste)'trs create mythology.

Creating aChronicle Begin br•insmronin~ for yO\or chronicle long before your players create their chnmcrers. l11c sharper your ide"• and ovemll concept from the outser, rhe hener everything else will work Inter. I! can be rime-consuming to create n Wraith chronicle, bur rhe work you do ot the beginning will I"'Y off throughout future play >CSSions. laying the groundwork Is o good place to start. Establish l"'"' serring, anmgoni.su and overall theme at first, then work outward from there. Be flexible; your ideas will change as you ~o on. Let them. Where will your chronicle take place! Would you prefer a town, a cit)' Ot' some rural area~ \Viii your characters remnln in the Shadowlands fnr rhe mosr parr, or do they possess Arcanos rhar allow them to rmvellnto the living world! Is your chronicle set around a Necropolis; i( so, which one! Whar is it like! Once you establish your setting, you ne~ to decide what connecrs and unites the chamcters. At this point, you should develop the primary antagonisu of rhe players- memorable adversaries have distmc:r persooalities and motivations. Finally, decode rhe general direction and theme that you would loke the role to roke. Don't be too rigid in this. Your chronicle will coke some surprising tums.

While C.'!mptcr 1\vo of this book provides a basic sertil1g a!ld background, the r;uk.s of rn:lpping and populating the IUC:II Under· world fall to )'ou. I( yO
Characters T he charaue" arc rhc mosr important elements of o chronicle and need to be the focus of every story. As such, pby~r involvement in crcatit)JC the chronicle 1s paramount to

success. 11lis onay "'eon obvoous, but it is all too easy to fall into rhe rrnpof designong a -mingly wonderful chronicle th:u does not involve the characters as it> promgonisrs.

Most character eroul" will rc,•olve around tl1<:ir Circle; pial'<~' characters tend to find safety in numbers, and rh,. Is doubly true in Wraith. Your players m.1y be united by 3 common cause of death, a single Fetter or a compelling pui'Jl05".1llis unifyin~ rhrcad will give all of you n springboard frnm which ro launch your chronicle. Establishing rhe nnrure of the Circle ahead of time will save you a lot of trouble In the long run. Get involved in charnctcr creation; relling yO\or pl~yers what to do isn't a Loo00 idea, but a guiding hand will ensure rhar rhe pieces ftt t<>geth
Antagonists The opponents the chamcters face in thecourscofu chmnide are very imporuont. Antagonists provide a foil for reflec:ring what the characters strive to an:oin; on a more imm~i~te level, they add excirement and connlct to the chronicle. A great villain can make all the difference in a beginning chronicle, whole a weak one may spoil tl•e lllOOit elabornre of tales. Norhing holds a chronicle together, stOtl' to story, bcucr than a good villain - all individual (or close group) rhe char· acters know is &nalcvolcnc or evil. During che course o( the chronicle, rhe characters should confront the same villain(s) time and time again. TI1is provides continuity ro rhcchmnicle as well as a familiar face rhar rhe players may well love to hate. If rhe same villain or group can be found opposing the ch:or.oc· ters at every tum, you will heighten the playcn' onmlvement. The most imporranr anragonists the characters face, how· ever, are rheir own Shadows. Turmoil within the individWII is a central theme in Wraith. Each Shadow should h:l\'e a dis· tinct narurc - they arc nor merely "bad angds" on their Psyche's shoulden, but the summation of all that is most (righrening in that character's soul. Shadows must have depth, com· plexicy and lllutivatiun. Villain\' is not C\lricnrure; the most memorable villains nre the ones who are the n'IOSl huumn.

Title Almosr every bool:, pl1y, movie, poem, painting and sculpo rure has 3 title; )'OU may want your chronicle to have one.., well. Give l'OUr chronicle a ririe and have the players p;ot it on their characrer sheers. The title of the chronicle may be as elabonotc or as simple as you want, and the ritle itself oomy forc•h,Kinw rhincs to come. A title like "Tile umghing Darkness" m~y $U(lgC$t more oonin0\15 things ro your pb yers than you yourself had in mind.

Approa here are two basic types of plotlincs srory·driven and characrer·driven.

With a swry·driven plodine, the Sto• rytdlcr creates the story of the antagonists. She derermio1es who the ant
plots hinge o n the characters' reactions to

their antagonists. Stopping their enemies should be in the Circle's best interests. The chronicle ends with the success or failure of the antagonists' schcntcs.

Story-driven plotlines can be easy to non beamse the Story· teller doesn't depend on the players' decisions to advance her chmniclc. If the group doesn't act, their enemies grow stronger. n,e biggest danger ofdesigning this rype of plot is balancing the villains and the player characters. If the antagonists are roo powerful, the game can become fniSl-ntting. In smry~drivcn plots, theStoryteller must give players opportunities for l!!occe,<~. Let rhem have a few chances to stop Enfunts in the service of the enemy or cmsh somcghost·hunters. Otherwise, player.; may decide that d1ey don't h~1vc a chance :;1nd refuse m confro nt their persecutors. As a

general rule, an enemy's plan should have three or more things dmt could go wrong. Also, it is easier to upgrade enemies than downgrade them. Despite the advantages of the story-driven plot, most begin· ning Wrttith chronidcsarccharactcr~drivcn. In a charactel'..driven plot, the focus shifts to the player characters. The Storyteller tries to manipulate the characters into pursuing a set of goals. The Storyteller should sketch out some motivations for d1e charac· rers. If, as a Storyteller, you don't know what a particular charnc· ter wanrs in life, ask the player. Good players recognize the poten• tial for a plot line and tend to follow it if they are given the right reasons. This type of plot gives the player.; great freedom in die· taring the pace of the chronicle. It works well for quests, where the chamctcts have to find an object or peoon, or accomplish a rask. Strong Storyteller·non
determines rhe goal and the11 comes up with reasons for the characters to pursue it. l1'1crc arc two ways to motivate char.. acrcrs- positive reinforcement (the carrot method) and ncga, rive reinforcement (the stick method). To keep the players moving toward a goal, vary the use of these methods depend· ing on wtmt gers the mosr response.

The carrot method involves offering the characters a re· ward if the1• putsuc the goal. The players see something they

.. want and decide to go afrer it. let the ployers make the dcci· sion you wanr rhem 10 make, but don't force them to d(l it. Make no
Once you've determined the go
Chronicle Concepts Chronicle concepo< define who the characters arc and whar situations they will encounter. The best way to keep your g:tme

Interesting Is to stnrt it off intereninu. so it helps to choose a concept with lots of plor hooks that intrigue both you and your players. A few of the possibilities nrc lis~e-d below. • The True Believers The Circle wmb for one of the three major factions of the Underworld - the Hiernrchy, the Heretics or the Ren· egades - and believes strongly in i.- cause (or pretends tO believe). 1l1c chnrnctcn; are on the low end of the totem pole, and they're sent on the dirti~t jobs ond the most hopeless a5Signments. Depending on the auirude of their wpcrloN. this could be a glorious campaign to""' rhings right and improve the world, or ncnr·rormenr or the bottom of the bureoucrar ic ziggurat. T hough the charoctcrs mny have access to gre:ner

resources than frcelnncer·sor ncutruls, they nlro must keep their faction's ends in sight ... which may make it difficult to tend to their own Fette" ond Passions. Because of the "go
Why foght; you're already dead. The chamcrers may avoid conflict as much ns possible, whcrhcr because of idenlism, pnci· fi:.1n, cowardice, or o1her intertsts. This is nor easy. ~ide from

the fact that tm one around them is likely to stop their intrigu· nario, the1•could be double agent>. They cun be honorable or ing, rhcch.1rncters m:tyfind thenuelvtsunderfl.-., in turfbanles entircl)' clishom:."it, ancl they rna)' not even uncler&rand which tO test their neutrality, or even to test the Strcn~th orGan~ >tdc they 1\'0rk for ... and Cohott> without fear or retaliation by more powerfulal· Ag:1in, if the Storyteller is willing to rut'l crossovergames, lies. Thei r friends, whether few or many, will flnd it difficult to the chnractcrs cuukl easily become involved wirh orher Aw:ak~ help them without compromising their Owll positions. Even~ cned crcar.trcs. Keeping tabs on the vnmpire prince o( a city is tually, they cuulJ become respected for their scond and sought a more·than·fllll·time job ... as isspyin~ on the Glass Walker af1er to ;orbit rate disputes, but StatuS of that SOrt will come wen:wolvt.-s oa' bchal( or a Hierarch. slowly, If at all. • Babe• in rhe Wonds or COOl><"tl play all ends •G"Inst the middle. Some spies and freelancers do and ha\'C little or no mcmOf)' of the1r IXtSI Jt,·cs. A'i new arrh·~ this. Watch out - double agents and mercenaries arc what als, the)' know hardly an)'thing about the Unden,·orld. either. the VII'> cllll "expendable." This is a problem. • The Guardian5 Yuunu wrai1hs might be under chc care :•nd wrelage of :.t Home is where the heart is, nnd the wraiths of this more experienced wraith o r undl'r lndoctrin:ltion by a fanati .. chro nicle nrc om w protect whar they love, no matter what. cal brnnch of the I Jiemrchy, Heretics ur Rene~aJc-.. The per· They have living relatives and friends - strong feners - and sonulity -good ur bad- of their Menror(•) will be very im· now that they know, firsthand, what the afterlife holds, the pormnr m the chronicle. Conve~ely, they could be trying to chamch.:r) )cck to prevent both supcrnacurnl and mundane make It on their own, figuring things out lb they~ along. forces from dtStllrbing what they hold dear. This approoch is one of the 51mplcs1 for new playe~; no This kind or chronicle allows plenty or det<'Ciive work, one has to know anything mo.-., aboot the ~r.~me than is neces· S.ltut))( rolcphaying opponunities and crossover s:rorit:s. Be care· sary for character generation. If the eharncter> arc complete ful nm to limit the !:"me ro "what's bothering our living friends an\ll\.:~ina, c\'crything a m be discovcn.-d :•s rhe ~me progresses, this week I" One mysterious phenomenon in the neighborhond :melt he players willleam things just ~s their characters do. could eu>ily fuel session after session. And don't forger: the • Historical Unclenvnrlimilar l'i1ssions and Fer· The Undenvorld Is a waysmtion between this life and the tcr:. ((rccdum, iusticc, homelands). next, and the characters just want to move on. They may know Ano1her op!lon is mo,·ing the seuin~ i~SCifback in time. (or think they know) exactly whar needs robe done, or they ln rhe french Revolution, for instuncc, the >pirits of goillom.•y AptOt'>would order them explore the darker half of the game extensively. nbout, und the peasantry would make claims upo n them (or Of course, if thcchal'flC{Crsnrc SLill seekers, they may cover protection or retribution. All this would add to the ordinary the length and hrcaclrh o( rhe Underworld following up clues hamrds of the Underworld. and leads concerning Tmnscendence. ferrymen are rumored to know a clue or two, some of the agems of rhe Far Shores insist that they know bi1s and pieces, and rhe Circle might contoct stranger things as well. • Espionage earh I<>V
Story

4

~ plo~r than a storyteller who pulls the g-.tme along a predetermined path ":gardlcss of whar rhe players want or do. Try

nm to force your pl:.tyers intO any situation they try to avoid unless you have some re;::ason lO (rustratc them or some plan ro reward them. Stories ideally begin with an idea and grow out• ward rhrough the efforts of everyone concerned. The story cottcepts below may give you a few idea5 for your game, but only you know which concepts work best for you :md your gro<.ap. Feel free tO experiment; storytelling, un· like boord gaming. is freeform, not rigid.

Stol)' Concepts

months cleaning up the mess and liCatching for the losr. Bt.ides the changes in their own world, some horrible t\'tOt was so~ly the sparlc for che devasrorion- Maelsrroms often begin with death In huge numbers - and Fetters can be completely dcsunyeclln riors, {ires, wa.r orother disnsrcr.t • The Harrowing Try though the characters might to avoid ir, eventually at least one of their number will be taken by the Tempest. This nighrmare ride is fast, tenifying and confusing, and makes for excellent story mat
Swift as light and as clact'l'ing '"""'the idea liw brok in upon l'ience ma~~ provide coundcMS cxrra characters (or thr others lO me. "lluwc found it! What terrified me al. ..and hope that whatever they needed is still around. rhe threat is from chc upwardly mobile, fcom nice folks rrymg co clean up the neighborhood, or from bulldm.ers clearing out • On the Home Front Sometimes the story comes home to the charncters. Per- the local cycso~. there's somerhing breathing down the char· haps their Haunt ill in dancer, or their loved ones are under acrcrs' necks. Now the characrers have ro get the living out of atrack. The Circle is forced on the defensive, trying to stay there, by hook or by crook. Can they be scary enough ro rid one step ahead of their enemies- and the enemies they see themselves of these pcm! • Freelancing mny not be the real threat. While rhe characters are trying to The characters ore npprooched by highcr·ups willing ro prcvem rhe Hierarchy from taking over the neighborhood, the Heretics may be convincin)l their alii(-,; that holy war Is rhe pny well for services rendered. They might be asked to hunt key ro salvation. Meanwhi le, crazed Spectres threaten to de· down a Spectre, rrnck down n wraith's Fetters, or corry mcs, srrny che lives of the living. Con the characters figure out whn ""ges from Necropolis to Necropolis. Is behind this madness! Only time will tell. This could be os stnaighrforw:ud as it seems. If the Story· teller wishes co make things tricky, however, the chamctcrs • The Maelstrom In rhe midst of an ordinary evening, bells rinx out fn.lln could find themselves embroiled in local politics. Arc they the towers of the Necropolis in which the characters live. The being framed! For whom arc they actually working! Was the alarm is a waming that come$ perhaps once in a decade - a mission as simple :•s ir seemed? Did the charocrers sig11 nny• Maclsrrom is coming. O ld souls head for their Hnums immc- thing co guarontee completion of the task! diMcly. knowing thnt chc storm Lrnvds faster than a wr;llth • Raiders ol the Lost Afrcrlife cnn run. The panic is incrcdihlc, ~md no one sl!em.s co kllow There's an ;utifacc our chere- a (nmous, powct-ful one, when nr where rhe thing will starfoce. If the chnrocters have a and the race is on to get to it before someone else due•. ln fact, strong Haunt, will they reach it in time! If rhcy have nQ everybody wants it, nod the chamcters have snunbk-d on an safehold, where will they 1,>0? And wherever they cod up, will imponanr clue co it• location. Now, not only muse they rush their shdrcr l:ur the night! ro find it, they must also dodge all the other competitors. Aft
••ith the mysterious object in met won 'r be eosy. Whar if it's huge! Whar tfit'$ fragile! It may ~ven be an obnoxious wraith imprisoned long ago and transfonned into a mere obj<-ct ...

~etting the Stage Storytcllinl: is a lot like

the>~tre;

setting rhe stage allows

your audience ro srcr from the real world into another one,

lea>•ing everyday concerns behind. This approach, also u..::d in mngic and religious riHr•l, helps prepare bnrh ynur plarers and yourself for somerhmg differenr, somerhing "othtr.• Cl>angong rour mindsers from "daily life" to "storyrime" frees you to create together. Removing distractions, if only fnr a moment, can make u world o( difference in your go.me.

Storytelling games ore usually played indoors at a table in the kitchen, den or living room. There should he ch• irs for all the phoye,., nncl refreshments if the gaming se$Sion is to last awhile. You should also consider any props you ntight nc<-d, any modifications to the room to set rhc mO<>
ing. A moment of silence, the lighting of a candle or even a concise phr-•sc (like "•nd ir hegins ... ") c,1n set the tone for the

game. This kind of"once upon n time• introduction can gu a long wny toward establishing the right mnod. lk(orc you begin a new $ession, mnke sure that there are no loose ends from the last se$Si01\, such ns cl1arncter expcri· ence or rule interprcLaLions. Once you nrc ready ro begin, you mighrrcll rhc players rhe ririe of the new srory, if you've given it one. Remember that the most importnnrline is the fir>tline; hook your players at the lx:ginning of each game session and dnlw them along as you go.

Conflict llliurrature is concerned ouirh nuo rhings: ~X and violence. -Dr. KennnOict is dynamic; through struggles both internal and external, rour tales and char.tclcn progress. By providing your character'!§ wirh an obsn•cle to overcome, whether it's a char..

/

.. ..' •

.'

•

acrer, a situation or :.' n institution, you give them motivation and purpose. lnrerm.J <-111d extermlf connicr lUC both important ill Wraith; internal battles with the Shadow contrast with the e xternal t hl'ears from the Hierarchy, soul~slavers, Heretics. Renegades :1ncl m her assorted rac rions. No nmttcr which side of the fence your players choose, their characters will feel en·
• Circle vs. Hierarchy

The colossal bureaucracy of the Underworld is much like cenain unscrupulous governmen ts in the Skinl:lnds. Call ing rhe Hierarchy corrupt is an exercise in undcrsuncmcnt, and the c.ha racrers will ofte n find {hemselve.s pirrecl ag-.tinsr irs min· ions and its dictates, even if chcy work for it. Existing within

irs lahyrinrhine im emal (Xllitics is ;·Jlmost ns chlngcrous as rc# sisting its enforcers. Though the Hierarchy docs offer smnc small prorectioll from the tribulations of the UndNworld, its power is often used ror ryr.mny, and the Circle would do well co avoid its direct attention. • Circle vs. Heretics The religious cults o( rhc dead can be just as fanatical and oppressive as any followed by the living. Altl>o11gh m"" Yof these groups arc wcll~intentioned ::md basically benevolent, rhc resr arc as clrcadc
• C ircle vs. Renegades You can't make on omelet without breaking eggs, and you can't have a revolution without a little bloodshed, or shred· ded plasm, as !he casc may be. If !he charocters try to oppose the Renegades' pl:uu, the rebels may take steps to ck-ar them out of the way. Even as innocent bystanden, the Circle may be in danger as the silent war continues around them. Totally neutral charocters can still come under fire if they get a repu· mtlon (deserved or o\Ot) for assisting other factions. Player charoctcr Renegades may find it difficult to obey orders given them if their peoonal gools fail to conform to those of their allies. In any case, e11re should be taken when dealing with these ul\prcdict:3ble guerrillas. • C ircle vs. C ircle Conflict between groups may take place on a much smaller, more personal level, of coune. Circle vs. Circle conflict is all too common in the fight for the Shadowlnnds' scarce resources. The issue could be as simple as right-of-way uld seek impartialarbitr:uion (ifsuch u thing exis!S), bm there's no guamntee that either will abide by the decision. • Wraith vs. Wruith Imagine being murdered and d iscovering that your killer has On:llly been executed and revenge is yours - if you c:m find her. The reasons why one wraith mleht trouble another arc"" numerous and complex as in real life, but wilh !he ele· ments of death and eternity thrown in, even minor slights c.1n take on obscene importance. Of course, wrnirh vs. wraith might be a po6itive challt nRC: two rival &lndmen could strive to put on the best drt,.on·plays for the Living, or famous historical swordsmen might duel in the Necropolis streets, or adolescent wmlths could vie for the best trick on Halloween. It all depends on the intent of rhe participants. • Wraith vx. V11mpire As the movers and shakers behind much !hat is wrone with the World of Darkn<-.s, vampires may be the indirect cawe o( otumy wrailhs' dc:uhs, particularly !hose who dwelled in cit· ics while livin.g. Any wroith out for justice or rcforrn woll have ro byp.1ss the Leeches one way or another. Or 1he vampires may come to them first. The Treonere (!<>rccrer vampire$), the Samedi (hideous zombie-kin vam· plres), and especially the Giovanni (ne-cromancers) all have interest in infom1ation from the Underworld, and most would have no qualms about binding wraiths into positions of servi· tude. • Wnoith vs. Werewolf Alrhough the Garou ore aware that ghoors exist, they tend to avoid contact with them. Wmiths me unlikely to meet most

tribes o( werewolves unless they m11ke a special effort to do so.

Unfortul"'rltely. such an effort is nlmosL certainly unwelcome. TI1e Restless believe that Spectres anack werewolve$ when~ ever they can, as parr of some unknown plot of Oblivion. Because Garou seemingly can't tell wroiths apart from Specnes, werewolves· 1uua,nisn1 is undcrsntndable. • Wraith v•. Mase These magicbl, reality·shiftin~ idealists work wio h wrAiths more closely and more often dum any orher Aw~tkened crea.. tures in the Umhrnl Realms. Mony of them can see and hear rhe Restless if they make the effon. Quite a few of them are aware of the situation in !he Shadnwlands and will trade fa. vors ancJ assi~• l'hc wr;;ti(hs in their go.1ls. However, less scrupu· Ions m~tl:e& are not above enslnvin1( wmidls, bindin~ [hem inro magickal objects or even distill in~; rhem for rheir Pathos. The knowk-dgc woincod by rhe fint group often fulls into the hands of rhe second, forcing entire Necropoli to submit to the whims of wizards. • \Vruilh vs. Supernatural Depending on what other supernatural clements you choose to include ial your d•roniclc, mher (orccs may :1lso op· pose dlc chur.ococn;. Besides regular vampires, werewolves and mages, there arr mummies, ~hangelings, !he animated dead, shnpeshifters and gargoyles, ju>t oo name a few. • Wraith ' '"· the Quick Most of the wraiths who Inhabit the Shadowlands are more concerned with getting into contnct with tl1e living rh:on wor· ried about what might happen when they do. The Quick don't tend m noroce them, and unless the wraith neecls to talk to someone, rhi,s is preny convenient. Despilc l his, there :uc many orr;:lnizations whose sole pur.. pose is to g:oin knowledge about the afterlife and the Restless, and their reasons are not usually good. TI1e best of thc.articularly if the player is at all like his chamc• tcr. • Wraith vs. Self Not every intemal struggle nec
The chamctcrs do not rc-.tlizc whn rheir enemy is, or who oet:ks their dotrucnon. This makes it all the more terrifying. • Wraith vs. Spectre Oblivion is a pOwerful enemy, and many are not strong enou~;h to wnhsmnd it. These lost souls, called Speccrcs, wander the Shndowlands, leaving desuuction in their wake; rhey flU the Tempest to bursting with rheir grote$ possible that this kind of person may Tmnscend very ea.'nly. Those who arrive slightly crocked had beller mend quickly or move on ... the Shadow can subven most kinds of madness.

Advanced Iechniques

caricarures of themseh•es. Even if the dream is that of only one chamcter, the other players may sttll participate in the dream by assuming rhe roles of the cxher people, creatures or even settings in the dream. The player or players ne<'tl ne\•er know whose dream they have entered, bur the story of the dream should always be important to the overall theme of the tale. While playing out the dream •cquence, you must deter· mine how much larinade rhe ch:."tr~ccers have within the dream. This spectrum of Storyteller control over the dream sequence ranges from a minute description of the dream tO simply throw~ ing the charncrers into o dreom and describing what appears while giving players control ro do as the!' will. Storyrellcr·COntrolled dreams lire cood for foreshadowing upcoming even!$ or foresmblishing symbolism within the story. The charocter's Shadow may begin to ~naw at the Psyche by appearing in dreams and driving sleep away. Such an invasion may precede an all-out assault or may come to n()(hing. Keep your players wondering. Remember that when sroryrelhng a dream sequence, the action and senings should be dreamlike. Characters disappear and reappear from the dream, events happen with no logical order or Row, settings change in
flas~~ack

While a dream is concerned with how an aspccr of rhe o what are we going w do for the rest of our lit'Cs! Stay lwme and wou:h rht /Jhback is concerned by! Amuse our~lut< with the glass menag. with how an a>p<-ct of the pasr relates ro the pr~nt. Rash· trit, darling! Eternally play !hose worn-out backs are common around Fetters. and vivid memories of the phooograplt r«C uJ· glimpse of rhe behind·the·scenes Incidents that spawned the vonced concepts must be carefully planned and executed with events they are currently tackling. lllere are other, mure dr:mmic uses offl:tShbacks, but these grncc and finesse to work effectively. If you employ them cor· rccdr, howe"er, you will create a story your players will never should be used less often. For cxomple, a flashback to a certain forget. player character's past can be used tO intrO
Dream Sequence

Sym~olism, Motifs and icons

Used properly in a storytelling ~me, the clich~d dream sequctiCC can oc-come a powerful device. The dead do indeed One of the rricks )'OU c.1n steal from mo'•iemakers is the dreltm, and their ' 'isions are rarely pleasant. Wroiths with the use of spnbolism, motifs and icons. This must be done subtly; Phonmsm Arcnnos may even emer and alter the dreams of morro Is. if )'OU put heavy-handed symboliSm mto stones, ir will feel llle t<-chnique, a$ i!S name implies, is simply o dream that IK-avy·handed and min rhe effect. Is either shared by all the chamcters or is specific to one of You must introduce a symbol by dropping it into tltc back· them. In the dream, the chamcrcl':! are either themselves or ground of your seuing: street namc:J, places, people, the names

o( stores,

gra(fili on a wall, }t ntpestry rhac•s hanging in che Citadel's main hall. Once you introduce the symbol, keep it in mind and mention it once in a while when the thing reprc· scmet.J l>y that symbol appears in rhe srory. For example, let's say you d~cid~ that fire is a major symbol for the rebellion against authority in your setting. Let's say

ments. Remember that you are w~ving a gr~t novel. and no author knows for certain whar every detail of his finished uovcl will be before he begins writing ic. Also, writers don't have ro compens:lte for player decisions. The other imporranr thing ro do before you bcghl dcsigu· ing the next story in the chronicle is making nmes of an)t new

your chamcttrs rtbcl against the Hierdrchy by seeking the

settings or chamctcrs that were introduced into the chronicle.

Heretics in their Mea. When they return from their fateful meeting with rhe Heretics, they may pass by a burning build· ing. A morif is a symbol that recurs throughout the chronicle, 3nd its meaning changes as the chronicle continues. lf it rains in the same <~fire" chronicle, it could mean chat rhe Hierarchy has raken power once again. At the end of the chronicle, however, perhaps the Renegades rake control after a particularly destructive coup. The rain, now gentle ;md cle:msing, could symbolize " purge of the city as a whole. Below nrc some sample symbols to starr you thinking; you will think of many O
Large chronicles can spawn casts of hundreds of major and minor Storyteller chan&ctcrs and :;core.'i of imporr-.mr serrings. To keep your san ity, it's best to find a way to keep track of everything as it develops in the chronicle. Norccards (one 3" x 5" for each setting or character) work well because more information can be ;rdde
After aStory S11y g"r•l·byc ro all rhi$ .. . and hello to oblivion.

- Riff RaA', The Rocky 1-lorror Picwrc Show A(tcr a story's conclusion, you should consider rhc impact of du~ srory•s events upon the hlrger chronicle. Because stories often end in an unexpected manner, it is important for you to derem1inc how co reroute the chronicle int<> the plotline you desire or replot the chronicle based upon the new develop-

Ending aChronicle Ending with a strong conclusion is as importan t as any other part of a chronicle. Even if a chronicle conrinucs for sever(~) years, there is something magical about che moment that all (or most) of the various intcrconnccccd stories juxla· p<>sc in a great climax. l11e final session of an)'ChrQnideshould be an event to remember, so make the extra effort tO make the climactic event something special. After the climax, it often helps to wind down rhe :-tcrion wi1h a bit more storytelling in the same setting. Charac1ers can say any necessary good-byes or return things ro a normal state a(tcr vanquishing a villain. Once that's finished, ir's rime 10 begin planning the next chronicle. Of course, there is nothing that says you have to start from scratch each time. 1( you wanr to cominue on with the same charnccers and seuing. you can cake these elements in new directions. Players can become attached and acCt.IStomcd to their characters, and it's satis(ying to experience the growrh and developmen1 of a single character through several chronicles. However, t.lon'tlimit yourscl( to continuing what has come before. Some player$ may want to try a (resh penpective and create new characters, while others in the group keep [heir established chanlctcrs. Also, perh~1ps one of the players would like ro swirch roles with the Story1eller so that she may design and run the next chronicle. The storytelling troupe may also wish m consider integrating che new Wrdith chronicle with elements from one of While Wolf's other storytelling games such as Vampire: T he Masquerade, Werewolf: The Apocalypse or Mage: the Ascension.

ues Rule number six: r.ltere is no rule number six. - Moncy Python's Flying Circus

II games have rules. Some have only a few and are fairly simple, such as Chutes and Ladder.;. Od1ers have many and are extremely complicated, like bridge. Wraith has something in common wirh hom types- it has o!lly a few simple rules, bur mese few nales have a large number of permutations. You need only leam the basic nales, but their permuratioru evoke d1e flavor of the game, allowing it to simulate the complexiry of real life. This chapter pro· vides the basic rules of Wraith; you decide which permutation to use. Rules are like the myths rha< shape and describe a culture. l11ey define what is important and delineate rhe possibilitie.~ of existence. Though dlesc rules may seem somewhat strange and exotic, mey really aren't all rhat complicate-d. Once you under· stand them, you'll understand how to play this game. just concen· tme on learning these basics; everything else will come naturally.

lime De110uring rime, blunt thou tlw lion's paws, And make the earth dt110ur her own sweet brood; Pluck the keen teeth from the fierce tiger's jaM, And bum the long-lived phoenix in her blood. -Shakespeare, "Sonnet 19" The first thing you need to learn is how time passes in Wraith. There ar; five different ways to dcscribe .time, pro· gressing from the smallest unit to the all-encompassing one.

• Tum - One unit of time within a scene, anywhere from three seconds to three minutes in length. A tum is enough time to rake one action (discussed below). • Scene- One compact period of action and roleplayh,g that takes place in a single location. A scene is made up of a variable number of turns (as many as it takes to complete it); it can also be completed strictly through roleplaying, which require$ no U$e of turns. • C hapter- One independent part of a story, :>I most al· ways played in one game session. It is made up of a number of scenes connected by periods of downtime. • Story- A complete tale, with an introduction, buildup and climax, that often rakes several chapters to complete. • C hronicle - A whole series of stories connected by the lives of me characters and perhaps a broadly conceived theme and plot. It is simply the ongoing story told by you and the players.

Actions Besides acting out their characters' speeches and conver· sations, players will want their characters to perform (or at least attempt to perfortn) actions rhey describe to the Story· teller. An action can be anyming from jumping over a gorge to glancing O\•erone'sshouldcr to check for pursuers. TI1e player tells the Storyteller what her character is doing and details the proc<.-durc she uses.

Many actions ore nuLomatlc- for lnsr:'lnce, when npln~rcr tells the Storyteller o·hat her ch~racrN walks across the street toward a warehouse. All the Storyteller 11ccds to do is keep track o( where the character is aod what she is doing. I low· ever. cermin acLions require 3 dice roll lOdeletmine success or failure.

~oiling Dice There is always chance inli(c. There's a chance you'll win the lonery, a chance rou'll be audited, and a chance you'll die ill a plane crash. Chance plays a role in Wraith as well. However, Wraith playNs use dice co simulate the duplicity ofl:ody Luck. Wraith requires the use o( 10-sided dice, which rou can buy in any game store. I( you arc the Storyreller, you will want a lot o( dice, at least 10, all to yourself. As~ player, you'll also want dice, but you mny share dice with other players. Whenever the success of all action is in doubr, or the Sto· rytellcr th inks there is a chance your character might (nil, you will have to roll dice. Thb gives yourcharacteran opportunity to let weaknesses and strengths exhib it themselves, thereby revealing somethilllC o( the charncreri true narure to both )'OU nnd the other players.

1\atings A charncrer is described by her Traits- the innate nnd learned abilities and aptitudes she possesses Traits arc deft ned by numbers; each Trait has a r-•ting from 1 to 5, which de· scribes the character'$ ahiliry in th~r particular Trait. A I is lousy, while a 5 i~ superb. This scale of I to 5 is the ".r:or" mrlng system made (omous by movie and restaumnt critics. The normal human Trnit rnnge is from I to 3, with 2 !Je. ing average. HQ\\·ever, exceptional people can have Tmots of 4 (exceptional) or 5 (superb), or even h•ve a zero in a Tmit (which is extremely rare, but nor unheard of). x Ab)•son~l • Poor •• Avcrcagc

•••

Good

• • • • Exceptional • • • • • Superb

For each dor your character hos in a p3rticulur Trait, )'Oil get to roll one die. Thus, i( you had (our dots in Strength, you would get to roll four dice. I( you had one dot in Perception, )'OU would only get to roll one die. llowever, you almo.t ne,·er •imply roll the number o( dice you have in an An:ribute, which defines your intrinsic cnpabilities. UsOJnlly you get to add the 11umbcrof dice you have in an Amiburc to the llumbcro(dice you have in an Ability - things thm you know and have learned.

I

So if the Storyteller wants the players to roll to see if they notice the patrol car creeping up behind them, he would have them roll Perception + Alcrmc.ss- an Attribute + nn

Abil~

icy. E.1ch player would take as many dice as she had dots in Perception and put them in her hands. TI1en each player would ~•dd one die for each dor in Alerrness. These dice are collectively called the Dice Pool. A character's Dice Pool delineates the total number o( dice a player may roll in a single w m - usually for a single ttction,

although a player can divide a Dice Pool in order to allow her chnractcr to perform more than one action. When rolling for :;1 Trait such as Willpower, which has both a pcnmlnCnt and a

temporary score, a player almost always rolls a number of dice equal to the Trait's permanent l'flting (the circles), not its cur.. rent score (the squares). Ccnain actions don't require or even have an appropri~te Ability. An example of this is when a player soaks damage from 3 11 ~tttack. In s-uch c::tses, the player only uses an Attribute, rolling the number of dice listed for that Attribute- in this case, Smmino. There is absolmely no siwarion where more than two Troits can combine ro form a Dice Pool. Only one Trait can be usc-J if it has a potential value of 10 (such as Willpower or Angst). This me:ms that a Tmir like Willpower can never be combined with another Trait. It is generally impossible for a non·nal htunan being to have more than IOdice in a Dice Pool.

Difficulties I tiltv11ys rry ro do six impossible tltings before brcakfasc. - The Red Queen, Alice in Wonderland Now you've got to figure om what you need to look for when you roll the dice. The Storyteller assigns each task a difficulty racing, a number thar quantifies the challenge posed by the task. A difficulty is always a number between 2 and 10. You need to roll that number or higher on at least one of the dice in your Pool in order ro succeed. Each lime you do so, it's

called a success. If the difficulty is a 6, and you roll 2, 3. 5, 6 and 9, you have scored two successes. Though you usually need only one success w succeed, rhe more successes you score, the

better you perform. Scoring only one success is considered a n1argi1,al success, while scoring-three is considered a co1nplere success, and scoring five is a momentous event. Difficulties 3 Easy 4 Romine 5 Straightforward 6 Standard i Challenging 8 Difficult 9 Extremely Difficult

Two Successes Three Successes Four Successes

Marginal Moderate Complete Exceptional

Five Successes

Phcnornenal

You can see that if the difficulty is lower, it bccomcst~rsicr to score a success, while if it is higher, it becomes more diffi· cult. The Storyteller will assign high difficulties whenever the action you have decided ro rake is difficult, and will either let your character do something automatically (because her Attributes and Abilities arc so high) or assign a low difficulty if the desired action is particularly easy.

Though they arc not on the list above, you, as the Scory· teller, can also assign difficulties of 2 or 10. However, these should almost never be used. Difficulty 2 is so pathetically easy that you might as well let the player succeed wi thout wasting Lime on a roll. Difficulty 10 is so difficult thattherc is an equal chance ro borch (described below) as there is to succeed, no matter how many dice the player rolls. A I0 is pretty near impossible. On the rare occasions when you do announce a difficulty of 10, he sure you rc:-.lizc how impossible you arc making the chance of success. If a pbyer ever rolls a 10, the rcsulc is automatically a success, no maner whm. Unless rhe Storyteller says otherwise, the difficulty for a particular task is always 6. This is rhe standard difficulty; 6 is assumed if a difficulty number is otherwise unstated.

The ~ule of One The last thing you need to know about rolling dice is the .. rule of one.•• Whenever yma roll a" l," it ct1nccls out a success.

It completely rakes it away. You remove both the "success" die and the "I" die and ignore them. If you roll more ''l's" than you do successes, a disaster occurs; something called a ''botch" takes place. Don't count the" l's" that canceled out successes, but if even a single " I" is left after all the successes have been e3nceled, a borch occur,;. Gening a single .. )" or five "l 's" has about the same result in most cases; the circumsr;;~nces sur.rounding Lhc botch dercnninc if it is carastrophic or a minor mishap. If (here aren't any" I's" orsuccesses left, you've simply failed.

Automatic Successes You don't want to be rolling dice all the time~ it can ger in the wa\' of the roleplaying. Wraith employs a very simple s~rs, rem for 3uron1aric successes, ~1llowing players to avoid making

rolls for actions their characters could perform in their sleep. It works like this: if the number of dicein your Dice Pool equals or exceeds rhe assigned difficulty, your ch>Wdctcr suc· ceeds automatically. Such a success is considered mart:iMI (the

equivalel\t of scoring only one success), so a player will some· times want co roll anyway In Oil attempl to gain even more successes. For very simple nnd oftcn·repeated ~ctlons, how· tver, automatic su<.:ccs:scs can eliminate a lot of waned time. (Note that ccl'l3in actions, such as combat, an: alw:.ys prob· lematic and should not be handled with this system.) TI\e automatic success mles can be used ro elimio\arc dice completely. In such siruarlons, automatic successes aren't a mac~ ter o( choice. Either you are f!OOd enough to •ucceed or you are nor. It is simple, bur sow"" Cops 'n' Robbers, and we liked it just fii\C. TI>c sta
Complications You may have already realiz<-d that it is quire easy ro score a single success, even when you roll only one or rwo dice. You have a 75% chance for a mafl:inal SUCCtSS when you roll only two dice and the difficulty Is 6. While that may sound too easy. there ::tre various ways to complicate matcers, some of which are discussed below. For troupes heavily Into roleplay· ing, simple rolls and automatic succcsscs arc enough. Gener· ally, compllcarions are needed only if the playen or you want a break from the roleplaying, If )'OU want a realistic result, or if you want to make a game out of the scel\e. Complications add drama to the story, evoking passion and focusing events.

Exten~e~ Actions In order to socceed fully, you will sometimes need more than one success - you will need to accumulate three, or seve!\ or even (rurcly) 20successes. An ~ction that rcquir.,:; only one ~uccess is cnlled n simple action. An action rlmt requires more than one success is called un extended action. An extended action allows you ro roll over and over on subsequent roms in an attempt to collect enough successes 10 succeed. For il\stancc, suppose your character Is climbing a tree. n,c Storyteller announces thnt when you roll a total of seven successes, your character hns climbed to the top. She'll get there eventually, but the more times you roll, rhe more chances your character has 10 botch and injure herself. If she is attempting

to climb down the tree because it is on fire, the amount of time It rakes becomes exceedingly important. During an extended action, you can keep trying tu obtain successes for as long as you want, or at least until you full to score even one >ucc=. If you botch, your character may have tO start over from ~<:rarch, with no accumulated successes. The StOryteller may decide not to let the churncrer try agai n~~ nil. Thi$ type of action is more complicated than a simple ftC· tion and should not often be employed In the middle of in· tense roleplay ina. As the Storyteller, you decide what type of action is appropriate. A little bit o( experience will serve you well when employing these rules.

~esisted Actions Sometimes you will act in opposition to another churn<:· ter. Both of you make rolls, with a difficulty often indicated by a Tralt of the other character, and the person who scores the most successes sucoc:c:ds. However, you ore considered to score only as many successes as the amount by which you exceed your opponent's successes. The opponent's successes eliminate your own, just.,. "l's" do. Therefore, It is very difficult, und nuc, ro achieve an OUt$tanding success on a resisted action. Even If your opponent cannot beat )'OU, she can diminish the effect of your effom. During actions that are both extended nnd rcsisred, one of the opponents must colk-c.t a certain num~ her of successes in otdcr to succeed completely. Each succeS$ above the opponent's total number of succe$Ses in a single tum is added to a success totnl. The first opponent to cnllecr the dcoignated number of successes wins the contcot.

Teamwork Sometimes characters can work to~ether to collect sue· cesse&, most often during an extended action. At the Storyteller's discretion, two or more character> can make rolls separately and combine their successes. TI1cy may never com· bine their separate Traits for one roll. Teamwork is effective in some circumstances, such as when engaging in co1nbat, shod· owing prey, collecting Information and repairing devices. 0\lr· ing others, it can actually be a hindt'•nce, such as in many

social actions (where it can confuse the subject). The charr below may serve tO dispel your confusion re· garding some of the different type'S of rnll•
TryingitAgain It can ol'ten be frust.rating to fail. If you are havina trouble with your computer and can't figure out rhe source of a sysoem error, Lhen you're in for a frustrr.ring time. 11lis annoyance is reOected in Wraith by increasing the diffleul
difficulty of the action by one. Consider a character who tries to intimidate someone. If the first auempt failed, it's going be harder the second time around, so the difficulty is one greater. If tried a third rime, rhen the difficulty is two greater. In cases like this, though, the Storyteller might simply n1le that the character cannot even make another try - how do you in . . timidate someone who has already called your bluff? Other examples of when to use the rule are picking a lock (Repair), scaling a wall (Athletics), and remembering a word in a foreign language (Linguisric.<). Sometimes the Storyteller shouldn't invoke this n1le. A notable cxatnplc is during combat. Missing $0meone with a first glmshot doesn't necessaril~' mean rhat the gunman is frus~

troted and has a better chance of missing again. But after the gunman has missed a couple of times, especially if they are easy, close·range shoes ... Other examples of when not to use the n1le ate seeing something out of the corner of the eye (Alertness) and dodg· ing an mack (Dodge).

•

Try It Out Well, that's it. These are rhe rules. This system for dice is all you really need to know in order to play this game. All the other rules arc just clarifications and exceptions. So long as )'OU understand what's been discussed here, you won't have any difficulty understanding anything else. If you don't think you've caught everything, just read the above again; you'll find it makes more sense rhe second time around.

Now go ahead and make a few rolls, using the example chamctcr from the other page. Cassandra is attempting toes·

ca~

a group of Hierarchy legionnaires. She crouches down behind a low w:~ll, hoping that th~-y will mn pGS< wicxtcrity + Stealth. Take two dice because ofCassattdm's Dcxrerity Amibute ofZ, and one exun die becaU>C of C1.ssandro's Stealth Abihould now have rhree dice in )"OUr hand- nor a lot, bur at least you h:tVe a chance. Go ahead and roll the dice. look to sec how numy successes \'Ou have, making sure co utkc nway a success for every "I" you roll. Did you make it, did you fail, or did you botch?The more successes you get, the better you hide. Only one success might mc11n rhar you barely made it under cover in time. Two might me:ln that you manage co crouch under a little overhang. Three migh< mc:tn
Examples of ~oils Following arc some exnmples of rolls, m provide you with some ideas ;~bout how co incorptmue rhese n1les in co yuur role· playing. Pie~ note that each A of stmple rolls that cnn be made. Admittedly, you will not ofu score

five S\lccesscs, you'll know his exact raLing.

• After being quesubjec<. Roll Wits + lntimida
g :CI

c

g

Cl Cl Cl Cl Cl

a

Cl

a

0

Cl

a a a

~I

_ __ __ ,e eooo

~-----• · ••oo

a~ cr oo o

C3 Cl

Death: Rantlom Violence ~egret: True Love

Attributes

a c

:J

o a a a o a :a a

Q

c:1 1:1

AOilitieS

a o

eeooo

eoooo Dodge Empad>y eeooo Expression St reet Poet!Y..._eeeeo lntimidadon 00000 StnX:twisc eeooo Subterfuge eoooo OC1 "' 0

acaoaa

a

0

Cl Cl C> 0

••ooo eoooo •••oo eeooo eoooo

Haunt h::h::rnQdf!t!l Relic~

Rt;n~gadetJ

Cafe Inferno

aoc

a a a

Cl Cl

a a a ... ..

Advantages .. a

a Q""lf'a

C1

CofFJS

;JI 0

Ea-0 d

C

eeeeo 0 00 0000000

~~------·•••oo

Macinto,;h'"Computer eeooo "" '-''" '-'Pi,ecl.,m,_,o"'-n"'t_,_P,_a,'-"·k___ _ -'eOOOO

___________

~ooooo

_____________00000 fxperience a

0

a a

Q

c

•o a o a o

\~llpo~tr

>d fll>oO

a c

fathos

o o ca-o

D-G

••••••• oo o 0 0 00 0 00000 1

a o et a a c

a : •

I

g

1:1 Cl

a a•

eoooo 00000 00000

G

a

eoooo eoooo 00000

eoooo eoooo 00000

Cl Cl . . Cl D

"

c : a •• '

Alrutos

00000 00000 00000 a a

';

00000

Protect C!i!!thla (Love) •••oo Argoe~ Get back at gang (Rcvenee) eeooo Embod:~ Ruin J1ubli,;her (Hate) eoooo l ifeweb eoooo Ph~nJ:i!l!m Q~ lw~~ 11~" (EnlC£)

ICI

c:r a a

lnvestigatio Law Linguistics 00000 Medicine •••oo Occult 00000 Politics eoooo Science

Leadership Meditation Melee Performance Repair Stealth

a

Cl D

eoooo ••ooo eeooo

Firearms

IG

a

0 0000 Bureaucracy 00000 Computer 00000 Enigmas

00000 00000 ..OOCI

a:

Perception,_ _ _ _ _ _eeOOO Intelligence eeooo Wits eeeoo

r~ions

~ldQIQn

~~~~m

Cl Cli

koo~ledge

Crafts

Back~rounds

fefters

a oa a

flental

00000 Drive 00000 Etiquette

~;tCCI CICI' O

Cl

slills

•••oo

Cl 0

Q

Charisma Gu&,; eeeeo Manipulation_ _ _ _ _,eeeoo Appearance eeeoo

Talents

.. "' 0

mo-o a

Y!cial

~----'••• oo

o-oa

tfe: ArtiBt

Nature: ViBionary Demeanor: Rebel Shadow: Leech

Name: CaBBandra player: Meg , Chronicle: Atla nta

00000\ll\ll o oo

eoooo eoooo eoooo eoooo eoooo

PUJ1J1et!Y

.aaaa c

Weapon

Combat oo:= ao•

Difficulty l>•magc Pathoo

• You•re rrying to nop a c..1r thar·s careening out of con .. trul. Which engine purt should you destroy wirh 011rrage 1 Roll Intelligence +Repair (difficulty 6). • You try to dN:ipher whar's wrong with the car engine from rhe mange sounds ir's making. Rolll'crceprion + Repair (diffkulty 6). • You're rrying to make a m:uk out of n collection of trivial Relic<. Roll Intelligence +Crafts (diffoculty 6).

• Where should you search for your killed Roll lntelli· gence + lnvestig-•tion (difficulty 6). • While riding rhe electron highway, you get losr in the lmcmet. Roll Perception + Computer (diffoculry 6) to figure out where you arc. • You're trying to tell another wraith how to get what she wants ITom a computer. Roll Manipulation + Computer (diffo· culty 7). • BncakmG into rhe compurer system takes a long time, • You're wanr to impress the He.reric priest with your wenponmakingskill. Roll Manipulation+ Crafts (difliCIIIty 7). and you're fl~hting off (a
Game Terms bility: A Troit that describes what a character knows and has learned rather than what she is. Examples ate Intimidation, Firearms and Occult.

Points : The temporary scoresofTraits, such as Willpower, Pathos and Corpus- the squares, not the circles. Rating: A number describing the pcnmmcnt value of a

Trait; usually a number from 1 to 5, though sometimes anumber from I to I 0. Refresh: \Vhcn points are regained in a Dice Pool, it is

said that they are being "refreshed." The number of' points regained is the "refresh rate."

Action: An action is the pcrfonnancc

Resisted Action: An action that two different characters

of a consciously willed physical, social or

take against each ocher. Both compare their number of successe,s; the character with the most wins. Scene: A single episode of the story; a time when and place where actions a.nd events rake place moment by moment. A scene is often a dramatic high point of the story. Shroud: The difficulty to pcrfonn some Arcanos in a given area of the Shadowlands; this begins at a base of l 0 during the day and 9 at night. Various factors (Fetters, Warding, etc.) can modify a Shroud score. Simple Action: An action that requires che player to score only one success to succeed, though more successes indicate a better job or result. Storyteller: The person who creates and guides a Wraith story. The Storyteller assumes the roles of all the c haracters not run by the players and detcnnines all the even ts beyond the control of the players. System: A specific set of complications used in a cenain situation; rules to help guide the rolling of dice to create dnl-

mental activity. When a player announces

that his character is doing something, he is taking an action. Advantages: Th is is a catch-all category that describes the Arcanos, Backgrounds, Passions and Fetters of a charocter. Arcanos: The mystical abilities of wraiths. Attribute: A Trait that describes a character's inherent aptitudes. Attributes are such things as Strength, Charisma and Intelligence. Botch: A disastrous failure, indicated by rolling more "l's" than successes on the 10-sided dice rolled for an action. Character: Each player creates a character, an individual she roleplays over the course of the chronicle. Though "character" could imply any individual, in Wraith, it is always used to describe the players' characters. Corpus: This Trait measures the degree to which a character is wounded or injured. Dice Pool: This describes the dice you have ill your halld after combining your different Traits. It is the maximum number of dice you can roll in one tttrn, although you can divide these dice betweell (or even among) different actions. Difficulty: This is a number from 2 to 10 measuring the difficulty of an action a character takes. The player needs to roll that number or higher on at least one of the dice rolled. Downtime: The time spent between scenes when no role~ playing is done and rurns are not used. Actions might be raken, and the Storyteller might give some descriptions, but generally time passes quickly. Ext.e ndcd Action: An action that requires a certain number of successes for the charocter to succeed. Pathos: The raw power of emotion use-d by wraiths to perform Arc.;mos.

matic action.

Trait: A Trait is any Attribute, Ability, Advantage or other character index that can be described as a number (in terms of dots). Troupe: The group of players, including the Storyteller, who play Wraith - u.sually on a regular basis. Willpower: One of the most important Traits is Willpower. It measures the self-confidence and internal control of a character. Willpower works differently from most Traits - it is often spent r•thcr tll>m rolled.

Teddy '"'" 'niffing glue- he wru I2 years old Fell from rhe roof on Easr Tt(I(>-Nine Karhy was II wl~en she pulled r.he plug On 26 red.• and n boule of-wine Bobby gor.leukemia - 14 years old He looked like 65 wlten he died - he was a friend of mine Thnsc were t>

le who died - died ... They tuere all my friends - and rhey died ... - Jim Carroll Band, "People Who Died"

cforc you can hegin ro pl::t~t Wraith. you must create a character. Wraith, however,

nesscs of a charncter. More importantly, these numbers nllow the random factor created by dice to be employed in relation

is no[ like makc·bclicvc; you don't just

to the character's Tmirs. A strong wraith h;1s a bcrrcr chance

3 ch::~r::tcter

(though the Storyteller is regularly faced

to snap her manacles than a weak wraith d the gen-

with that challenge). A certain amount of

crtll co the .specific. First, you develop a general concept of

ch7~ractcrs are built.

who and what your character is- is she more socially or menrally developcd'Then, you get specific by selecting the ratings

make ur

work is involved -

as you go along

not born. Building a compelling yet honest character is acreative struggle. This ch:lp[cr describes how ro crcarc :-1 llllif(IIC char:Jctcr, bcgi•,ning with a gcncrttl concept and translr~ting this concept into numbers lhar can be used in Lhc ganlc. This process is very simple; players can easil y figure ir our for rhcmselves.

"best" possible character; that defeats the purpose of making

However, the Storyteller should haven good grasp of the pro-

mythical character Hall of Fame.

cess in ordcl' £0 answer the pla\•crs' qucsl.iO&lS accunucl\' and succinctly. The numbers on t·he chnroccer sheet m~y not seem pn.r.. ricularly cvocntivc. lr is hnrd to i1·naginc n novelist describing :t character by s;:&ying, ••she has a Charisma of 4." However, these r:;~tings mnke it simple to describe the :;rrcngrhs and weak..

of your Traits - how effective arc your Charisma, M;mipub~ tion nnd Appearance? Do not "'se this process to cre-ate the up a genuinely interesting individual. These numhcn; arc in~ tended w enh:mce roleplaying, not to open :m ~venue to so1nc Character creation is a lot like cooking: you've gm ro

gather the ingredients, stir them together,

~nd

then let the

mixture bake for a few hours. You start by deciding what kind o( cl1~lrnctcr you wan t. Arc you going to play a strcct~hardcncd

punk or ~ rich ~nd somewhat spoiled dcbut~ntcl Arc you n precocious child prodigy, or did the secrets of life reveal them-

selves somewhere in the Appalachian Mountains? The back· ground and personality of your chrua
As the Sroryre ller, your role is ro guide the players through the character gcncr• cion process. After your player$ arrive for the game session, you need to introduce rhem to the basic premise of the game and dcsenbe the rules system. Your main goal should be to make character creation as easy as possible. Pass mot the character sheets and give the players a minute to look them over and ask questions. Theil go thCOUj;h rhe ou need to be aware of five conccp!S be· charactet creal ion process $!Cp by step, filling in all rhe dernils fore you begin ro create }>Our characrer: of the char•cters' Traits. It is sometimes advisable to spend al\ entire game scSd to rare movies, re:srau· you in life, how did you die, and why can't you let go? rants and hotels. One dot in a Trait indicates poor or novice ability in that Trair. Twodo!S indicate an avernge Trait, wh ile n rating of 5 indicates that you arc among the best in the world. How did you live your life! Whar did you do? Pick some· Traits arc based on an uvernge human range. one relatively mundane and normal, though farnot'-' tlead may • It is a good idea for your group to discuss rhe nature of be acceptable if the Stotyteller allows. Here are some ideas: 1hcir Circle before anyone creates charncrers (sech other. Make sure your ch:> ractcr hns nt least Olhrflnizer, :-t union off'icial, o senator or juSt a wannabe lnwyer. one feature In common with every one of her compatriots, • Faithful - You may have been pious, but you didn'r whether this feature be a Fetter, a Passion or an enemy. If1•our wind up where you expected. character doc.
Getting Starte~

Step One:Concept

life

1

• Dileuant~: YO\t lived in a stare of hedonis:ric exces.
mind-numbing Opoltlly. • Cultist - As" member of a cult, you subsumed ro own dtsirts to irs n«ds. • Punk - You wero born and died on the wrong side of rhc rrnd::s.

• Kid - You died long before your rime. • Artist - You l~ft behind your vision, your unfinishe
tice r

• Professional Work wns your life; now you wonder what ~rou missed. • Tahul:o Ras11 - A bhmk ; late. Perhaps you never lived at a11 - or perh:.ps you h:.w e fofl:Otten evel)'onc who ever meant anylhin.st lO )!C.)O.

Death The manner in which you died is vital to d..cribing your m dear h. How tiKI you die, and what was the cause? When did it h~ppen1 Why did it h3ppen ? Here are some ideas: • Old A~c - Timugh you livcxl" full lifespan, you weren't reody ro die. • Wnr - You died on the fields of "glory." • Ovcrdusc - The roml of JOur excess lead rodenth. re:~clion

• R:lndom Viole nce -

You were in the wrong phtoc at

rhc wronsc lime:. • Suicide - Your cries for help fell on deaf ears. • Murder- You were prey for a dark predaror. • Disease - After much polin and suffering, )'0\1

SOC·

cumbed ro your 1cnnimal illness.

• Domestic Violence - You were a casualry of an age· old cycle of shame, hnte, polin and rage. • Car Wreck - It all happene-d so quickly ... • Mystery - You have no idea how it happened -or perhaps you don't wnm to know ... • Freak of Nuturc - You were hit by lighmin~. 0 1' per..

haps a sh~rk ate you.

~egret Why do~s your char:•crer renaciously dins m life, fiercely denying demh, even after the breath has lefr her borlj•? Whar did she leave behirld? What words were unspoken, what deeds undone? In whnt Wltydid she ne\'cr trul)' live? What does she ry In wh1eh &le liVed? Here are some ide:u: • Destiny You never fulfilled your dtsriny. • Unrequite-d Love- He never looked rwice at you well, hy God, he will now! • True Love You left someone behind whom you v~lue mnn; than :m)'thin~.

• Vengeance - Your last thoughts were, ul'm ~:ning to gcr yn11 bock, you bastord!" • Mission - You h:od a dury ro prrfonn, and ~ou faile-d to do it. • Theory - You never proved ynur theory or published \'Our ideas- and maybe someone els~ will Slealthcm! • Success- You had everything - and now u's all gone. • Children - You didn't k-avc :mrone behind to remem· her you. • Legacy - You didn't lenvc- anythil)g o(lmiting value co t he wmld.

• Failure -lmlecision, dostrust, low self-esteem: call ir what l"" Mil, bm rou failed. • Pleasure - Life was a banqucr, and you ~ce oatmeal. • Travel - You never rook t h::lt nip ro Brazil 0 1' lhc Scot.. tish HiJ(hl:mck • Sin- The chair\S of guilt >till weigh heavily on rour soul. • Bad Blood - You never made peace with ynur son be· (ore you died - nnd now it's l OO hu c. Or is itl

Nature and Demeanor Now you need ro choose pcr>S and beliefs :ohout herself and the world : it· :olso pro· \'ide~ rhe prim~ry means by which she regains Willpower. Ch00$ing a Nature helps you dcscrrbe who your character re· all)• is on the inside. You should also choose a Dcmc:mor co describe the person~lity your chnroctcr pretends ro possess. This is the role she ploys to the world, the f~cade she presents to it. The Demeanor ohmtld probably, though not necessarily, differ from the Ar· chetyp< you have alr'"tdy cha.en as the .:hamcter's Nature. Whmevcr you choo.
Step Two: Cnoosing Attributes A chomctcr's Amibutcs arc parr of his intrinsic makeup. Although the chunrctcr no longer has a li\•ing body, he srill lm> a form in the afterlife. This form, or Corpus, firs the

characrcr's sclf-imar;e nnd retrtii)S II)Hl\\ of his traits from life. Atuih-utes still ruuwtr <1ucstiun! such as: How (asc arc his rc· flexes! How uuracu\'e is hel How long docs it t:tkc him ro unt.lcn;rand new ide:.sr First, you mu:.t 1>rioriLi:c 1he chrce categories of Attribute!. - Physical. Mental and Social. Choose in which of these cal· cJ.torics ynur ch:mtcrer is good (primary), in wh ich he is av('r.. a~< (secondary), ond in which cmccory he is poor (tertiMy). Is 1

your character more physical than social - is he more brawny than gregarious? • Physical Attributes - The Physical Attributes describe how stro11g, nimble and sturdy your character is. They are the primary Attributes of an action·oriented character - the Physical Attributes concem the strengths and weaknesses of d1e body. Strength measure:; a character's lifring power and how much damage she ca.n inflict in basic hand·to·hand com· bat. Dexterity rates a wmith's speed and agilicy. Stamina mea~ sures a character's constitution and resilience. • Social Attributes- Your character's Social Attributes measure her ability to relate to, motivate, and manipulate oth· ers. Charisma indicates personal lmlgnetism ;;1nd chann. Manipuhuion measures a charocrer's ~bilicy co ralk her way into and out of situations. Appearance describes how the character looks and carries herself. • Mental Attributes -These Traits represent your chMacter's thought capacity, and include such th ings as memory, perception, learning potential, and the ability ro think quickly. Perception describes the wraith's observation skills. Intelligence represents memory, reasoning and leaming poten· rial. Wits mCiiSures a character's reaction time and ability ro think o n her feet.

Your character concept may help suggest Attribute priori· ties, but feel free to pick any scheme you please. For now, your character conception should be very general -paint a broad, sweeping outline instead of concentrating on little details. All characters start with o ne dot in each Attribute. Your priority selection determines how many docs you get to spend in each category. You may divide seven dots among your character's primary Attributes, five dots among her S<.'<:ondary

Actributt'S, . and three among her tertiary Arrribures. Thus, you may choose to add seven dots ro your wraith's Physical At· tributes, five to her Mental Attributes, and o nly three docs to her Social Attributes. You may divide rhe dots among the in· dividual Attributes as you sec fit - you could assign all three of your Social Attribute dots to Charisma, one dot to each of the three Social Attributes, or two dors to one and o ne dot to (mother. Lacer in the character creation process, it will be possible

to increase some of these mtings, so don't worry coo mt1ch about your choices. Let your intuition guide you. Note: The space after each Attribute (and Ability) is for

you to fill in a spccialt) a subcntcgory of the Trait in which the character excels. Specialties are fully explained in the Chapter S ix; for now, concentrate on choosing your ratings. 1,

Step fnree:Cnoosing Anilities Abilities delineate what your char~cter knows rather than whm he is; they describe the things he has lcurncd rnther than the thinxs he can natural ly do. All Tnlcnt$, Skills and Knowlcdgcs arc Abilities.

E-1eh Ability you character ("'sse.~Ses is nssigned a rating representinx Lite characrer's apritude in £hat panicular are:J. ll>c number i.< used to determine how many doc. you roll when your char:>Ctet attempts to w;c an Ability. Abilities arc divided into throe different cate-gories: Tal· crus, Skills and Knowledges. Each type of Abollty has different ch+lmcteri.stic.s. • T.~lcnt> dc:i<:ribc inmitive Abilities. Talents do not need to be pr.octiCl"
learned throul(h school, classe$, books and reachers, but can also be picked up through experience. I. your character edu· catedi does he have a good memory? You prioritize thc.
Step four: Advantages

tlctcr sclf~tnught; c.kx..~ she possess n lor of common :tcnsd • Skills are Abilities learned through ri&or<>us training of You do nor prioritize or rank the different categories of nny .r· ous n1>plicution of the mind. These Abilities are ~enemlly

• k

i

Characters may choose their Arcanos - the special seeMs and powers of the Restless. A character begins with five dors in Area nos, but she may purchase more Arcanos with freebie pointS. A beginning character cannot have more than th ree dots in any one Arcanos.

Backgrounds Every character gets seven docs to allocate among Back.. ground Tr~irs. You have only seven dots to allot and your Storyteller may restrict access to certain Backgrounds. Your Background Traits should be compatible with your character concept.

rassions Wraiths are creatures of passion, and as such, they need rensons to exist beyond death. Each Passion consists of a con· cise sratcm.cnt of a goal (i.e., protect my daughter, avenge my death, ere.), followed in parentheses by the emotion that corresponds to it (Love, Anger, etc.). Each character has 10 points to assign to Passions. After you have chosen and listed all of your Passions, assign a rating from I to 5 in each Passion, thereby delineating how strong the Passion is ro you. Di(ficult or general Passions ("Help others find faith," "Gi~e hope <0 my children") should have h igher ratings than simple tasks ("Recover my body," "Protect my mocorq•dc"). Passion ratings may not exceed 5. For more information, see Pathos and Passions on pp. 136-137.

fetters

Stepfive:finishing Touches Often, thoe most Important stage of character creation is applying the last touches- the little details and flourishes th at complete the chan1ctcr. ln rhissccp, you gain your 15 "free·

Ferrers are the people, places and things that tie you to the real world. They are your strongest connections to your mortal life, and they bind you to the Shadowlands until you are able ro resolve them. Fetters represent the people, places and things with which (or with whom) you have "unfinished business." Fetters arc listed in the same manner as Passions. Unlike Passions, however, Fetters are tangible, material objec!S. Each Fetter also receives a rating from I to 5. This rating is based on the importance of rhe Fener or its COilOOt
bie" points, enabling you to add more dots to any of the Traits on the character sheet. Before you spend these points, how· ever, you must rcc
thos and Willpower.

ratnos The Pathos rating mensure the pool of energy generated by Passions and used by wraiths to perform Arcanos. Startin~ Pathos cqu~•ls 5 plus t he n umber of dots t he wr.tith possesses in

the Memoriam &ckground. You can add additional points to your starting total by spending freebie pointS. The Pathos Pool canno t exceed I 0 points.

Willpower The Willpower Tmit rates how much self-control a wr~ith has, including the degree to wh ich she can resist and control her Shadow. Willpower is essential for controlling the actions o( your character, especially in cimt.-s of stress.

A wr:>lth's \'sed with freebie poinl:..

free~ie foints You can spcrnl freebie poinlll ro mise :>ny Tmit on )'OUr character sh<'
Freebie point< may also he used tOsubtmct Shadow poims from the Storyteller, thereby reducin1: the overall power of the character's Shudnw (see Chapter Seven: The Shadow) un u

one-for-one basis. The Sroryteller norm:~lly designs the aspect o( your ch;,r..cter: spending freebie points :1"ain.s t your Shr1dow is a sign to the Storyteller tlmt you would like him to hold b.1ck on urticulucing your character's dtuk side. You con also

gain up ro seven extm freebie points by allowing the Storyteller to also use those points when cre:>ting your Shadow. All starting wraiths have 15 frccboe poonr:s. You can spend them acconlint: ro rhc following ch:~rr:

SparK of life There ure some other derails of a character you should consider. The following details will help to m:oke your ch:~roc­ rera complete nnd unique person. You do nO< nccesoarily need to write thC>C things down, but you should certainly think about rhem, not only now. bur throughouLihc career of your ch~r~c·

rer. If yott ore runninu )eour char:-tctcr through a prelude, wnit

until yuu arc dune before attempthlg to complete this uspcct of ynur ch~mctcr.

Wmiths tend to assume a CufJ>u> 1har in some \V:>Y reflects their sclf·imagc. For example., a wmlth may appear as she did ut the IIIC>mcnt of her death, or In the prime of her life, or at the thnc she $u(fcrcd mosc clc~.:ply. Some wrairhs u.sc their knowledge of Arc:111us to shape their boclics Into monstrou> or bcmific fom1> (thus playing the "devil" or "angel")- buttlus ofren serves to empower the Shndow. Yuu should tum the rele,,.nr Tmitsof I'Ourchamcrcr -such as rhe Social Attributes

I

and concepr - inro asp..-c" of appearance. High lntelli~nce can become a clear, piercing ga:e. A Dilettante co!lcept could uarulate imo stylish o.nd experuive clothes. In rhis way, \'OU an make your chantctcr's Tmits more tangible and inu~re~f· ing. It's better roleplaying to "'Y• "There alw-ays seems to be a sneer of disdflin on my fnce," than tos;>y, "You can relll'm very condescending."

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to piny someone \'ery differenr from herself, someone who can say the things she normally can't- someone who can >p..'llk om. Meg chooses a street poet concept. I Ier character lives on the street, often homeless, bur she has :m inner fire that in· spires >Cuthi•~& poems about the things rhar affect her life. She You m;:ty wish Lo give your character specir.hies in her wants ro conrmsr this character's alley-cat beginnings with a Traits. E.1ch Troit wlrh a raring of 4 or higher can be given o high .. clns.s nnme; Cassandra cnmcs m mind. Meg ponders for a moment abour Cas,.,ndn:'s Nature and specialty. Though most players select spedalries fonheir Tmillo Demeanor. These two Traits will help her nail down Ca5S11ndm's deep-rooted good. Simply loll in the space next to the Trair wirh an appro- psyche, the part of her rhat affects all her thou~;ha ami ae· pri:tte spec:1alryi iU,mtQlion~ al'e made with ea. proJecll a harden<'<~, Rebel Demeanor. She pots on a big show of rebellion; deep iruide, however the revolution she w~nts to lead is one of the soul. She developed the Rebel Dem<'llnOr in By givillll your character quirks, inreresrong pcrson:ol de· order ro sray alive in her tough neighborhood. mils and anecdmc-s, you call add a great deal of deprh and In· reresr ro him. Wrire :1 few sentences on Lhc back of your ch\lr~ actersheetdescribing the mange and possibly inreresting thinJ:S rim define your chtlr>lctcr. A quirk could be~ twisted scn, and the last is allotted to lnttlli~ence (Meg feels C•5S<>she uses that decision to thing ubout that delociency when she spend< freebie points (S<.'C limit her concept choices. She rejecr.; srereorypic:ol female below).

~pecialties

Quir~

Step Two: Attrinutes

Tne Circle

Fxample of dmmcter Creation Step One: Concept

ch:uacrcr": a prostitute, u housewife, an executive. She w:mrll

1

Step Tnree: Abilities Next, M(.-g has to prioritize and pick Cassandr-•'• Abili· tics. She decides Cl$$.1ndra relies primarily on her Innate Tal· enrs co survive on the street (this becomes her primary Ability catCAOt'y). Skills arc also important to meet poets (especially l'erfnrmance, because Cassandm i> a performer :u well as a writer), so that is her K'Condary cu•eorv- Cassandra's educa· tion has be-en 'l"'mdic and spotty, so Knowledge Abiliries be· come her terti~ry cMegory. Meg has 13 points to spend on Talents. She Immediately spends rwo point• on Alertness (good for spottit'8 p<.'lple who arc following you, or for noticing when someone is paying at· tent ion to you). She spends a poinr on Dodge (always good to have) nnd two poinro of Brawl (a couple of years llgluing \'Our brutheNJ will reach you nt least tluu much). O.ssnndra needs co know how people feel, so Meg spends two points on Empathy. Street poclll obvtnusly need to have something to say and the abiliry to Spreading our her five poinrs among l'oli· rics. Computer, l..mv, Linguistics and Occult.

Step four: Advantages Now Meg move$ Into wmithly matters. She muse pick from " l:trge number of Backgrounds, :mel n't wanr ro play ~n unrelentingly dark char· actcr: she's inrcreSted in playing a "vigilan te" kind o( wraith who take. care of the people whn were important to her in life. Accordingly, >he 1>icks nvo poinrsofEidolon imn>t-diatcly; she wmm to be :tble ro dispel her Shadow if she needs to pro· rcct someone. Meg figures that"""'' of ClSSJndra's neighbor· hood remember> her: her poems are written on City walls all over 1hc place, ;md every timt somcorle looks at one, she gets mclrc Memoriom . Thus. she gives c~assandra a Memoriam rot.. inn of 2. Meg decides that C:tssandm kept her fnvorire pair uf rollcrbladcscvcn heyond the grave. so she lists Relic.• I on her

sheet. Meg also decides rhat, of the rhree factions in Wr•ith, she like-s the Rene~odes best, so she Mives Cassandm one dot in the Renegade Background. TI1isdocsn't mean &he$~ Renegade herself: she just knows a few. Finally, for one poim, she pur· chases the Haunt Background. Cassandra's Haunt is Cafe In· fcrno, a trendy coffee shop in Adanra. Now, Meg tums ro Passions. She has 10 poina to >pend: this is where &he can really say ~ lot about her ch:m><:rer. Meg mkes a moment to think about her characrer. Wh~tthings are Important to her? Whar rhings drive htr! The flrsr thing thur pops into Meu's head is that Cassandra left behind a Inver when she died: Cynthia. This forms her firsr Passion: to proteCt Cynthia. Simple cnhe said or wrote. This forms her next Passion: "Get back at the gang," which is nssociated with Revenge. She rates ir m 2. spendin.i(two more Passion poinrs. She decides tO invest two puinrs in a Passion to keep writing and creuir'8; the :~fllliared emotion is Pride in her work. Meg also decidu rhor some sleazy publisher took pictures of her groffiti·poems nnd compiled them imo a book thnt hit the bestseller list. She decides to write down a Passion of "Ruin the publisher who •cole my work," with a focus of Hare and a raring of 2. Finally, with one point left, Meg ;><\ds a llnle bit of humanity to her ch:uacrer by having one of her Passions be "Get back her favorite pen.'' an easily accomplished Passion with a focus of Envy. Next, Meg has to choose Arcanos. There are :so many ... but Meg decides rhar Cassandra wouldn't obsess on just one. Her "look it up yottrself' menrolity would prompr her to le:1m a li ttle bit about o lot of Arcanos. So, she divides her five Arcanos points •unong Argos, Puppetry, Phanrosrn, Lifcweb and Embody. Even though she spreads out her Area nos points in this fashion, it shouldn't weaken C:wandro o"ermuch: a broad base of knowledge can be a good thi ng in rhc Shadowlands. Meg must now choose Cnssundm's FerreNJ: the •vid :tgrees, because he's nlteady decide-d th:u rhe Circle

will be centered around Cafe Inferno. Meg spends four points on char Fener, giving her a considerable advantage using Arcanos there. Finally, she makes her mortal girlfriend Cynthia a Fener, rated at 3. Now Meg muse assib'll her Willpower and Pathos scores: easy enough. Cassandm, as a wrai£h, scans with a Willpower raring of 5. lkcause of her Memoriam, she starts with a tom! Pathos racing of 7.

~tep 5: finishing Touches Finally, Meg gets co spend Cassandra's 15 "freebie" points. Meg decides Cassandra should be a bit more perceptive chan she is, so she spends five freebie points to raise Cassandra's Perception ro 2. She wanes to excel in Expressi she spends another freebie point co get it. David says chat Cassandra can't have rolkrbladcs unless she spends another freebie point on the Relic Background. Finally, Meg blows rhe last 4 points on Willpower: Cassandra's going ro need it. Thus, Cassandra's total Willpower is 7. While chis officially ends the character generation pro· cess, Meg decides to flesh our Cassandra a little more. She writes a brief paragraph describing her (at Appearance 3 she's pretty, but not exceptional), writes a little about Cafe Inferno, and describes the relics that Cassandra possesses (perhap.s de-. ciding that the rollerblades arc not as useful as, say, a flashlight and a cigarette lighter). Meg decides to go ahead and assign Cassandra's special· ties: she lists the specialty of Charisma as "guts" and the spe· cialty of her Expression as "street poetry." Meg decides chat Cao;sandra has, as a quirk, the habit of pointing at people to whom she is speaking. Additionally, her very expressive narure means she gestures a lot when she talks. And there it is: a completed character. Now David will take Meg and Cassandra through a prelude to flesh out Meg's ide-Js about her character.

jhe prelude Now you are ready to play your character, even though she is not complete. The prelude is the name for this first session. In the prelude, the character's last hours of life are reen· acted, and her journey into death begins. The prelude is essential to the development of a Wraith character. Once the player and Storyteller have roughly sketched out who and what the character is, they roleplay the journey from life into death, including the character's initial experiences in the afterlife.

The play~r may wish to sketch out the charncttr's life In only the broadest nrokcs, playmg our and derniling parrkular moment> but dacrihing litrle of the context in which they for. Remember. too, thnt n wrnith is ' rcborn" into 1he afre.rl i(~ nnd typically rememlx:rS lit tle of her pasr life. Details about a chnmctcr's past may thus be discove red throughout rhe chronicle. If it is difficult fur u player and Sroryreller to run n pre· ludc,thcn they should simply rolk about relation:.hipoo und Fer· rcrs, and discuss the chnrocrcr's life and dear h. 1

Deat~: T~e Beginning The prelude begins with the death scene. If a Storyteller wants, a few rninutcs ur hours of life before the chnrnctcr's immincn[ demise m::ty be pltt}'Cd out, bu( very liu lc inform:1·

rion should be given to the player. Some pl,.ycrs may not even rcn.lize exacrl)~ how thdr chnrnccers die. Then ir ends. The ch:~racter is dead. Most Storytcllcn wrll wanr to give th~ir players n scr\SC of rhc sudden shock of the death blow, the helplessness, rhe cold, the slow cessation of bodily pmcasa, the brnin cells expiring, one by one, for llve minutes after the body has passed the poinr of no rerum. Some wraiths-to-be then undergo out-of·body expericnc,.,;. The Sroryreller may let a player view his corpse and Lire people :~round it. Sometimes, lhc new wrdich may ••wake lll>'• nt his own funeral, perhaps st.:cing hi!! (riends :;~nd r!!lntives il' mourn ~ in~. Some wrairhscxperiencc n "tunnel ofliglu," while mhcrs go directly to the Underworld with liule pomp and circum· stnnce.

During this time the Sroryteller may have the chnractcr relive cvenrs from his life. TI1esc scenes should be quock ond nebulous: (orexamplc,n memory ofspending rime whh olovcr, but no recollection of hi~ name or what became of him. These "snapshot'' scenes hnvc two purposc!i. First, rhc)' lcr the Storyteller a11d player feel out the character and her rene· tio11s to certain evcnu. Second, they give the Storyteller an op;xntuniry 10 plant seeds that she can harvest for later storylines or subplots in her chronicle.

Questions ano Answers Dcscrib.-.d below urc some qucsrions that should be Oil· swcrcd by the end nf the prelude. If there is no time fur n full prelude, you should nt lct1St make un effort to :mswcr rhcse questions. It often hdps tu wrirc our the ~nswers, evcal if you have underxonc the full prelude. Wirh e.1ch question we list what sorl> of thmgs rhc pln)'et should ask himself. as well:" some advice to the Stotyteller on how to run the prelude rn relotionship to the question.

• How old were you when you died? know the political lay of the lond?Do you hold seniority over Were you in the prime of life, a child, or very old ' This anyone in your area? can dctcnnine your physicala~orance in the Shadowlands. • How did you meet rhe r..t of your Circle? • What was your family life like? Were you brought together by a Re<>per, or dod you just In the World of Darknes.~, many families are not the meet by a quirk of fare! lr is important co determine how you healthiest of institutions. Were you wounded by your family? rdatc to the o·est of your Circle. What do they think of you I Did )'OU wound rhcm? Were rhey supportive, caring and lov· What are your jobs and perks in the Circle? ing? llow many brothers and sisters (and stepbrothers and step· • What w.. your first run-in witb otber Underworld liSters) did you have! Did your parents divorce! Did you have dwellers like? a $tepmother or stepfather? Were you an orphan 1 Did you run into a horde of rnvening spectres? Were you • What was the most shameful thing you've ever done! the target of a slaver? Did" Hco·etic anempt to coowtrt you? This could be as innocent os stealing a candy bar (not You should rake Into accounr your Hierarchy, Heretic or Ren• likely) or as terrible as murder. Think about this one long and egade Background when answering this question. hard: it will shape the way your Shadow ope111tcs. • What do you do for fun? • What was the best thing you've ever done! This is very important: death is depres. important to your character. Was there a favorite hangout as a teenager! lighten the mood ora Wraith story from time ro time, and rhis Did you build n treehouse as a child? Did you love to go to a is ont way co do ir. • Where Is your favorlre Haunt? spe-c ilk movie cheater? Was a particular restaurant your favor· This is some place affiliated with you or )"Ollr Circle. You itel Did you love a particular park? All of these things can lhape your character's development and provide sources for hang out there. Srories can sr:ortthere. It should be interes
(

II

Whnr a piece of work is man! - William Shakespeare, Hamle1

~~W n Wraith, TrJil$ arc the OO.is of a charnc·

rer- they de!cribe, conjure and delineate who and what a character really is. They enable you tu detail your character's

strengths and weaknesses, allow you to translate the chnrocter Into game reality by usi1'1gdicc, amJ, tnost ilnponantly, help you focus and undcr:u:mcl your charnccer.

A character's Traits describe only the general parameters of her abiliti<">. ·nlc essence o( the clmnlCtCr is create-d through mlcpla)'lnC nnd imagin:uion. TraH5 in Wraith are intention--

here are as many archerypes as rhere are rypi· cal siuuuions in life. Endless repctirion lws engraved these extJeriences into our psychic constiUltion ... representing merdy che possi.. biUty of a cerf4in rypc of pcrceprion and ac· Dan.

-Carl jung, Coll«ted Works, Vol. 9

ally left sketchy - at l=t the number-crunching pan - so

PersonAlity Archetypes are a way of defining wraiths' p<:r·

you will not concentrate on the character sheet too much.

50nality. Characters do not_ in 6-ct, nt InfOsuch near and rid\'

What i; only cn•dely esrablishcd dunng ch•racter creation bcco1nes Oeshed out in play. Don't look at your Traits think· ing you htwe a complete chamcu.:r. Your rolcphwing will ere·

G:1tegorles. ArchetypeS are the template$ for an infinite num· ber of dif(erem personalities, and should not be seen as abso· lute mmdards. These p<:rsonality Archetype< are example$ of the variety or personalities that can found; they are intended to guide, not resrrict.

ate y
The psychologist Carl )ung dilu:overed the concept of ar· ion rrend, or (XHronize a new discovery in rhe arts. New dis.. chetypes as a way of describing any concept that resides in the coveries are your life, and you devote a great deal of time and collective unconJCious of humanity. He believed rhat such effort to keepit\g up wirh things. Nothing pains you more than complex symbols couldn't be rigidly categorized, but he did hearing secondhand news. If rou're not in the front, you're give names to some o( the archetypes. Nonetheless, in order to nowhere. incorporate the concept of archetypes ituo our systems, a modi· - Regain one point of Willpower whenever you are rhe lie-d version of this idea is used to describe personalities, so fir~t with a piel;t of news Ot other signifiCllnt dl!covery. remember to take the following guidelines with a grain of salt. The key to the use of Archecypes is the interaction be· tween the character's Nature and Demeanor. Narure Is the true personality o ( the character, thnt which she is but may not Life and afterlife are poinlless, shallow and meonil)gless reveal ro others. Most people, not wishing otheN to know them -so have as good a time as pos.~ible. Rome may burn, but you intimately, create fucades behind which rhey c;~n hide their shall drink wine and sing songs. You are a sell>Ualist, sybarite uue selves. Such facades are known as Demeanors. A and parry animal; the words auslcrit)', self-denial and self-dis· character's Demeanor may be ns consistent as her Attributes cipline have no place in your life. You much prefer the con· or may change from minute to minute. An extraordinarily open, ccpt of instant gnuificMion. Still, you don't mind a lirrle hard honest or simple·mil\ded individual may have the same De· work as long as a good time awaits you upon completion. Most meanor and Nature. Bon Vivants have little sclf-conrrol, for they so dearly love Archei)'J)CS have a practical impact on the game, for each excess. Archetype provides a different way to regain Willpower points. -Regain Willpower whenever you have :o truly good time The Nature of the character Is thus vital in regaining Will· and can fully express your exultation (or perha~ even more power. The procedure works like this: the player notices her points if you enjoy an especially fun night). character may be able to reg-• in Willpower because of her ac· tions or the situation- this varies from Archetype ro Arche· type. She asks rhe Sroryreller if she can regain Willpower, and rhc Sroryteller either accepts or rcjeers rhe request. If the Sto· You arc a bully, a ruffian, a tough, and delight in torment· ryteller deems the request valid, he awards from one to three in& must always go your ""'Y• and you do not Willpower point$ depending on the nature of the character's tolerate those who cnm you. Power and might are all you re· actions. The Storyteller shouldn'r reward a character if he spect; indeed, you heed only those who can prove their power rhinks the player i• performing the action merely m regain to you. Willpower. You see nothing wrong with forcing your will upon oth· The Storyteller should also encourage players to develop ers. There is nothing you like better than to persecute, an· their own Archetypes, eoplc around you depend on your stability nnd srrength to - Regain Willpower whenever you create or establish keep them steady and centered. You are the one to whom people something of importance or lasting value. rum when they have a problem.

Bon Vivant

Bravo

Caregiver

Avant-Garde You must always be in the forefront. You must always be the first to break the news, learn the new dance, display a fash·

- Regllin Willpower whene•·er \"OU suc:cc.
You are srill immature in personality and temperament: a kid who never grew up. Th011gh you can care for yourself, you prefer the security of being watched over by others. Often you seek out someone ro look out for you - a caretaker of sorts.

Some see you as a spoiled brat, wh ile orhers see you as an in· nocent cherub unaffected by the evils of the world. This is a very common archetype for wraiths who died when they were young and subsequently marured mentally, but not emotionally. - Regain Willpower whenever someone does something to help you with no apparent gain for herself.

Conformist You are a follower. Taking charge is just not your style. It is easier for you ro adapt, attune, adjust, comply and reconcile yourself to the new situations in which you find yourself. You Oit to the brightest star, the person you feel ro be the best, throwing your lot in with her. It is difficult and distasteful for you to go against the flow or to rebel. You hate inconsistency and instability, and know that by supporting a strong leader, you help prevent chaos from occurring. All smble groups need some kind of Conformist. - Regain Willpower whenever your group accomplishes something because of your support and aid.

Conniver What's the sense of working hard when you can get some· thing for nothing I Why drudge when, just by talking, you can get what you want? You always try to take rhe easy way out, the fa.,t track to success and wealth. Some people might call what you do swindling or even outright theft, but you know that you only do what everyone else does; you just do it better. Additionally, trickery is a game, and you derive great pleasure from outwitting someone. Connivers play many roles, so you may be a thief, a swindler, a streer waif, an encrepreneur, a con man or just a finagler. - Regain Willpower whenever you arc able to get your way by tricking another person into doing as you wish.

Critic Nothing in the world should be accepted without thor· ough scmtiny and examination. Nothing is ever perfect, and the blemishes must be pointed out in order for the good to be truly recognized. Your standards are high for everything, and you insist on their being met. You encourage the same ideals in others because low standards reduce the quality of life for everyone. They'll thank you later, once they discover the pu·

I riry of your perspective. You seek our and expo~ the imperfec· tions in every person or thing you encoun[er. You arc never satisfied with anything that is less thnn perfect, unle.~s it Is yourself - nfter all, you're not a perfectionist. -Regain one point of Willpower whenever you di>cover a significant imperfection that others overlook.

Curmudgeon You are nn imscible, churlish pcOiOn at heart, raking every• thing seriously nnd finJing little humor In life (though you may have a wicke-dly bmbed wit). Cynicism is your middle name; it is the tool with which you judge everything in life. You have a very well-defmed under;!llnding of how things really work, especially when they involve the circus of human endeavor. The foolish actions of others have long since ceased ro $!Jrprise you. - Regait\ Willpower whenever someone does something stupid, just like you predicted. You must predict it either our loud to the other characters or in private to the Storyteller.

Deviant There are always people whodon'r fir in, and you are such a miscreant. Your beliefs, motivations nnd sense of propricLy

arc completely antithetical to the status quo. You are nm so much an aimless rebel as an independent thinker who does not belong in the society in which you were mised. You don't give a damn about other people's momlity, but you do adhere ro your own srmnge code of conduct. Deviants are typically irreverent, and some have rmly bitatte taste$ and desires. -Regain Willpowerwhene,·er )'OU succesJully thumb )'OI.Ir nose ar wraith sociel)' and iiS preceptS withour re!llliation.

Director You despise chaos and disorder, and tend to mke control and organize things "' order ro supptC$$ anarchy. You like to be in charge, live 10 organize, and habitually >rrive 10 make things work smoothly. You trust your own judgment implicitly and tend to think of things in black•and·whire terms: "This won'r work"i uvou're either for me or against mc"j I.IThere :;.re two ways to do t-his - my way and the wrong w:1y."

- Regain Willpower when you are allowed 10 lead a group and accomplish some significant task.

You arc consurn.ed by a cause; it is the primary force in your life, for good or ill. All your physical, mental and cmO· tional resources are directed toward your cause; in fact, you may feel very guilty about spending time on anything else. You let nolhing stand in your way - nothing that you cannot over~ come, in any cast. You ::md those around you may suffer, but your cause is cvcryLhing- the end justifies the means. Defore the game begins, make sure you describe your cause and define how it may affect your behavior. -You regain Willpower whenever you accomplish an act rhat furthers your c.ausc.

•

jester You are lhe fool, idiot, quipster, clown or comic, forever making fun of both yourself and others. You constantly seek the humor in any sitmuion, and strive to battle the tides of depression inside yourself. You hiltesorrow and pain, and con~ scantly try to take others' minds off the dark side of life. Some· times you'll do nearly anything to forget pain exists. Your par· ticul~r brand of humor might not always impress your friends, but it makes you feel better. Some Jesters manage to escape pain and arc truly happy, but most never find release. - Reg::tin Willpower when you raise t he spirits o( those around you through the device of humor, especially when you escape your own pain in the process.

juoge As a facilitator, modcracor, arbitrator, conciliator and peacemaker, you always seek ro make rh ings berter. You pride yourself on your rationaliry, your insight and your ability to deduce a reasonable explanation when given the facts. You struggle to promote truth, but you unders.rand how difficult it can be to ascertain.. You respect justice, for that is the way rhrough which truth can reign . In your view. people are resources, albeit ones thac arc diffi~ cult to manage and employ. You hare dissension and arguments, and shyaway fromdogmmism. Sometimes Judges make good lead· ers, though a lack of vi~ion can sometimes cause them to main~ tain the status QliO instead of searching for a better system. - Regain Willpower when you are able to separate the truth fron'l a web of lies, or when you convince disputing indi~ viduals to agree wid1 your judgments.

loner You arc always alone. even in the midst of a crowd. You arc the wanderer, hunter and lol\c wolf. Thot~gh others might think of you as lonely, forsaken, isolated or remmc, in truth

you prefer your own company to that of others. There are many different reasons why this might be so: you don't unde•·stand people, you understand people roo well, people dislike you, people like you too much, or you are simply lost in your own thoughts. Your reasons arc your own. -When you manage to accomplish .some signific:mr msk on your own, without the aid of others, yet which still aids the group in some w·ay, you regain \Viii power based on the signift~ cance of the achievement.

Martyr All possess the martyr instinct, but few acr upon ir. Even fewer live the life of a Martyr. You, however, are such a one. Your desire for self~sacrifice stems from a low self..estccm, a feeling of a lack of control, or a profoundly developed sense of love. You are able to endure long-lasting and severe suffering because of your beliefs and ideals. At worst, a Ma rtyr expecls sympar.hy and attention be~ cause of his suffering, and may even feign or exaggerate pain or deprivation. At best, a Martyr willingly suffers injury or even death rother than renounce his reli&ion, beliefs, principle.<, cause or friends. - Regdin Willpower when you sacrifice yourself in a real and immediate way for your beliefs or another individual.

~ebel You are a makontent, iconoclast and free-thinking recal· citrant. You arc so independent-minded and free-willed that you are unwilling m join tmy particular cause or movement. You are just yourself and only desire the freedom robe your· self. You do not make a good follower and aren't usually a very good leader either (unlc.o;:; your follower.> arc willing to go whcr· ever you lead). Your insubordination a&ainsr authority ncca· sionally reaches the point of stupidity. -Regain Willpower whenever your rebellion against the status quo turns out to be for the best.

Survivor No matter what, you always man(l.ge to survive. You c:1n endure, pull through, recover from, outlast and outlive nearly any c.ircumscance. When the going gets rough, you get going. You never say die, and never give up- never. Norhin& an&e"' you so much as a pcrsol\ who doesn't struggle to make things bener, or who surrenders to the nameless forces o( the uni# verse. -Regain Willpower whenever you survive a difficult situ· arion [hrough your own cunning and perseverance.

Traoitionalist

the success indicated hy the 10, and may subsequently tryaj.oain for anorher success, rolllnR another die for each I0 obnuned.

You are an orthodox and cmucrvative individual. What was good enough for you when you were alive is good cnOuJ(It for ynu now. You resist change of ony sort. You especially op· pose change for the sake of change - what point is there In that? You may be seen by 80me as a miser, a reactionary or simply an old fogy. You always strive to pr=rve the >talUs quo. - Regain Willpower whenever Y"" are able 10 protect the status quo and prevent ch.,nce.

pnysical Attrioutes Physical Attributes determine the ntw CX[ernal

(XH\'Cr

of

che 'vraith as rnanifc:~tcd in rhc wrnich's ::'ICtions. They are the t:asicsl to d efine and rhus t he easiest to comprchcnJ.

Stren~h

Visionary

This Amibtne defines a wraith~s raw might. It rcprcscius not only phj·sical strength, but al:.o force and capoc1ry to cause damage. lt is used to detcrmme rhe base number of dnmo~e

Very few are bl"l:lve or strong or imaginative enough w look beyond the suffocating embrnce of society and mundane th0<1ght in ""'rch of something more. Society tr~tssuch people

dice rolled in :my ~mack. Strength ls used whet'\ n wmilh attc1 npts m lift, carry, push. heave or break soancthing. Srrcngth is :llso used when oucmpt..

with both respect :md conre mpc. for the Visionary pcrvcrls as

ing to make any sorr of jumr or leap. Specialties: Strong Grip, Mos:.ivc, Husky, Able·llcKiied, Hearty, Powerful, Wil)'. 1..-•q.oc

well as guides society. You may be a spiritualist, shaman, New Ager, mystic, phi· losopheror inventor, bur whateveq'OU are, \'OU are always look· ing for something more. You see beyond the bounds of con· venrional imagination and creme n ew possibilities. Though

you might have your head in rhe clouds and are ofte•l of an impracrical bent, you are Oiled with new ideas and percep· tlons. - Regain Willpower whenever you are able to convince orhcn ro believe in your dreams ond follow the courliC of nc· tlon outlined by your vision of the fumre.

Attributes n'liths arc no longer real. at le~st rts we tmdcrstnnd the term. Every wraith has a Co1·pus tU1d sentience, which arc the moni ~ f~stntions of their presence in another fonn of reality. Attributes now serve as descriptors o f t he ir continued state of existence.

Attributes are based on self-concept, on how rhe charoc· ter sees himself. A wraith's body and genernl capabilitiC$ are Jx......J on habir and expectation, and are as firm and unchang· ing as real-world Attributes.

Specialties For each Attribute and Ability Trait rated 4 or hiGher, a player con select a spe. cktl ry. A 5pec:i\llty is a particulnr subcur· egory thnt o character is capable of perform· ing with additional proficiency- a charocter may be able to drive very well, but m:ty be particularly adept at off-rood ma· ncuvel'$..

A specialty allows the player to reroll lOs 5eored on actions directly involving the specialty. The player get> to keep

•

Poor

••

Avtrogr

•••

Good

••••

Excc pnon:.l

• • • • • Outstanding

Dexterity This Attribute de One$ a wmirh's capacity to perform com· plex activities. h represents ph)'lfJcol ~1. grnce, [>recision and the ability to perform muk:ue or subtle actions. i)("xrer· " l' defines lhe wroith's control of her Corpus. Specialties: Smovlh·Mminne-d, L~rhe, Sr~dy, Deft, Grace· ful, Nimble, Athletic, C:ulike ReOexes, Swift. Surc·f-ooted, Fleer· Footed, Light Touch • Poor: Youan:buncrllnbrcn...od, so don't use;:~ch;:~ins.'lw. •• Avcnagc: You c:m chew gum and walk nt thc snmc timr. ••• Good: Yoo.1 h:l\'e excellent r:tw athletic potential. • • • • Exccpuon:•l: You can juggle five knh·es. • • • • • Outsta.ndlns:: You can juggle fh·c

km\'C£

whtle

blindfolded.

Stamina The Srominn Attribute ddinc.s chc wr::~irh'sstc;:~d(;,stness. It represents not only phy•lcal cndurnnce, but also Jercrminn·

rion, mggedness. concenmnion nod desire to win. It rcnccts a wrnith's understanding o( hcr limir:uions.

Specialties: lirclcart, Duroble, Forceful, l)(.,.hc:.uc
• •• •••

Poor: You ::tre frnil in constin1tion and appear we-dk. Average: You seem to be moderntely healthy. Good: In life, you were in good shape, the result of regular exercise. Your spirit is vigorous. • • • • Exceptional: You could '"" a marnthon. • • • • • Outstanding: You could survive i" the heart of a Maelmom (well, maybe ... ).

Social Attributes A wroith's Social Attributes not only represent her ability to imemct with orhers, but also deAne her sense of self-worth and confidence. Tiley define how the wraidl perceives herself in terms of her surroundings and how she filS inro the scheme of things. Social Traits are viral in determining first impressions, lead· crship ability and lhc nature o( a wraith's interactions with others. Comhined with Physical Attributes, they define the wra.ith's presence.

cnarisma Charisma defines a wroith's row magnetism :;md srceng:rh of presence. It also represents boldness, bluster, and how inter·

esting the wraith is co odlcrs. Charisma reflects a wraith's power to convince others ro put their faith in him. In many ways, it is analogous to Strength and is used in any attempt to influ· cncc someone overtly. Specialties: Smooth, Eloquent, Outgoing, Cwptivating, Charming, Regal, Genial, Well-Mannered, Urbane, Sophisti·

catcd, Rustic, Gracious • Poor: Others avoid being around you. •• Average: You are likable. • •• Good: People trust and confide in you. • • • • Exccpcional: Something draws people: ro you. • • • • • Outstand ing: You could lead a nation.

Manipulation This Trnit defines a wrnith's cunning. Mani[J
angered. People <~re manipulatod all the time and usually ignore it. However, if the fact is brought to their att
Appearance A wraith's Appearanc:e Trait, unlike that of mortals, is based upon her sense of self·wonh. The wraith's Appearance reAecu her satisfaction in being herself and how she w.Jn1ll others to see her. A high Appearance Trait does not necessarily indicate beauty, but anr.octiveness (the two are not always the same). Appearance is vital in any social situation where words arc nor exchanged. It is more important than you might think offhand: your impressions of another arc heavily affected by thnt j>Crson's looks, no matter how opcn·minded you ore. Appearance is often used by the Storyteller to judge rou~hly howothers react to you upon a first meeting.11>us, it can affect all other Social rolls you make involving that pe1110n (in some cases, your r.uinc detennines the maximum number of successes from a Social action that can actually be applied, making it impossible for an ugly person to achieve anything beyond minim.1l wccess). Specralties: Bold Demeanor, Alluring, CaptiY1lting, Sexy, Luminous, Honest f"aCe, Imposing, Dignified, Pleasing, Hand· some, Beautiful, Gorgeous Poor: You tend to attract the hostility of others. • •• Average: You are easily ignor<-d, for you fit in so well with the cmwd. •• • Good: You have a pleasing appearance, and people treat you well. • • • • Exceptional: You are good·looking enough to be a modeland are given respect and attention because ofit. • • • • • Outstanding: Others' first reaction to you is cirher awe, intense jealousy or complete solicitude.

Mental Attrioutes 11>c Mental Amibures represent a wraith's total mental cap;ocity, including such things as memory, perception and the ability to leam and think. They rep
This Tmit defines a wmith's awareness of reality. lr represents insight into others, sensitivit\' to one's surroundings and intuotion. In some ways, Perception repruents wisdom in that those with low Perceptoon rdtings isolate the~lves from their environment and arc thus inC
intelligence The lntelligencc Trait defines a wraith's understanding of rt'!llity. It represents the ability to perform complex. cerebral octivoties. lncelligcnce is used whenever analytical tasks are performed. Intelligence represents both your memory and your abil· iry to learn and think. It is Important when using Abilities that require complex thought processes. Some people deJ~Cribc Intelligence as a person's quickness of mind or judgment, but ir ,. more than that - it is the facility for understanding and the capacity for reasoning and evaluation. Intelligence mtes ion individual's depth :ond flexibility of thought. Specialties: Diseerning, Creative, Knowledgeable, Prag• matlc, Asnote, Brill iant, Bookworm, Clear Thinker • Poor: IQSO •• Average: IQ 100 ••• Good: IQ 120 • • • • Exceptional: IQ 140 • • • • • Outstanding: lQ 160+

n,e Wits Attribute describes. Wrdith's ability co react quickly and correcliy to new situations, as well as her ovc.r•ll sharpness of mind and cleverness. In the simplest of terms. it measures how quickly (as opposed co con-ecdy) a wr•id> thinks. A troO•er, Shrewd, Sharp, Praclic.1l, Wol)•, Level· Headed, Creative • Poor: You send money to relev:on~:dists. •• Average: You know when tO bet or fold in poker. ••• Good: You are capable of handling L.A. rush hours (without shooting anyone). • • • • Exceptional: You could be a stand·up comic. • • • • • Outstanding: You have a superco mputer for a brain- it's fast.

Abilities Talents alents are untmined and intuitive Abilities. Talents can af· most never be studied or learned via training (though a few, like Bmw!, an: exceptions), but can be learned through direct experience- usually during a story. If your charncrcr rakes an action using a Talent he does not possess, there Is no effect on your roll. A number of dice equal co the base Attribute is rolled. Talents are such narur•l and intuitive Abilities thar it is assumed everyone has some small eapacity for each one.

Alertness Over the years, you have become pmc· ticed in noticing all th:ot luoppens around you, even i( you are not actively conccn.-

trating upon the surround in!:'- You are a eapablc bodyguard, for you have teamed how to stay alert ovtr a long period of rime. Alertness simply indicates your aware· ness of the world around you. It describes how much anenrion you pay to things other than the rumblings in your ectoplasm

or t.hc duub
• •• • •••

Comperent: You are highly vigilant. Expert: You are a truly cautious individual and rarely let down your guard.

• ••• •

Ma~ter:

You notice everything Lhar &c>es on

around you. Possessed by: Watchmen, Hunrers, Bodyguards, Report· ers, Burglars

Specialties: Bodyguarding, Tmps, Ambushes, Forests, Crowds, Noises, Pamnoia, Spectre&

••• •

Expert: You could (Jnd a lucky four-lea( clover in seconds. • • • • • Master: You see the bizarre everywhere. Possessed by: Par•nonnallnvestlgators, Gypsies, Psychics Specialties: Animals, Magic, Supernatural Creatures

Brawl You know howto fight bare-handed. TI>is Abiliry includes such maneuvers as punching, kicking, grappling, throttling, throwing and gouging. Brnwling can get quite ruthless, but gencmlly is a nonlethal form o( combat. • Novice: You know wha< ro do, but you haven't had much experience. •• Practiced: You know where to hir people and make it hurt. ••• Competent: You Cl!n choose your barstool. • • • • Expert: You are a black belt martialani
This Ability dc-.cribcs your general athletic prowess and assumes a familiamy with most sporu. It is us.:d to see if you can jump across a chasm, swim Lhrough a sronn, thro'v a foot.. ball, vnult a fence or climb a rree. Athletics concerns complex motor actions. Physical ac.. tions requiring only one type o( motor acrion, such :.s lifting,

Possessed by: Martial Artim, Soldiers, Thugs, Police OfOcers, Bouncers Specialties: Annloeks, Boxing, Wrestling, Karate, judo, Tai Chi, Grappling, Throws, Showing Off

Dooge

The mo5t effective way to win a (lght is not to be sttuek. do nor use the Athlct ies raring, nor do athletic actions already Becoming pro(Jc:lent in the Dodge Talent is a very wise choice. subsumed by anorher Ability. Your roting In this area describes your ability to ~void both • Novice: little Leaguer melee and missile anacks; this Includes diving for cover and •• Practiced: High :«:huol jock du-cking punches. •• • Compcrcnr: College Varsity player • Novice: You hit the ground if someone screams, • • • • Ex pen: Professional athlete "Duck!" • • • • • Moster: Olympic ~ul
Empat~y

1

•• ••• ••• •

Novice: People tell you their problems ar p:utte&. Practiced: Occasionally !"OU get sympQthetic pains from feelings withom being anuncd to them. Competent: You have an a mating m5tghr mto the motivations of others. Exptrt: No lies ever gcr p:t.u your scruti ll)'·

• • • • • Master: You often finish other people's sentences. P~S5'!d by: Actors, Mediums, Above-Average Snlesmen, Pick·Up Artists Specialties: Emotions, Truths, Petson~litiCJ~, 13"ckgrounds

Expression The Expression Ability represents your ability to get your point across rhrough speaking or writin,g, whether you're writ~

ing a book or debating social issues. Charncrcr> with high Ex· preuion arc unforgettable, but only in their abihry to convey their feelings; intelligent or meaningful expression is the pur· view o( other Trnits. Expression at irs highest form can be art. • Novice: Tabloid reporter •• PracticL-d: College debate tenm caproin ••• Competent: Successful comL-ditm • • • • Expert: Best-selling novelist • • • • • Master: Shakespeare Possessed by: O rators, Politicians, Novel ists, Actors, 0\:mugogucs, Protesters

Specialties: Poetry, Impromptu, Radical, Innuendo, Meetings

intimioation ll>c art of intimidation takes many forms, rangrng from a $.tlxle 5ttggestion m outright physical damage. Each method of intimidation ha.s its time and place. People with high lntimi· dalion r.uings seem to radi-ate auras of :nnhorit)'· • Novice: Six·yeat-olds give you the right of war •• Proctictd: You win an occ:uiorut.l :.&an.:Jown. ••• Competem: Your gaze i.s very unsenhng. • • • • Expert: You woold bcannbove-nverngedrill sergeant. • • • • • Masttr: You can make vicious ~mimals [Urn &ail Hnd run.

Po5S'!ssed by: Businesspe-ople, Bouncers, Millrory Person· ncl, Mob6tel$ SpcciaiLics: Veiled Th reats, Politic~!. Milirary, Social, Overt VIolence

Streenvise The srreelli (whether of the Skinlands or the Necropoli) are a major soorce of information and money, us wd l as big· time trouble. The Streetwise Talent has • vanety of uses. First 3nd foremost, Strcctwise allows you to blend in with the loc31 scene without dmving an enrion m you....:!(. Oossip, felony, theft anJ meet slang are also imparted through this Talent.
• Novice: You know who sells drugs. •• Pmctlced: You are considered cool by the populace. ••• Competent: Member of • prominent sang • • • • Expert You ha,'espent most ofyour life on the strefiS. • • • • • Master: If you don't know it, it hrum't been said. Possessed by: Onng Mcmbcn, Winos, Reporters, Homeless People, Detectives Specialties: Picking Pockets, Drugs, Fencing, Sl•ng Terms

Drive

You can drive a car and perhaps other vehicles as well. Simply because you have a Drive Skill does not mean that you are familiar with all land vehicles. Your difficulty may be raised or lowered depending on your general experience with a particular automobile. • Novice: You can drivt an automatic automobile. •• Practic«<: You can operate a manual/shift trans· mission. • •• Competent: Commercial trucker (except around You know how to conceal your own modvesi moreover, Stonegate Industrial Boulevard) you know how to decipher the motives o( others and how to • • • • Expert: Formula One car driver use those motives "'J"irut them. The secrets and intrigues of • • • • • Master: L.A. mffic is a cakewalk to you. othcn interest you, and you work at understanding their weak· Possessed by: Truckers, Race Car Drivers, Stunt Drivers nCllses. A command of this skill makes you the ultimate con· Specialties: Curves, lee, Sudden Storms, Stick Shifts versntlonalist, or the ultimate spy. • Novice: A few white lies never hurt anyone. •• Pmcticed: You can pick fOil\eone up in a nightclub. You understand the small nuances of social life and are ••• Competent: You could be a criminal lawyer. able to conduct yourself in a manner that Is both unobtrusive • • • • Expert: Am way salesmel\ have nothing on you. and gracious. You understand how to make your way through • • • • • Master: Perry Mason wishes he had It so good. human and wraith society. Your specialty is the culrure with Possessed by: lawyers, Con Men, Casanovas, Politiciaru which you are most filmiliar. You use Etiquette during actions Sp,cialties: Finding Weakne5Se$,Seduction, Little White Lies such as dancing, seduction and haggling. Etiquette is also used

Su~terfuge

Etiquette

Other Talents Search, Guile, Intrigue, Instruction

Skills are Abilities that are learned through apprentice· ship& or rigorous training. If you try to perfonn a feat involving a Skill but have no rating In it, the difficulty increases by one. You arc simply untrolned in the techniques of that Skill and thus have a harder time accomplish ing the task than someone who has at least some idea of what he is doing.

This Skill imparts knowledge of master artisan techniqu'"l - woodworking, leatherwork, glassblowlng,g.:mcutting, etc. You em make functional objects from v-Arious substances; the quality o( these objects depends on the number of successes you roll. • Novice: High-school shop class •• Practiced: Apartment handyman ••• Competent: Professional work • • • • Expert: Specialist • •• • • MaS-ter: Master artisan ~by 1hclllc~Technicians, Htmdymen, Girl Scouts, Artifioen; Specia lties: Cooking, Carpentry, Blacksmithing, Le:otherworking, jewelry, Sewing, Origami, Stonemasonry

when engaging In diplomacy. • Novice: You know when to shut up. •• Pmctic«<: You know not to wear pai51ey at a black· tie dinner. ••• Competent: You know wh ich spoon is used to eot soup. • • • • Expert: You can get along with jll5t about anybody. • • • • • Master: You could prevent World War Ill. Possessed by: Diplomats, Idle Rich, Executives Specialties: Business, High Society, Street Otlture

firearms Skill in Ftreanns means that you have a brood knowledge of all guns, from a simple .22 to an Ingram Moc-10 machine "un. Firearms Skill does not include the ability to opcrnre heavy machinery such as tank guns and other artillery weapons. How· ever, the Firearms Skill does include the ability to repair dtcm. • Novice: You've had one or two lessons at the gun store. •• Practiced: You do all right at n flrinR range. •• • Competent: You can pull off a few gun rricl:s. • • • • Expen: You're cool and steady, even under pressure. • • • • • Master: "Do you feellucky1 Wtll, do ya, punk?" Possessed by: Gang Members, Police, Criminnls, Soldietll, Hunters Specialties: Rifles, Handguns, Pistols. Mac:hineOuns,Sprays

You can get people ro follow your lead and obey your orders by exerting authority and by example. Leadership isn't so much knowing the techniques of getting people to follow you as it is being the r.ypc of person people will follow. Leadership is often used in conjunction with Charisma. •

•• •••

Novice: You could coach a Li ttle League ream.

Pmcriced: Your voice is a domin~nt one; you can demand silence. Cornpcrcm: You nrc an c((cccive leader in cimes

of strife. • • • • £.\:perc: You attmct followers without rea II~~ trying. • • • • • Mascc1': You nrc a Napoleon, a Charon - or a Hitler .. . Possessed by: Politicians, Military Officers, Gang Leaders, Executives, Police Officers Specialtic.: Command•, Orarion, Compell ing, Friendly. Nohlc, Milir:>ry

Meditation is the Skill of calming the emotions, controlling rhe milld, and relaxing the physical bod!'· Meditation is usually performed while seated in a special position, like the lotus position, but with practice, ir can be performed in a vari· ety of situ(ltionsor positions.

Meditation can be used w isolate the mind from disnr1c.. rions, allowing a chan1cter ro focu~ on mauers of imporronce.

Mediration can also be used to catch up on lost Slumber, a Stamina+ Meditation roll (difficulty 8) determines how many effective hours of Slumber are gainecl per hour o( lnt.x lit3tion. • Novice: You t.tln sit in one spot for awhile with out fidgeti ng. •• Practic(.xl: You can sir andatrain a pcacd\11 Slaterimind. • •• Competent: You can relax in any position. • • • • Expert: People have co go Ou[ of their wny lO break your conccntrdtion. • • • • • Master: You could sc:~nd on your head in gunfire and approach inner calm. Possessed by: Martial Artists, Monk.., Arhlcre.<, Psychologists Spechtltics: Relaxation, Focusing, Memory, Zen, Centering

11>c ahiliry ro (ighr with a weapon is a valuable skill in the Gothic-Punk environment. !>roficicnq• in this Skill allows you to usc IHuuJ~hcld \\'cnpHm:. Knives, sai, S<'lps, tonfn ond ~words arc examples of the types of weapon$ covered b)' tht.! Melee Skill. T his Skill b ulml mclmic in mortal sociery nm"''' Joys because of Lhc prevalence o( (~rearms, but keep In mind thar the s.-1me is nm always true in Stygiaand the Far Realms ... • No,,ice: You\·e taLetl a :~JiX ..\\'\.'(.-k course m (cncmg. •• PrdCtic\.-d: You h:l\'c 1mluary training. • •• OJmpcrent: Yo;r drnw brcs in kendo tournaments. • • • • Expert: Any wcnpon i:, deadly in your gmsp. • • • • • M~1Stcr: Bruce Let: wnh :t ('-1ir of nunchuka Pmsc.«cd by: Police, Fencers. Kcnclo Enthusiasts, 'Thug>, Gang Members Specialties: SworcLI, Axe•, Rnpicrs, Kn ives, Clubs, Disarm, B:tllcsrra, Florcnrinc

You are able rn pcrfonn ani
slon )'OU .,... pursu
Pmctict-d: You c;m d:c mu a living on checlub circuit. Competent: You can get a movie or record deal. • • • • Expert: You reRularly make the page~ of l'eiJ/Jie. • • • • • !lola-iter. Youn•\Jrk ..;!llx: remembered rhl(llrcluheo~ Possessed by: Actors, Musicians, Karnoke Regulars, Mimes Specialties: Hardcorc, Villains. Guitar Solos, While Dnrnk •• • ••

~epair You are able to repair simple or· complex Jeviccs co( nil

sorts. Such devices include dcK:trs, c.:-us rmd even compu(crs. M1rstcry of this Skill means that you arc a jack-of-all•tmdes. Th is Skill covers everything from simple carpentry to lltcchanics. Of course, proper tool> arc ahv-•ys needed. • Novice: You can assemble ready-m:tde kits. •• Practiced: You could wire a house. ••• Competent: You s:ave qui[e a few dollars 1n mt-· chania' fees. ••••

Experc: You are ob1e to repair pcr:,.onal eumpu•· ers within minuLCi.

• • • • • Master: If il•s hroken, you can fix il. PUS>CSSed by: Handymen, Carp.nters. Eleetricians, Mt· ch,•mc.<, HtL~bomds Specialties: Wood, Compurers, Elccnonics, Engines, Au• tomobik-s, Electricity

Stealt~

YOme. •• College: Y0<1made ar lea" a Bin D.tta PrllCcssing 101. •• • Masters: You are a compercnr pro~;rammcr ;md

Stealth is the nbility to sneak about or hide without being can design \ 0ur own so(cwnrc. seen or heard; it is u(u.:n ruii~...J ngninst another chnroccer'$ Per# • • • • Doctor:tte: You make a livin~sc.:anuning Ma Dell. cep[ion. • • • • • Scholar: You•re on rhc vcrcc of crc:Hi n~-t Ar· • Novice: You can hide in the d,.k. tificiallntcllil(cncc. • • Pr;1c1 icet.l: You Cftl) hide in the shadows. Poss~ss~ by: Programmers, Data Procc:twrS, Camers. ••• Competent: You are an accomplished humcr. MUSH Coders. Students, Hockers • • • • Expert: You Ct'ln \vnlk silently over rwo mchcs n ( Specialties: Hacking, Virus Pto~:rams. Retrlevln~ l}.rra dry leaves. • • • • • Master: Nin):t clan leader Poosesscd by: Criminals, Spies, Reporters P\mla and probk'1llS Oion, ru.U this interest has given )"01.1 a lm;tek for I'""'"'C tq,octltct an.l "'mcmbcring information viml to many kinds of problem«Jivmg. Pi loring, Ct1oki11g, Boating, Archery, Disguise The Enigmas Knowledge ""ists player> in solving the mysLerics crented by the StOryteller. It Illms, answering the riddles of my&tical guard· h\1'\S, or riddling forone's soul agninst amalcvolcm :VInl(cnn. Knowlll(lb"'-' include aii Lhc AbiliLies that require ri!IOIOU$ appll· • Student: You c:Jn pur r
Enigmas

Ot~er Skills

knowleages

rm

"""'I''

Bureaucracy

Thi• Knmvledgc includes the ability to make your way through the pollticol system, in rhc Shadowhmds or ill Stygin. The Knowledue nlso illcludes the ability to non a hurcaucmcy, which of course presupposes at lease a rudimenr:uy sense of organiL1tion. In foct, this Knowledge can be seen as the chief orwmitmiollnl ability in th~ gam<. • Student: You ha,·e good organizationolabillty. •• College: You understand power structures and can intuitiv~ly sense who is in conrml. ••• ~Lt>tcn.: Yuu can perform stalling me:tics indeAnitely. • • • • Oocrorntc: You can pcrfonn supervisory odmin .. istrmive duties. • • • • • Scholar: Yuu could obtain a meeting wirh the President of the United Stat('S.

Investigation You nrc trained to notice nil sorts of dcmils rh:n mhcni might miss. High levels this Knowledge allow I'OU to func· Lion ns a det~ctive. TI1is Knowledge provides un abilily to find clucll, pcrfunn forensic analysis and prNiict crime p::tHcrns. • Smdent: Amateur detective •• Collego: Police omcer ••• Masters: Pri\'ate detecti\•t • • • • Doctorate: FBI, CIA, KGB, MlS.lnt~rpol •l:"nts • • • • • Scholar: Sherlock Holmes Pusscsscd by: Dctectives.lnsumnce lnve~tigmors, Repurters, FBI Agents, Intelligence A~tCt\lS Specialties: Search, Pro\\'1, T.•il , l)ctcctivc \Vork

or

The law Is not a thiclg to trifle with, and those with knowledge of the low arc well able to use It to their advantage. If you ever want to get out of jail, this Ability is e&.~ential. • Student: Practical knowledge, police officer •• College: Prelaw, beginning lawyer ••• Masters: lawyer, full partner • • • • Doctorate: judge • • • • • Scholar: Supreme Court justice, Death Lord Possessed by: Police, L~wyers, judges, Detectives, Crimi· nals, Legislaton, Hierarchy Advocates Specialties: Coura , Contract, Litigation, Criminal, Police Procedure, Hierarchy

You arc knowledgeable In allarcliSof rhe occult. This un· dcrstanding of the more sinister side of the world includes knowledge of curses, voodoo, magic arld mysticism. • Sr11denr: You've dabbled, bur aren't In the know. •• College: You're srarcing to know what's going on. ••• Masters: There :.re more than ghosts our there, and yoo know a lot about rhe other residents of the World of DMkness. • • • • Doctorate: You can sepnrmc truth from (3ncy. • • • • • Scholar: You have been fully initiated in many of the great rnysreries. Possessed by: Wcirdocs, New Agcrs, Occulrim, Scholars, the curious Specialties: Ghosts. Magick, Psychic Abilities

It is assumed that you can speak your n::nural hm1(un~c, but you mu•t purchase ony other hmguages that you wish your character ro speak. Each level of Linguistics allOW$ yoor char· acter to speak another language fluently. Linguistics also gives n character ~n understanding of the mucrure oflonguage, which is in rum the basis of thought. With this Ability, you can !den· tify accents or read lips. • Student: One additional language •• College: Two additional language.• • •• Masters: Three additionallangu.1ges • • • • Doctorate: Four additional languages • • • • • Scholar: Five additional languages P~ssed by: Travelers, Scholars, Diplomats, Interpreters Specialties: Curse Words, Technical, Diplomatic, Political

politics

Medicine is the study of the human body and the techniques used to cure its ills. While n wraith's body is different, un understanding of mortal health ond biology c:m often be of use in dealing with the Quick. 111c Medicine Knowledge in· eludes the knowledge of the structure and functions of the body, the use of medicine, und the di:ljlnosis and treatment of dis· • •• •• • ••••

Student: You know the basics of setting bones or preventing a SLTOke. College: You have pnrnmcdic-quality ttainitlg. Masters: You arc a doctor and can diagnuoe and treat diseases. Doctornte: You can perform surgery.

• • • • • Scholar: You are • specialist of great renown. Possessed by: Paramedics, Doctors, Nurses, Specialties: Phannacy, Paramedics, Eme'llencyC:lre, Discase, Ncurosursery

This Knowledge providcs a familiarity with rhc polirical uruc;tures of the day, including an understanding of who is in charge and how rhat person got there. It represents on understanding of both human and wraith politics. This c:rn be an essential Ability when attempting to deal with morrnlouthori· ties in any way. • Student: Protester or casual observer •• College.: Campolgn worker or political science major ••• Masters: CampuiRn manager or speech writer • • • • Doctorate: Politician • • • • • Scholar: Machlovelli Possessed by: Lobbyists, Politician.•, Lawyers, Protesters Specialties: Neighborhood, City, Congress, Elections, Oration, Radical

Science You have at least a basic understanding of physics, chemistry, botany, biol"'.'Y· ecology, Mtronomy and orher sciences. Your Knowltodge deals with the useful applicarlon.s of science. Higher levels almost invariably involve specialization in a p<~rtlcular field. • Student: You can make smoke bombs with a chemistty set. •• College: You understalld the major t hcorles and :rpplications. ••• MMters: You could reach high-school science. • • • • Doctorate: You might will a Nobel Prize someday. • • • • • Scholar: Albert Einstein Possessed by: Engineers, Researchers, Inventors, Tcchni· clans, Pilo~ Specialtie-s: Biology, Physics, Chemistry, Astronomy, Rcla· tivity, Nuclear Physics

Other knowledges Psychology, Bureaucracy, Finance, Art, Philosophy, The· liter, Journalism, Military Science, Genealogy, Geography, History, Theology, specific area of knowledge/trivia

BacKgrounds To last an er=i.<;SCS.'iCS a certain &ckground. Where did you meet that person? How did you come into possession of that relic! What did you do to (!:lin your position with the Heretics? A Storyteller may call for a Background to be rolled with an Attribute, such as Charisma + St'dtus to determine if the Centurion olx:\'1 your orders, or Intelligence + Memoriam to recognize that m)'1rerious woman who visits your gmve every CKher Wednesday. Backgrounds do not increase through experience points. A wraith may gain and lose BackRrounds as the result of a story. For example, if you lose your artifact in the Tempest, it is In". If people stop remembering you, your Memoriam score decreases. Some Backgrounds may not be appropriate to your chronicle: ask your Storyteller.

Mlies Allies are wraiths who aid yott y011 con coli upon that wrnlth for aid; you should, how• ever, be aware that your Ally will sometimes ask fot your help as well. One does not boss one's Allies around: they arc equals ond friends, and must be created as such. As the chronicle progresses, Allies who began as weak chamcters may die or increase in power. You should rn'ke the tirnc to describe your Allies carefully: they can be the source o( many nory ideas. • A slncle Ally of moderate power •• Two Allies, both of rhem of moderate power ••• Three Allies, one of them quite lnfluemial • • • • Four Allies, one of them very influential • • • • • Five Allies. one of rhcm extremely influential

Artifact Everything that is ever lost evennoally ends up somewhere In the Underworld. Tile Hierarchy sends SGOUr4 throughout the

Underwo1-ld looking for long·lost artifacts of yore; many of them For each dot you have in the Eidolon Background, you return with fAscinating treasures. Additionally, the Orand High may add one auditional die per session to any roll to resist the Artificer and his elite band of artisans have discovered means of Shadow's powers, ploys or cricks, including Thorn.•. These dice imbuing powers into the very material of the Underworld. may also be added to Willpower rolls. TI>e moo;c common form of artifact is one that magnifies an It is a good idea to use your Eidolon dice sparingly during Arcan05 c:i one or more kinds. A few artifacts are m:lgical simply a se>sion, applying the extra dice only when absolutely neces· in the sense dlllt they actuallyoperate like they did in life without lary. You may choose to roll only one Eidolon die if you wish. using Pathos ro fuel them: n remote control mat ch•nses a TV Eidolon dice do not accumulate over several sessions, but you channel, " garage door opener that opens garage doors, a hand· do regain your full total every game session. gun that shOOIS bullets without needing to be relooded. • You hear vague whispc.rs from far away. See Artifacts in the Appendix. You know that there is romething guiding you. •• One level of Artifact • • •• You feel that your Eidolon has a sentient identity. •• Two levels of Artifacts • • • • You hove sensed the prcscnce of your Eidolo1\. •• • Three levels of Artifacts • • • • • You huve seen your Eidolon in a dream. • • • • Four levels of Artifacu • • • • • Five levels of Artifacts

Haunt

All wraiths create hiding places for themselves, called Haunts. A Haunt Is a S«ure haven unkt\own to the Hicrnr· Even os o wraith, you know people from many walks of chy, Heretics or Rel\egndes.lt can be a forcotten drainage ditch, life (or death); together, these disparate persons form a net· an abandoned car, n set nf catacombs beneath a cemetery, or the basement of an old house. Wraiths viciously guard their work of information and help that may prove useful. The player must decide where his Conmcts lie: in the liv· Hounts. Many times, entire groups of wraiths share a Haunt, ing world or in the Shadowlands. This determines whether his guarding it against all intruden. 11\e Haunt's raring Is subcracted from d\e area~ Shroud; it is Contacts score applies ro wraiths or to the Quick. Players who want Contacts in both the living world and the Shadowlands o.1tnhlished by pooling the number ofdots d,at each of the founders of the Haunt possesses (maximum 5). Members of a Circle usually should purchnsc this Background cwice. share one Haunt in common, but also know of each other~ pri. Major Cont3CCS are not only bcit.g:s yoo can manipulate or vare Ha
Mentor Powerful wraiths liOft'lerimes ch005e to aid Enfants, mold· Your Eidolon represents your higher self. This Background ing them into allies for the future. TI\ese lieges, or Mentors, measures how spiritual you are (note that "$1lirirual" does not h•ve their own personal reasons for aiding rhe young and weak. necessarily mean "good"). Just as your Shadow tempts you Some want reliable underlings; others try to fulfill their Pas· toward Oblivion, your Eidolon gives you the resolve to fight sions through altruism. the Sh;~
to learn a nc"' Arcanos ~

by her Mentor, the player may roll a number of dice equal to the number of dotll in Men· tor; each success subtmcr. one from the number of experience pnlnts needed to le11m the Arcanos. • Mcnror ha• liulc power but is occasionally helpful. • •• Mentor has some degree of status; her advice Is sparse, but useful. ••• Your Mentor knows a great deal and shares much of this with you. • • • • A wise old Gaunt has chosen to pass on his knowledge to you. • • • • • If your Mentor doesn't know it, thcl\ few if any among the Restless do.

Memoriam Funerals. memorials, tombstont$, roonumenrs, days of rcmem· bmnce, wakes, Memorial Dly, Rowers on a gravestone, book• dedi· ented "in loving memory," a place set at ThanksRiving for a long· dcp:tnc-d famih• member - It would seem that all these fomlS of remembr-mce are more for the benefit of the living than the dead. And )'Ct, the Restless benefit greatly from those who remember them -quite literally. The emotional energy of the living, as expressed in their thoo&hrs. word. and deed>, is transmitted inro a wmithi Ufeweb.

Memori;unreprescnrsthcarnountof"eme~"P:uhoorhar

a wraith can siphon per 5eSSlon. In dire straitS, a wraith who has

already rec:civcd her Pathos for the chape number of successes equals the amount of l'atl10S pointll she lnsmntly gains. If this roll botches, her Memoriam rating reduces by one: the d..,d can only >teal so much before the memories of t.he living diminish. Note that famous people rmnscend the I to 5 scale for Memoriam: Elvis, for example, has an 8 Memonam (if he is indeed departed ... ). • Only one person rememlx:rs you well. •• A few close friends remember you. •• • Your family remembers you fondly. • • • • A large organiL"Ion (the Rotarians, n gnng, a church congregation, a small culr) remembers

and re,,eres you. • • • • • A building or some other pennanent public fu. cility has been dedicated to you; people u:.c your name on a daily bnsis.

Notoriety Although the dead are usually neither concerned nor im· pressed with the mass of the living, tales of the living occa·

sionally ftlt who will be noted in death and who will fade immediately into obscurity. Ce.rminly, one way to attnoct ohe Oltention of the dead is to cause many deaths, although creating great beauty or causIng great sorrow are also notewoo thy among the Restless: No•oriery can win a wraith instant suppon in the Shadowlands; Stol')•tellers may allow a wraith 10 make a Notoriety roll to see whether a complete stranger has heard of him. As with Mernoriarn, ccrtnin wn1ith!1 n:mscend this scale: Adolf Hitler, for example, no doubt would have a Notoriety of 8 or 9 (and thousands of enemies Oil arrival ... ). • A few local wraiths 11re impressed with you. •• You're well known In your Necropolis. oo o You are recognized by onany in the Shndowlands. • • • • You arc quite famom; everyone knows something abom you. o o o o o Like jim jones, john Wayne Oacy and D.ovid Kaesh, )'OU wcn:dc!piscd from rhefiost day ofyour death.

Status Status represents a wrnith's social srnnding within one or more of the major social ~;roups of the Underworld: the Hierarchy, Heretics and Renegades. To possess Smtus implies that one has earned the group's respect throuch demonstrating loyalty to the ideals of the group. With beginning characters, Sta· tuscan mean that one of these three factions has marked rhe character for recruitment and will pressure him to join. Ir is possible to h~ve more thnn one St~tus &ckground, reflecting Status within two or more s.:porate groups. • Familiar: l11e group members are familiar with your name and face, although you are still not. trusted with se<:ret information or responsibility. •• Proven: You have proved yourself to the group members, and they trust you to a certain extent. The group's lenders haven't yet heard of you. • •• Respected: You arc rcspccoed by rhe ~;roup's mem· bers and have e:omcod the attention of the local lenders of the group. Still, you arc not yet in rhc inner circle's lrusL. •• •• Trusted: You arc truncd by the leaders of the group and are rcgulnri)• Riven secrets and infor· mat ion. Although" few group members m~y still doulx yoursincerity, no one ls willing tovoke them. • • • • • Loyal: You have proved )'OuNelf loyal to the group. The other group memben mm you "ith· out question, and rhe group leoders have no qualms about revealing potentially damajling in· formation to you. From rime to 1ime, you

will be

rrusted wirh secret dtotles ond/or given special equipment and aid.

h\ days of old, the Ferrymen would carry a departed soul ro the afterlife fo r the small sum of two coins pressed imo the

corpse's eyes upon death. This is no longer the case. The cost of dying has gone up. Now the Ferrymen do nor honor the oboli of Stygia, the coins that have the Mask of Charon imprinted on one side and the High Court ofStygia on the other. 11lere are denizens of the Shadowlands who do, however. The Hierarchy uses Stygian coins as the currency for Its soul-economy. Souls, relics, artifacts- all have a price. The oose Stygian coin is called an obolus. Oboli are often broken into half-oboli, quarter-oboli, and even a "drachma.'' which is just a sliver of an obolus. The obolus is made of Stygian iron, and each obolus piece will mystically merge with other obolus gcr, the appeardnce of the Corpus becomes more twisted. All slices. Therefore, two half·oboli will huddle together and evenru· wraiths beg;n with I0 Corpus Levels. ally merge to form an obolus. Likewise, a collection of drach ma The C
Corpus

Feuc.,. are m:uerial objeas binding a charncter ro reality. They are, in fuct, pan of what makes a lost soul a wraith. Each Felter represents somethinJl, someone or someplace that was impon:mr to the wr•ioh in life. The shor glass at )'0\Jr f.worite b." m~y be a Fetter, b\1t it probably represents more than might be immediately opparenr; perhaps you spem much of your time drinking Lhcrc, ignoring your fAmily life. Your favorite tennis mckee mny symbolize your dream of becoming a smr athlete or simply of get• tlng n life outside your job. Take great care in choosinB your Fet· tcrs, for they e m provide a wealth ofinfonnation about )'0\Jrchar· acter, M well as myriad ide"-' for potential plots. If nll a wmith's Fetters are destroye-d, he can no lo~~j,>cr visir the Shadnwbnds for exrended periods of time. He may remain in the Sh.1dowlands for a maximum of (Smminn x 2) minutes.

~esol~ng fetters Becmue each Fetter represents something left unresolved or undone in the wmith'slife, it is possible co go back and ser aright unfonl<;hcd busincs•. If a wraith can dL~e<>Ver and come to terms with whatever meaning a Fetter held £or him in life, it will no longer prevent him from moving beyond the Shadowlunds. A wnlith who hns resolved all her Fetters can journey 10 Srygla and the Far Shores without fear of being stranded there. By using Argos tO cmversc the Tempest., she can pass oock and forth betwe-en the Shndowlonrl• rand the rest of rhe Underworld wirh rclnrlve ease. llur once her Feners arc destroyed, either due to malicious intent or the mvngesof time, she can no longer return to the Shadowlands. fo< thi> rcnson, n wr~ith who~ resolved Fette!! Is highly pn:ed by agents in Stygia and the Far Rtalms.

rassions ana rathos If I oniJ could, I'd makt a de<1l with God, And I'd get him to swap Olroblem ...

-Knee Bush, "Running Up That Hill" Wmiths nre driven by emotion; for them, passion is the c-s· scnec of cxisrcncc. Wirhout passion, life 1$ no
.someone else or find JOincone who ls experiencing that emotion. Sometimes n wrnlth will change the environment to evoke the desired emotioll ill spectators. In any scene where a character can sympathize with the emotions of the living, the player rolls a number of dice equal to the number of dots ill that Passion (the difficulty of this action is usually 8). For each succCiS, the wraith gains spiritual power, called Patho$. Some examples of Passioru are: Love, Anger, Faith, Hope, Envy, L~W, Pride, Sorrow, Pain and Grc<.'tl. The P:~thos Trnlt repreaents a wrnlth's •nunement to the real world. By understanding the esaence of life, the wrnith gains suength, allowing her to interact with the world around her. f'Or wrniths, power Is found In p.'>Mion and purpose. Specifically, Pathos points are used to fuel wrniths' Arcanos. Po· thos <:f remor;c Give grief to your enemy

In any scene where a wrnith works toward fuiOIIIng a purpose, the Storyteller will request the player to roll against the Passion. If, in a scene, the purpose is S(X:cifically addressed, the difficulty is 6. For instance, if a wraith has rhe purpose "Protect my love," she will gain Pathos by defending him when he is attacked. The purpose doe.• nor have to be completed; the character need only work toward it. When a wrnlrh strives to fulfill her desire, she bolsters her reason for existence. It is also possible ro gain Parhos by addressing a purpose in a general sense. For instance, a wrnith may be driven by the Passion •Avenge my death (Venge-ance)." I( the character $1>C· cifi<:
T~e price of passion Living a passionare life does have its drawbacks. If a wraith cannot find fulfillment, she will find fnl$11'3tion and pain instead. l( a character botches a Passion roll, she gains one point of Angst.

Arcanos h, wl>a1a world of tyrofir and dcsiR>1 Of pc;wer, of honor, and
of d1e spirit work!. Funhennore, over the l'em, many wrairhs have developed their artS to grant rl1en1 power over rl1e human mind, emotions, tmd the ~pirit of death ic;clf. Some wmith.'i may even touch the living world with their ans. although this can prove quite difficult. All Arcanos vary subtly among wraiths, depending on how thC\' view themselves and their art. Because of this, each wmith may have a slighrlydifferem interpretation of an Arcanos.ln fact, many wraiths have discovered new B$pe<:ts of th.eir Arcanos, new wa\'8 to nmnifc..'St their spiritual energies. Such experimentation

can be dangerous, but can prove extremely fruitful. The Storyteller may allow players to invent new uses foe· an Area nos. The Storyteller should examine a player's proposed usc of an Arc.1nos and compare it with the other arrs of that Arcanos. If the Storyteller deems that the use is appropriate and that the characrer has the required level ofability in the Arcanos, the player may bring the new art into play. If the character had time to research and study this new use of an An:anos, then the Storyteller should assil,'ll a difficulry and an amount of energy appropriate to its level. Conversely, if the new use \\>as created "on the fly," d1e Storyteller may assign a higher difficulty and cost. Keep in mind as well that the am listed here have been tested over time - who knows what side effects or orher dangers could be discovered through experimentation! Ench Aromos is divided into scvcn1l arts ofincre-.dSing erudi ..

tion, which become available to the wraith upon learning the secrets of that Arcanos. As the wraith delves further into rl1e nwstcrk-s o( the Arcanos, he begins to learn greater arts rclatl.'XI to

the Arcanos. Knowledge of the lesser arcs still remains, though :;cone of the greater arrs render the lesser ones obsolete. A wnlith swdying a given Arcanos must nrst le-arn some of the basics associated with that Arc.1nos. Each Arcanos has one or more basic abilities associated with it, which the wraith may use when the Arcanos is nrst bought.

The Body of Truth Part practical cmft, part spiritual path, an Arcanos is as

much a way of thinking as it is a tool or arc. As its Mme im· plies, an At·canos is a collection of secrets, mysteries and enig..

mas. Many of these secrets are useless unless they are paired with some inner quality of the self. In (tdllle tcnns, this is n.'Pre:;ented by the fuct that a player must pair an AtTribute with an An:;mos in order to make an Arcanos roll. The effectof d1e pairing isdetennined by what Attribute and Arcanos are used, plus a few other con.1iiderntions, such a~ wherher a Ferrer is

present, whether the wraith is enacting the An:;mos inside a Haunt, and what fuels the art (either PadlOS or some od>et power).

The Seed of power Wraiths must hamcss their Pathos i11 order to affect both the living world and the Shadowlands around them. System: Pathos is gained from a number of sources. See Parhos, pg. 136-137.

The chains of life Because Fetter> arc essentially metaphysical chairu bind· ing a wraith to her past life, it is easier to affect the living and the living world within the boundary of a Fetter's influence. System: If applicable, the taring of a Fetter can reduce the difficulty for an Arcanos. The Ferter must be used as part of the crafting of the art. Roll the rating of rl1e Fetter versus a difficulty of 6; for each success, the difficulry of an Arcanos is reducc'e diffi· culty of an Arcanos roll cannot be lowered to less than 4.

The shroud of Death The power of the living to deny the power of death is great. This protective barrier is called tl1e Shroud, and it inhibits wraiths from affecting the living world. The Shroud is often weaker around Haunts. Haunts are places affiliated with death, and they often act as a "universal Fetter" for all wraiths: System: The Shroud is everywhere. For wraiths, the Shroud is usually rated at 9. Sometimes - at night, in certain cities, or on special holidays- the Shroud drops to 8 or 7. The Shroud is often lower within a Haunr. A Haunt will re· duce the difficulties of all Arcanos performed within it by I per level of the Haunt. Note: the eating of the Shroud can never fall below 4.

The Mark of power In order to learn an Arcanos, a wraith must internalize the secrets and mysteries that make up the body of the Arcanos teach· ings. l11esc secrets mark her in many different ways- ways that are recognitable to other wraiths. Cerrain wraiths even gain dCjlthmarks (see Chapter Two) as a result of their studies.

System: A simple roll of Perception + rhe appropriate Arcanos (difficulty 7) allows a wraith with a specific Arcanos to sense wherher another wrdith knows the same one.

~eality The effect of a Haum and a Fetter can be cumulative, but even then, the difficulty for an Arcanos roll cannot be less than 4. In addition, the Automatic Success rule (see pg. 9394) does not apply ro A ream».

Guilos n medieval times, wraiths organized into b'llilds OO.Cd on the A..canos to which they had devoted themselve:5. This is no longer d1c case. Charon once insisted that his U!gions should learn Arcru1os,and he actively discouraged the teaching of Area nos outside of the Hierarchy. However, the guilds were dis-

banded cenmries
Still, the rmdirion of the g<1ilds remain., if only in the sen..-.: d1at wraiths who master certain Arcanos often share the same qualities, have similar valut-:;, and share ethics. If you show )10ur.. self to know Argos, people will probably call you a Harbinger whether or not you choose to acknowledge that ririe is up ro you. A few guilds were never sanctioned by the Hierarchy. These were the Haunters' Guild, the Procrors' G uild and the Puppeteers' Guild. The C hanteurs, Masquers, Oracles, Spooks and Sandmen, while never quite respected by the Hiernrchy, were tolerated. The Ani fleer>, MonitOrs, Usurers and Pardoners were flnnly controlled and sanctioned by the Hierarchy.

Argos o you mur mt!" I a.sktd hCst, a 1l1is Arcuno< is used to trnvel rhrough rhc Tempest quickly wrnirh must roll Perception + Argos (difOculcy 6). 11te num· and efficicnrly. Argos ennbles wrai rhs ro travel into, om of, ber of successes indicares the clarity of the wrairhs vision. A :mtl through the Tempest :md to find Br"oays allowing rela· botch causes the wraith's mind to play tncks on her: she sees tively safe tnwcl ro orher realms within rhe Underworld. something In the Tempest th:u isn't real. S toryteller Not~s: Argos ~ovcrn~; movement in the Tempest Threshold: In order to enteror leave rhe Tcm, Tempest. A wraith with no Argos Arcan06 will num aim· pest, a wraith must usually find a Nihil large ono..~h to lessly and can on I)• spend on~ Pnth06 point to change pass through. Use o( this an allows a wmith to open a his direction. Flo.1ting about in such • m:tnner is quite doonvay into the Temp'"' and enter it. The doorwa)', dangerous: Spectres (cspcei:tlly Shades; see the Ap· usu:rlly hold. Byway (althou~h it is posSible ro follow some· Orienteering: The Tempest is an nlien and one else unw one). For ndditional inforrna· dangerous cnvironm~nt where dist:mce and tiun on the Tempest, see Tire Tempest In rime hav~ little bearing. This art allows a Chapter Two. wraith to determine his location in the Tem· Feel fre-e ro allow onecharnctcr to "carry" pest and to Ond his destination. Orienteering the rest of the group alon~ wirh her; as long ns •llnws a wraith to travel w his chosen destina· others do not resist the power, they can be swept ~~~~~j~fj lion along the quickesr and easiest path (u>ually a along just by holding hands with the Artoos user. ' Bf\\'1\y), avoiding :u many obstacles as possrhle. You may, howevN. wish to incr<-ase rhe difficulty of Tr•vel through the Tempe>t using Orienteering Arcos actions in Lhis case. alone I$ a dangerous undertaking :lnd is usunll~, at· tempted Oll ly by the most foolhardy. However, Orienteering c< excellent for finding one's ""'l' our of the Tcmpesr should one be stranded there by some mishap. Seemingly stricken woth a kind of \\'1\nderlust, Harbin· System: 11le player "" " r roll Perception + Argos (dlffi· ~ers tend to m:rke nightly excursions to far-niT places and rerum culty 8). Because rime and distance arc nebulous in the Tem· bcfurc the som rises. Many fonner guild members still work for rhe pest, the number of su
Basic Abililies

Shadowlan
11te typical Harbinger is very quiet, controlled and cnlm and Ul(WOSSWiftly wherever she One can identify a Harbonger by looking into her e)'<.'S: because of the amount of rime spent in the Tempe-st, " H:rrhlngcr's C)'CS bccorne jet·black over time.

1.•,...

trnvel

tim~.

1~3 successes

Standard travel time Half standard travel time 5 successes One-qu.1rrer standard tr•vcltime Failure indicares that the wraith ha> t."nc in the wrong d irection and may become lost. If the Storyteller chooses, this could become an advcmure. If rhe player botches, the wraith i$ h-eading into c<:nain danger: a nest of Spccrrcs, ::t Matl-5trom or some other ha~,rd. Track: This ability allows a wraith to track another wrairh who has gone imo the Tempest. In order w have :my chance

4 successes

of success, the target wraith must be followed immedi· atcly after disappearing into rhe Tempest.

System: The trocker must roll Perception+ Argos (diffi· culty 6). Thisdifficulry increases by one for every turn elapsed between the entry of rhe quart')' and the pursuer. Of course, if the quarry is aware of his pursuer, he may attempt to evade her by making a Dcxteriry +Argos roll (difficulty 6). Each success scored subrracrs o ne from rhe pursuer's successes. I

Ens~roud Because those with Argo.."i must avoid rhe hazards of the

Tempest, they first learn how to move through it unseen. This an allows the wraith to wrap herself in dark shadows and thus move invisibly rhrough both Tempe.n and Shadowlancb. When first evoked, this art causes the wroith co vanish suddenly from vie1v. l11e wraith is thereafter cloaked in shadows. System: The player rolls Dexterity+ Argos (difficulty i). The number of succtsses equals the number of rums the character can remain Enshrouded. The character can attempt an· other use of rhe arr a~ soon as she feels her first evocarion fad· ing, although this costs more Pathos and renders the wraith momentarily visible. l11e character can usc no other Arcanos except Argos arts while mainraining Enshroud; otherwise, rhe

effect is broken. II

r~antom Wings

This art allows a wraith ro fly in both the Tempest and the Shadow lands. TI1is flight resembles gliding and is not very fast (about as fast as a normal human can run), but it allows the wrairh ro gllin access to otherwise hard-to·enter areas.

Wraiths may also use this art to hover. System: TI1e player must roll Stamina+ Argos (difficulty 6). The ability ro fly la.
flicker

The wrai~l uses ~le temporal and spatial distortions of d1e Tempest to her advan rage when employing this arr. This allows her to move short disrances very quickly. Generally these minijumps must be widlin line-of-sight. l11is art may also be used to surprise an opponent by flickering out and appearing behind him. System: The player must roll Dexterity + Argos (difficulty 6) when attempting to usc this art. If successful, travel time is reduced by one mrn per success gained. For example, if Mary was rrying to run down the block, and the Storyteller decided that it would take five turns for her to do so, she could

that the character has become stuck in the Tempest and may Mt use thi• art tO emerge: he will insread have to open a thrc:ih·

old (as in Ttmpesr Threshold, •hove) .

.... jump

Castigate loinlc of liae power of doe Sluldow: dark, allknowing. perverse. It is the ultimace enemy. You """' steel yoamelf against itS lies! Usten

co me! You musr see rile rr1dh. Lisccn co my wnrtL~ .

Castigate is one of the few tools that wraiths have against the Shadow and its ~rrowing power. Those who learn if also

learn what causes the

Shadow to become active, as well as what drains the Shadow of its malevolent power. Each Pardoner mus.r learn his own way of Castig-<1~ tion: physical punishment, ritual purification, sermons,

One can tell a Pardoner by the black sraios on h.is fingers, which ;uisc from wuching or otherwise imcracting widl oLh~ ers' Shadows.

BasicAbilities Soulsight: By looking carefully'" another wmith, the user may peer deeply into h is soul and see the inner darkness. This allows the user to measure the power of that wraith's Shadow, and to see how dose the Shadow is m consuming him. The u.ser may only look at another's Shadow in this way, not herown. This arr may also be used co sense rhe: presence

insults, taums, quiet embraces, gcndc words, drum.. ming. exerrion and sensory deprivation have all been

of Spectres, especially Doppelgangers (see the Appendix), because the Shadow is so strong within them. System: By rolling Perception+ Castigate (difficulty 8), the user may determine the

" ""'"'"'

used to draw out the Shadow and drain its power. The most coonnwn way of Castigating the Shadow is by ga ining knowledge of rhc nature

of the Shadow being Castigated and specifi · cally targeting it through a kind of dialogue. This dialogue has come ro he known as the Devil's Dialectic. Storyteller Notes: Castigate gives a wraith rome small degree of conrrol ewer Shadows, bOth her own and those of others. It also gives rhe wraith a great deal of insight into the Shadow. The Storyteller should make sure that players do not abuse this power. AII dealings wirh the Shadmv should be dan· getous; even when the character has some degree of con· trol, there should be a modicum of uncertainty.

rardoners - Castigate The Pardoners' Guild was the closest thing to a religious organi%arion [har Srygia ever had. Because gcrting rid of o ne's

Ang>t was so important to the Stygian Empire, there used to be branches of the guild in every colony. Charon himself is n1mored to have had his own personal Pardoner, whom he rc..

tained long after the guild was disbanded. Even today, when rhe guild has been disbanded, no Hierarchy Centurion will arresl a Pardoner for hanging our his iron 1amern) marking that he is ••in business.'' Sooner or later, ev~ cryonc needs a Pardoner. Because of rhe narure o f rheir work, o lder Pardoners have

an almost religious or spiritual mindset when speaking of Cas· ti&'lltion, while newer wraiths (especially former psychologistS) speak of rhc Shadow in psychological terms.

strength of anorher wraith's Shadow. The

Storyteller will describe the strength of the Shadow as weak, nominal, fairl1• strong, strong o r eminent depending upon the

character's current Angst score. Additional sue· ccsses tnay give the user further insights into the nature of the character's Shadow. A failure me.tms rhat che user cannot sec the

Shadow (perhaps her own Shadow clouds her eyes). A botch indicates a radically wrong reading. Bulwark: The wrairh can briefly protect herself and others from the ravaging effectS of a Maelstrom. It is as if she throws up a shield against the onslaught of the storm, causing the Maelstrom and its Specrres m roar past unhct"<.J,

ing. System: To erect a Bulwark, the player must roll Stamina +Castigate (difficulty of the Maelsrorm's rating+ 3). The char· acter must spend I Pathos for each level of the Maelstrom she is resisting, though she may extend this protection to anyone she touches.

·Coax Those with rhis arr have more control over their own

Shadows than most wraiths. Thel' are able to drow on the power of their Shadows with considerably less risk.

- •

System: By rolling Charisma + Castigare (difficulty 6), a wraith may modify the number of Shndow Dice (see pg. 183) that he chooses to use for any given task. Nunnally the Shodowguide offers the player a fixed number of txtr:l dice. Every two succ~ gained wid• C:O.t.x allows the player to add or subcract on~ die.

Though it does nor cost anything to use this power, an Angst point is gained each time it is.~.

" Dark Secrets By examining another wraith's Shadow, the Castigator may lc-•m the wraith's dark sccrers. This is not ai>~'II)'S easy, for the Shadow may fet-d the Castigator false information. Only the most discern in& individuals are able ro glean much truth from the Shadow; of course, the weaker the Shadow, rhe easier It Is to manipulate. System: lly carefully examining rhe Shadow within nn· other wraith and rolling Perception +Castigate ngainst a dlffi· culry l to the target's Willpower, the Castig:uor may lenm secrets about rh3l character. The player of that character (or the Storyteller) must answer one question per success gained. Half·ttuths and cryptic responses arc allowe-d (the Shadow is a master of clcceot). The target char.cter tna)' tlect to ha•·e hit Shadow make an opposed Angst roll. Each use of this an costs 1 Pathos .

... purl~ Through for~•tr point to aid the Castigation. The number of successes rolled indicates the amount of tcmpornry Angst the >ub· ject loses. The subject suffers one Corpus Level of damage for each point thus removed. The CastigatOt will receil'e a tern· porory point of AngSt for each "I" he rolls.

.... Casting Out By exetling her will, the wraith may can out and forbid the presence of any Spectres in her immediate nrca. Jf she is in u stntcture, It immediutcly becomes protected from Spectres. This an drives om all Specrres currently mamfested in the area, as well as Specrres in hiding. For some reason, this ar1 has no effect on Doppelgangers.

System: The player rolls Charisma+ Cl!Stigate (difficulty System: When a charncrer's Shadow attempts to take over 7). The number of successes indicates the number of turns the her character, the player may anempt to defy the Shadow by ward lam. If a Specrre is already present, a roll must first be rolling Charisma + Castigate. The difficulty equals the made against its Angst rating in o rder to banish it. The Spec- l '•ch'" "':te1r'scurrent Angst. Each success reduces the character's tre may resist with an Angst roll. by o ne, and the Shadow may not make a resisced roll. If is used to defy m\othcr wraith's Shadow, the difficulty the subject's current Ant,>st + 3. failure adds o ne to the character's temporary Angsr. A The wmith who possesses this Arcanc)S is able ,,11:1,,, , ·1 IJOJcch:t:a"'""
'"" Defiance

a~ainst

her own Shadow, defying its power over ner·.u•,no•n·

ever the Shadow anemp
another's Shadow.

Embo~ /one ... there it i$ again . Do y<>11 ftel it! A pinprick, n01hing more. But a real touch, a wd feeling. fJUiuisir., isn't it! Embody is the power to manifest in the physical world. This Is forbidden knowledg~,asChamn's Code prohibits in·

rcrferlng with the living world . Still, wr:liths have b«n using this Arcnnos for millennia. Storyteller Notes: Going from the Shadowland' tO the living world is like going from a numb, cold W"dSteland to a warm, balmy climate. 11lc changes are superficial, but in· credibly exquisite. Wraiths learn Embody by expc>
While a wraith Is usinll an Embody arl that allows him to nmnifest physically, he is far more susceptible to harm. Any damage done to him is applied a:; though he were a mortal. (Not~ that a Materialized character will suffer Dice Pool pcnalcies for his wounds. Sec Health on pg.200.) For example, while roaming the Shadowlands, a wruirh named ja:iQn encounters a vampire who is aware of his presence. The Yamplre pulls out • pistol and fires in jason's general direction. With a lucky shot, he hits jason. llecause jason is immarerial, he only suffers one Corpus Level of damage, even though the bullet passed right thro"llh his chest (the vampire scored five SUCCC$Se$). However, if Jason had been Embodied, he would have suffered a nu mber of Corpus Levels equal roth~ number of Health Lev· els the shot would hove inntcted on a mortal. 11>< difficulties of all Embody rolls equal the local Shroud r.ting. Embody has very little usc In the TemfX!'t.

froctors - Emilody The Proctors' Ouild was never a part of the Hierarch y, although the Hierarchy often used it before it was offocially disbanded. The Procwrs operated in the living world, perform· i"llthe complex actions that could not be accomplished with Outrnjle (although many knew that Arcanos as well). Although forbidden by Charon's Code to interact with mortal., they fre· qucnrly ignored the Code and dtd what they pleased. For a

rime, Centurions were appointed to hunt down Proctors and enthrall them. Now, the Hl~rarchy has bigger fish to fry, al· though a particularly blaro.nt tr•rucresslon will still mise the Hierarchy's ire. One can tell a Proctor by the suange patches of light and dark on his body, marks of too many passings through the Shzoud.

Attunement After suece.sfully manifesting in a particul•r fashion to a person, the wrnith can invest Willpower to create an attunement to that person. Each time the wraith successfully appcan, she may invest one point of Willpower. This represents a process of identifyin& with the Con· sort. The closer a wr:lith was to an individual during life, the easier it is to become attuned to that per· son. Attuning to a stranger CO$ts five points of Willpower. Atruning to a close friend may only rake two or three point$. Once the attunemem is esro.bli>hed, all difficulties when Embody· ing to that person (and that person alone) are reduced by three. Additionally, there is no Pathos cost when using Embody to appear to that person. 11te side effect of this is that only the attuned person can see and serue the wraith- other mor· cals may think that the subject is crazy. Conversely, a single person who believes in the wraith can footer others' belief, facilitating arrunement to those people.

Ghostly Touch: The wraith may extend just a whisper of a touch to the material world, about as mong as a linger descending on a keyboard. The wraith must focus all of her attention in order to make even the lightest touch. System: The character must roll Strength + Embody (dif· ficulty of the local Shroud) In order to use this alt. Mainro.in the Material Form: Though this art gives the wraith no new abilities, it allows the w~•ith to maintain an Embodied form for a longer duration. System• The player must roll Stamina + Embody (diffi· culcy 7). Each suceess may be added to the number of sue· cesses already gained for the Embody power being used. This art cosu one point of Pathos to use and one point of Pathos per success gained. If the player botches, not only does the roll fail, but the Embodied form insrantly dissipates.

•

The wraith may make her voice heard in the living world. The wraith's voice is no louder rhan a whisper. ( It is not nec--

essary to use this Arcanos to speak to supernaturol or magical creatures, only beings affecr<-d by the Shroud.) System: The player rolls Manipulation + Embody. The dift.culty equals the local Shroud. One short sentence may be spoken per success g-•ined. A botch means that the wraith has lost her voice in the Shadowlan& for a scene: it got stuck in the Shroud when she projected it there. ll>is art costs I Pathos to use. II

rnantom

This arr allow·s the wraith to manifest as an intangible, translucent figure. He appeMs to hover just inches off the ground and has only barely discernible features. Mortals who sec the wraith will become intensely afraid and act accordingly. The moment the wrai
"' ~tatue This art allows the wraith to become solid for a period of time. When materializing in this form, the wraith appears as

an idealized version of himself. He cannot move, speak or simu· late breathing; he may be touched, but his flesh will feel cold and hard, like smcx>th marble. Smtue is often used to hide in a crowded area (wraith or Spectre pursuers in the Shadowlands often overlook a Statued wrAith - for example, if they're looking for a wraith, they may miss the "mortal" sitting quietly by the fireplace). System: The player must roll Stamina + Embody. The difficulty equals the local Shroud. Each success on the roll in• dicares how many times the character can be touched, or how man~~ scenes he can 1·emain manifested, whichever comes first. A failed roll results in one temporary point of Angst as the

chanlcrer's separorion from the physic:~! world grows srronaer. A borch Indicates that the charocter becomes a Phantom for a few seconds, then fades away. All damage suffered is calcu· lated as if rhe wrnlth were mortal (see Sroryreller Nares, above). This an costs I Pathos to use.

A botch causes the characrer tO appear briefly as a Phan· tom and then vanish, bestowing one point of Angst. This an cos<~ 2 Pathos.

m•life-in-Deat~

Through the use of this art the wrairh can assume a n<'arly state. EverythilljJ abou1 him appears human: he can his flesh is w-.lnn, and he will bleed if cur. Many wroirhs When rhis arr is employed, the wrAith appears as what abstract form of her mortal self. Her ap,)tarortce,ITIJ t¥~'bVII!Ou1hchned by sens:~tion the finr rime they assume rhis on her (now somewhat spotty) memory <;Sil;.ci:olly if they have been dead for a long time. The wraith's Psyche tends ro Idealize its lfonncr form
FaS'ilc:Ontrati~l\ to' ·~!!~~'i~::==~~~·~~xiist for as long as it rakes to draw •

System: The player must (difficulty of the local Shroud))ttl~=~ ber of successes indicates the Ji may remain manifested. currently wears a huma.nlik/li: into something monsrrous,

,:,~~~i~~~~:~

choose•, rhe character for Appearnnce while inmay this '-~c:l.'''"'' acrer rakes damage as if she above).

he may speak, or move, or kiss,

in this form a the character is a monal (sec Sroryulltr Nares, fall immediately into the Parhos points and I Will·

atalism his is rhe Two of SkulL<, siL01ifying indecision. Reversed, ir suggem a choice )O" made in life wltich yo~t now regret. Crossing it is rhc Five of Bone.i , s:ymb
tlll wr~iths

have yet w

meet their end, their fare is nor yet decided. Still, a wroirh

may usc Fatalisrn ro peer into another wraith's past or look forw,.rd inco the {possible) future. Contmry to popular belief, Fatalism actually works fairly well in the Shadow lands. Storyteller N otes: The a rts of Faralism com

in many ways be among the most powerful of 1he Area nos. Great catc must be taken to en· sure that rhis Arcano..~ is not abused. T hese

ans should never be used frivolously. Fate can be a dangerous thing ro trifle with, and t..hc wrairJ1 who overuses this art may find herself petmanently entwined in the strands offate.

Oracles - fatalism Oracles are often found traveling with bands of Sandmen , Ch:mteurs, a nd even Stxmks, bccttusc they

find it safer with others atOtll\d. They don't advertise their profession: rather, they wait for other> to come to them. 1l1ey do not give advice t<> people who do nor ask. The Otacles' Guild was at one time universally hunted by the Hierarchy because the Grand High Omcle, Serena. once told Chamn that he was fated to be destroyed in the Tempe>!. Since Charon vanished, however, the Hierarchy has stopped its persecution of the Oracles. Many yeors ago, it is said, the Omclcs served the Lady of Fate directly. One can tell an Orocle by her gaudy dress and tendency to inscribe symbols of Fate on her forehead and arms.

Basic Anilities Kismet: This art allows a wraith to perceive rhe tole of (me with regard t<> a spc.: cif'ic situation or person. People wid\ b'l'Cat destinies or those for whon'l fate has a special role seem IO ''shine" slightly brighter than people who arc playing a lesser role: they arc c~c;ic r to pick out in n crowd.

System: By rolling l'erccption +Fatalism (difficulty 6), a more or less imporc
()layers,• c haracters in a ptlrricula r scene.

•fatalVision The wraith can read a person'sdcach marks. These marks, borne by wmiths and mortals who are soon to die, tell some· thing of how 1hat individual d ied or is fated to die. Dc.arhm::uks generally ;1ppear on mormls shortly before they die, though they may appear earlier on one who is fmcd to die a particularly nagic death. Sysrem: The pl>~yer must roll Perception + Fa· talism (difficultyeq"al to the subject's Willpower). If this ability is used prior to a use of lnterpreta· cion (see below), cHch success adds one die when using rhm art. Fatal Vision also indi· cates whether the target has been subjected ro Famlism i:n rhc past. A botch indicates that the character hns misread th.c subject's deathmarks.

" Danger Sense Atlhis point the wraith has become so attuned to t he webs of fate that he can sense faint vibrJtions along rhe strands, thereby gleaning wam inss of im· mincm danger. Sy$tcm: W henever the character is in imminem danger, the Storyteller may roll the charocter's Perception + Faralism (dirficulty 6) . This difficulty may be raised or lowered depending on rhe n:uurc of the danger. E;1ch success in· crease-s rhe ~mOUIU o( (orcwarn ing the chMacccr receivesgenerally one lm'n per success.

... Interpretation Through various m~ns of divination (relics) Tarot c-ards. rhc 1 Ching, asrroiOJ,.')' or crystal pendulums), the Fatalist can intCI'# prct a person's fate Or discover somethinG about his p;lSt. TI1is art may be attempted without the us.e of any J)iltaphernalia, th0<1gh doing so is consiclembly more difficult and is generally attempted only b}' a master or in the most d ire circurnsranccs. System: The player must roll Manipulation + Fatalism (difficulty equal ro the subject's Willpower). Both rhe Fatalist and the subject ""'Y spend Willpower on the rnll. For each success gained, che character mn.y ask one shon que-stion nboul

manner. AnempLing lmc.rprctation withom rhe use of any divinarory tools incre:ues the difficulty by two. This an cosu 2 P~thos. 1111

kchesis' Measure A wraith who has mastered this art can S<:RS<: how the

fote.. twines of th.e wraiths around her interne£ and inrerw~:tve,

where they should be goln~:. and where they are going now. This P"nornmic vista give$ the wraith an objective view of her situation, perhaps providinsc new insight into it. System: The player this art must roll Perception + Fatalism (difficulty 6). The number of successes indiC!Itcs the amount of information the Storyteller will bestow. The Story· teller can use this art ro impart information th~r the character has somehow missed or provide guidance concerning her fu· ture courS<: of action. Usc of this art cost.< 2 Pathos.

"""I:

""' luck A wtaith with this level of Fatalism has begun to team to manipulate fare itself, but only in a minor fashion. Fate seems to smile upon the character, and everything she does seems rnuch more auspicious.

System: At the beginning of each story, the character may roll Wits + Fatalism (difficulty 6). The number of successes equals the number of" l's" (potential botches) that the player may ignore for the duration of the story. This does not, how· ever, apply to Harrowil\3$ (sec pg. 184-191 ). This art may only be used once per srory. It COSt$ I Willpower point to activate this art.

inhabit tning my life, I never cared for peopk. MachiMs

were my passion. Gears and circuics and ftucr microproces.sors: rh.ese tuere my treasures, m)' faWJirc works of art. Now I knotv
Artificers - inhabit The Artificers' Guild used ro be one of the richest guilds in Srygia: this is because irs members were paid to forge Stygian weapons, make rei· ics, and create Stygian artifacts. Nhudri, the Grand High Artificer, was rhe firsc member of this guild. Since

the time of the guilds, the Artificers' Arcanos has be· gun to be restricted in the Shadowlands. It is illegal to fl..ch Inhabit in many area.~. Now Arrificers are looked upon as tinkers and mechanics, not the grand designers they once were. One can identify an Artificer by the reddish heat marks on his body (from working with soulf'ire).

BasicAnilities Sense Gremlin: A "gremlin" is a slang term used to de· scribe wraiths d1ar inhabit machines. By carefully examining an object or machine, a wrAith may determine if it is currcn.tl\' inhabited by a wraith. Systenu The player must roll Perception+ Inhabit (diffi· culty 6). Only one success is needed to determine whether or nor wmcthing is Inhabiting a machine, though more may be necessary ro determine the Inhabiting creature's exact nature (nnd number, if there arc more than one). With three or more

successes, the wraith can sense whelher a machine has hccn

Inhabited in the near pasr.

•Surge By use of this art the wraith can create a temporary short in electronic circuits, thus tCn'lpor:arily cutting power to an dec..

rronic device. The wraidt actually passes h is hand briefly into the machine, thus disrupting the flow of electrons. This may pcnnancn[Jy damage certain c1cctronic devices, S\ICh as com . puters, especially if they are nor equipped wi th surge prorectors. System: The player must roll Wits+ Inhabit (d ifficulty of the local Shroud). The number of successes equals the number of things that may be affected at

" ~ide t~e Electron Hig~way . By slipping into wires and possessing elec· rrons, a wraith may move at ncar~light speed across internation~d communico.uions net~ works and computer satellites. Within rhc Electron Highway, everything appears as tun~ nels, barriers and gateways oflight. orcourse, the wraith must overcome these barriers, filters, gate .. wa~·s and orher lxmnd:arics before he can slip into rhe world's computer systems. System: ·n,c player rolls Intelligence+ Inhabit (difficulry of rhe local Shroud). Once the char.lcter is on the Electron 1-lighwa)', he must ro3llnrelligence ·• Computer in order to find his way around. T his may be an extended action depend ing on how far the character desires to travel. Additional rolls may be required if rhe ch~racter is trying ro access information on a hig·h~security computer system. Once the character is on the Highway, all difficulties arc set by the ,Storyteller. · The wraith may also conmnunicate wid1 anyone who is online, or with other wraiths Inhabiting a cornputcr, by roll .. ing Manipulation+ Compurer. The difficulty is b"secl on how "(ar away" the receiving parties are: 4 if they are on a local net, 6 if rhey're on a node across the countTy, or 8 if they're across the ocean. Communic..·uion may be m;tinrai ned indefinitely and is unaffected by the Shroud, because the user will rhink the wraith is a mortaiLyping awtly at the other end . No[C that wrairhs wi thout d1e Computer Knowledge will r.nd this al't extremely unpleasant rouse- although just about tmyonc can find his way through the telephone system. Navi~

g;~tlng

throuRh the telephone synem rc'quircs somple \Virs + Alertness rolls {difflculry 5). Thosart costS 2 PathoSto use, plus I l':lthos per additional wroith transported. 11

'

Gremlinize

This art allows a wraith to posse,;,; machines and make them do her bidding. In order ro have complete control of the machine, rhe wmith must first attune herself to it. If the wraith Is not ottuncd, she may only cause minor dfccL~, :;.uch a~ rum .. in,:c il Ol\ oro((- she has no real control over it. Sy... m: The player must roll Dexterity + Inhabit (diffi· culty of the local Shroud). Minor effe-cts muy be made wirh just this roll, but m cxen any rme conrrol, the wraith must use

appropriate abilities {such as Drive) to make the machine do her bidding. Each individual effect rnu:.t lx: rolk-d fr>r sep.•· rntely, unless the item has been arnmed m the Wn'tith. It costs J Pathos for the character to Inhabit a piece of machinery, plus I Pathos per effect e•·oked. 1111

claim

TI1is art allows the wraid1 to Inhabit an object and nwk it a< hco·own for one scene. While rhe wrnirh Cb ims an object, her i!Cnsc.• nrc"' nnrmalas they are in the real world but they are spre\ld O\lt over the entire object du•t the wmith Chaim.~. l11us, ... wmith Clniming a house aon "-"'• hear and feel everything that occur.~ within it, to ir, and around it. While Claiming an object, the wr:tith may conrrol the object to a slight degree. System: The player must roll Strength + lnhnbot {diffi· culty of rhc local Shroud). The number of Mrccesses indicat
..... Empower This ort allows a wraith to invest one of hi:s Arcnnos ;uts into n relic, rhus making rhar Arcanos av~ilable to onother.

Thi• creores a form of disposable artifact. Generally, the relic used must be of a shape appropriate to the type of Arcanos with which i< is invcSear, for example. System: To Empower a relic the player must roll \Vns + In· habir. l11c difficulry is equal ro rhe local Shroud: because of this moo \vrairhs choose to go to their Haunts to use this art. l11c number of successes indicates the highco;t level of A=nos mar

goes to his I (aunt and lnhabirs the object with the intent to Empower it. His player rolls Wirs • Inhabit (seven dice for mus1 be made, using any appropriate Pathos. etc., ald>e)wiJ'o,Pl t.hert is no known w:~y 10 make a relic an oCAicker into a relic of a silver pollk<,;l~i~tle'jf>
me Arcmos while focusing his will on the relic; a successful roll

1

keening II around you «•'! (diffoculty 8). The number of successes deter· Keening rolls arc mcrcased by one. mines the depth and dur•tion of rhe feeling: Sroryrcller Notes: 1l1e feelinl!'l evoked in five successes arc sufficient to cause a feelvictims of Keeninu nrc mtificially created. ing that lases for :'In entire week. Wmirhs can gain P:u hoo from these feelinJ:S, but the di(ficulry for the Possion roll is 9. C.us· Nott that wraiths are rxx as affected by this mg one mona! to (eel an c.rxxion that then causes an 8! mortals arc: thiS IS because Dirge dra"~ upon knowledge of dc11th and the feelings of dead1. For orher moctals to fc·d the same way can ollow ~ wraith wmiths, the number ofsuccesses on the roll indicates to gah1 further Patho.•. how many rums they will feel a spcciAc emotion. Allow music to offect the way you run your This an costs I Patllos. game. You may wish to allow players with Keening access to a CD player so that the1• can play music ap· propri:orc ro the kind of emotions they are broadcasting.

•

.. Ballao

Chanteurs - keening The Chanteurs have long provrded music (or the dead. They were amon~ lhc Cirsr wraiths to bring music into I he dNworld, and they nrc a very proud and arroganr lot. Even when rhcy were disbanded they rcwincd considtrnble politi· cal clout in Stygia - this is becau~ the Stygian nobles would do anything for cmcrtainmem, and for a time Chanteurs were comidered robe the only acceptable entertainment. All Chantetlr11 play a musical instrument. Eve n if a Chnnteur performs n coJ>Pello, she still employs a noisemoker of some kind: a tambourine, finger cymb_,f., or drumsticks.

un .

Basic Abilities l'erfccr Pitch: Perfect Pitch is the ahiliry to sense when someone else is using Keening m influence or manipulaLiun cmocions.

This :trt allows a wrai rh to inspire "lighter" emotions: love. affection, fairh, rnJ$C. inspiration. em.hWtiasm, cheer or IO)•alt)•. Many wr.~ith! use this act to help proreet rhtir Fet· ters and influtnce other wraiths into doing their bidding. System: The roll is Manipulation + Keening (difficult)' 8). The number of successes determines the depth and dura· tion of the fetling: f\ve successes are sufficient to cause a feeling that lasts for an cmire week. With wraiths, who are not as easy
... Muse This art allows a wmith to iruplre someone into believing an k:lea is he.r own. Many former musicians enjoy v1smng liv-

lng musicians and influencing their music styles, although this art Is often put to more direct use as a means of manipulating other wraichs. System: Roll Manipulacion + Keening (difficulty 1 or the subject's Willpower, whichever is higher). The number of sue· ccsscson the roll indicates how well the subject Interprets the suggeston: three or fewer succe~~tever the Chnnteur wishes. Note that this art works just as well on wraiths as It does oo mortals. This an coors 3 Pathos. 1111

Crescen~o

n.c wraith brings to bear a massive musical assault that can actually cause harm at close ranee. It may also be used to call out to other wraiths in the Shadow lands; the sound can be heard over a great distance. System: Roll Stamina + Keening (difficulty 8). The num· ber ol successes on the roll equals the amount ol Corpus damace !he Crescendo inflictS on every wraith in normal hearing range. This damage may, of course, still be too ked, and It is not aggravated.

If used while Embodied, this ore causes listcncn~ (Including vampirt$, werewolves, ghouls, etc.) to be gripped with a terrible lw !hat actually causes their hems to polpitate for a oplit second. l11is inllicmone Health Level ofdamage per two successes on the roll. Victims may still attempt to soak this damage. This art com 2 Pathos plus I Pathos per success. I IIII

~equiem

r

This art allows the wraith to Infuse her target with f)\tre The tar~:et's mind and soul are assaulted with the a1ence of a particular feeling -Iicht or dark. System: Roll Strength+ Keening (difficulty 7). Thi$ art can be resisted with a Willpower roll, but only if the subject is prepared for it. For each success scored by the attacking wraith, the subject is paralyzed for one turn by the emotion: unable to move, act, opeak or even defend himself. If the emotion is a dark one, this an can inflict lastinc menral damaae: if five or more successes are obr2ined, subtract points from one of the chamctcr's Ment.11 Attributes or otherwise simulate insanity. Even if the emotiol\ is ~ pleasant one, it can have a profound eff~t on the subject; he may become an "emotion junkie," willing to do anything to feel the "ecstasy• again. This an costS 3 Pathos plus I Pathos per success. If the emotioo is a dark one, the Shadow receives I Angst per success. ~motion.

lifeweb ou knew in life tha< C<'trytt.ing was intercrmnc"~d.

area. The player may also roll Intelligence+ Lifeweb to gel a gen-

Me, you, her... wt are all parr of rhe ernl sense of' how fittawaya Ferrer is md in what direction it lies.

same sysrem. 1he .same ·web. \'V'c mu.sl undt..,-.. stand what holds tlc, places nnd things HS tcmpnr.uy Fcucrs in order w watch over l hem.

TI1e Monorors are centnll to sool-gatheriol(. E"•n rhough their guild was disbanded, many Mnni· tors were inducted right into the ranks of th•Legions and made a pan of rhe Hierarchy. MonitOr$ art fiercely protective of their profession and, although they will teach other$ the b
· Sense Strano Oy closely examining the energy surrounding another wraith, the wraith can detect the rclntion.ship between a wraith and his Fetters. Tilis arc may nlso be used 10 sense whether sonwthing is the Fetter of another wra ith and , if so. to identify the wrairh using the Fetter. Syscem: When his characrcr i; examining another wraith, the player musr roll Perception + Lifeweb (difficulry 8). Eae de· ~of accuracy with rejCllrd w both disrance and di· roction. A Feuer may be examin
" Web presence

his eyes,

The wrairh may now nfrect the oren surrounding one of her Fetters without actually being there. If successful, ~e may use nn Arcanos, make any kind of roll lnvolviog Mental or Social Attributes, or openly communicate with any wraith there. Syscem: The player muse roll Clutrisma + Lifeweb (diffi· culty 8). This art costs I Parhos per turn of use.

Basic A~ilities

•.. Splice Strano

llO

more souls seep into Oblivion.

O ne can identify n Monkor by the fact rhar he never closes llOt even when Slumbering.

Through use of U>is an, the wmirh may make some pe.rson, Locate Feuer: TI>is abiliry allows the wraith to "check up" on her Ferrers. By drawing upon her affinity tO is affinity can be mainrain
•

Tite affinity initially COS!$ l Pathos and cominues to dmin l Pathos per day that it is maintained.

"" Sever Strand This feared power allows the wraith to separate another •Taith hom his Feners. In order to use this art, the wraith must be in the presence of the Fetter to be severed. Through the sheer force of his will, he may separate the vicrim from his Fetter. System: Once a Ferrer has heen identified and the char· :teter is in its presence, the player must roll Srrength + Lifeweb (diCflculty equal to the Feuer owner's Willpower). This initial n>ll may be resisted by Wlllpower. A wraith who has had a Fetter severed by this Arcanos may attempt to reestablish it through rwo means. The firs< option is simply fo
""' Soul pact By u•ing this arr, a wmith can claim a morrnl soul for his own, but only if the morral is willing. This art is usually evoked u part of a contract whereby a morral promises his soul in exchange for the wraith's help. Thereafter, while the mortal llvu, he becomes a Fetter of the wmith. System: The player mun roll Charisma + Lifeweb (difficulty cquol to the subject'$ Willpower). Thi6 art costs 9 Pathos to use. The target will tJ,cn be a one-point Fetter.

Moliate u1t 1hink 1ha1 1hc w1derwker did a good job! Honey, I can rrwk JOlt look more b.auuful 1han you'w. tw.r been. Or mort disg.ming. Need a couple of anns for rhat boo job! No problem . How abou1 some hideous scar&/ Easy. \'(/hat about on extra nost or two/ Hey. what are friends for! Really, hon, you need 10 jusc rcla.~ and le~ me cake care of you. The art o( Molince, also called Soulshaping, is the (>0\'~ro( rno\'ing, shapin11 and reforming the stuff of wraiths, called plasm. Pl;osm is malleable. Shapers know how lO make it be:mtiful, how to make it glow with an inner light,

and how to make It look human ag,.in. By burning Pathu:i :md employing the am of Moliate, a wroith causes the Corp... under his fingertips to Row freely for a brief >cconrl, just long enough for the wraith to grub It and shape it co her heart's desire. Storyteller Notes: This art can be ust.-d ro inflict a~rawned damngc on a wrairh's Corpus.

~1asquers - ~1oliate One of the most imporumr guilds In Stygia. the Ma.squers were spies, arti.s..,ns and secret ass.'\S• sins. Becnusc nmny wraiths cnjO}' t'3king on power.. ful-louking forms, the Mnsqucrs' Guild used to re· scmhlc :-. house o( f:uhion, offering wraiths a wide v:tri .. ecy of body sl>;•pcs and \'iS.'l.ges. Furthermore, because o( 1heir ulliliry to chtlnge their shapel Mnsqucrs were nfrcn cmplnyl'
practic:dlt)' of it: they will do hcttcr work, even in Martlnlry, If they can add their own unique nourish<"'· just about every Cuadel ha:-, n fonner Mnsquer working for ir. One c;m idcmify a Ma:
Basic Abilities Shnpcscnsc: T h is abi lity a llows the wrailh ro detect whcrhcr or not nnmhcr wr..•trh has been Moli;Hed, :md if so, in what mnnncr.

System: The player must roll Perception I Moliate (difri· culty equal to the originnl shapcr's Dexterity + Moliate). The number of successes indicares how much information ::lbout rhe Moliated wraith is gleaned, possibly O\'CO givi11g the Shapesenscr an idea of the wraith~ original form. Glow: This ability allows the wraith tO cause h1mself or other$ co glow with an inner ligh t.111c <:nlnr :md Intensity nrc up to the wraith. System: The player must roll Charisma + Moliate (difficulty 7). The number of successes indicate• how many scenes the glow lam. This art costs I Pathos. Return of Death's Visage: This ability allows chc wrnith to return to her uriginal smtc, os she l·~•ked after her death. System: The player rolls Manipulacion + Moliate. The di((iculty i• based upon how much the wraith has changtd (or been changed) since her death (d rastic change I 0, moderate change 8, minor change 6). Each sucec~< in· dicates Itow accurately the wrnith assumes her original shape. It costs I Pathos to use this an.

•imitate A wr~ith with this art may ch~mgc her visngc to

mimic another's. This is easieSt to do when the wmith is looking at the face to be Imitated, though it may be done from memory. This art docs not allow the wrait h m change her overall Cor1>us, jusr her face. System: T he player must roll ~xterity + Moliatt . The difllculty is variable: 5 if she ca11 sec the face, 8 if going by memory. If rhe wraith has n skin mask (see Rend, below), the difficulty is only 4. The number of successes indicates the dif· flculry of pcnetrnring the disguise. This art cosrs I l'nthos to usc. II

Sculpt

Using this art, the wmith nmy temporarily ~row unmher limb, sprout new sensory organ.s, place markinJPi or p.1uerns on himself, or cause partS of his body to glow or change color. As lonu '"there Is not a dangerous effect associated with the d mngc, it remains in the province of Sculpting. Of c.ourse.

one may argue that having multiple anns allows 1110
w111ith understands Martialry (listed below), he cannot ac.th•dy use new appendages. System: The character may choose to Sculpt either him· self« another wraith. The player rolls Manipulation+ Moliate (difficulry 7). The Storyteller must decide how many successes are r
"' Nartialry This art allows the wraith to create weaponry and armor from his Corpus. The weapon rokes the place of nne of the wraith's arms or legs and I$ automatically shaped to be us.1ble by one who knows how. When a weapon is formed by use of this art, rhc cho.1cn limb forms into the shape of the desired weapon, hardening as It does so. Creation of armor causes the wraith's Corpus to ~1ickcn and hnrden, assuming a mirrorlike sheen. System: In order to create weaponry, the player must roll Intelligence + Moliate (difficulry of his Stamina + 3). Each success allows the weapon to infliet an additional die of dam· age: it doesn't particularly matter what form the weapon takes, althou~ many wnoulu adopt swords for ease of use. To create armor, the player must roll Stamina + Moliate (difficulty of his Strength + 3). Each sue<:ess adds one die to the character's soak roll, but each success after the flrst adds to the difficulty of any roll involving Dextcriry (the armor is stiff). Note that the wraith may only create weapon.< from his own Corpus, not that of others, and that the Melee Skill Is needed to wield a formed weapon properly. This an costs 3 Pathos to use, plus I Pathos per success gained.

'"' ~end Thi.s terrible orr allows Shapers to inflict tremendous dam· age on the Corpuses of other wraiths. Usc of this power causes

anochcr wraith to be literally tom apan. Some wraiths use this art to remove another wnoith's face - a humiliating thing in wraith $0Ciety. Once removed, rhis face is called a skin mask and can be helpful when using Imitate (see above). SY$tem: Before thl$ art can be used, the character mu
comes into conract with him. The player rolls Strength + Moliatc (difficulty of his opponenr's Stamina +3 ). Damage dice cqunl the character'• number of succeSSC$ plus one per point of Pathos spem. If five or more succ= are gained, the wr.nt••6 may remove a portion of his opponent (face, hand, foot, even just gouge out a large portion of Corpus). Damage flicted by Rend is aggravated. This art costs I Pnthos ro nctivate. Additionally, acter gains I Anjlst per use of this art.

another bcong or anything else she desires, from a chair to a rcfriceraror. Although Corpus can be very malleable, there arc limits; the relative volume of the desired form should be roughly to the wraith's normal form. System• The player must roll Wits + Moliate. Tile di(fi. depends on what the wraith seeks tO emulate. Trying to another pe~n is difficult (difficulty 9), while trying as a greasy spot on the floor is very easy (difficulty ~F~:~~~:.:~~ changes'"" only be held for a limited amount 01 the wraith is fo.ced back to her original form ftooic'~
Outrage think it's easy, p!IShin' that, ~{rin' rhiJ/ h's nor. Oh, no- bur now, this is fun . \'Vatch me nllll«! ir go BOOM!

011

Many wraiths may still affect the liv· ing world. One of these ways is the A rc.1nos of O uu'Qge. O utrnge is the manifestation of a wr~irh's will as kinetic force. Storyteller Notes• All Outrage arts are violent or physl· cal in one '"'•Y or another. 11ley should be roleplayed with much gro.\ning and gn•nring, as ir r:akes this kind of nonvcr· bal communication to focus one's energies properly. All difllculties arc based on the loca.l Shroud.

Spooh - Outrage The Spooks have always been troublemakers and poltergel$u, responsible for causing trouble wherever they go. Of all the guilds, this was a guild in name only. They were a group of row· dies and miiiGreanrs. Former Spooks are often found in the darkest pam of the city, causing foghts and !tttlng fires. They enjoy scaring people with their Arcnnos. Spooks like to carry things that can pound on other things, like hammers or rocks. In medi· eva! rimes, the Spooks' Guild was paid by the Artificers to aid in the creation of relics. One c:m ic.lcntify the average Spook by his brood sh
Baslc A~llltles L!ap of Rnge• As nside effect of learning to focus his will into the real world, the wraith discovers that he can control his own movement~, bmh in and out of d1c Shadow lands. Dy use of this art, the wraith can make i.ncredible leaps and jumps. System: The player rolls Dexterity + Outroge (difllculty of the loc.1l Shroud). If this art is use-d in the Tempest or the Shndowlands. thedifllculcy is6. The number ofStiCCe&'f"!g1lincd can be ac.ldcc.l to any successes scored when making a jump or le.p.

·ping At chis level the wraith is just beginning tO learn to rna· nipulate objects in the living world. This orr can be use-d to movo mmcthing very small (such ns n bottlecap) just a little bit. 1t can be just a slight bmsh, a push, n lift or some odler movement. System: l11c player must roll Strength + Outrage (difft· cuhy of the local Shroud). This art costs I Pathos to use.

" Wrait~grasp This an allows the character to affect the living world in a more direct fashion. Though this power may only be wed to lift thinR5, quite a bit may be lifted through use of this art. System: The player must roll Strength + Ourrage (difllculty of the local Shroud). This art allows the ch:uacter tO lift something with a Feat of Strength (see pg. XX). Note that objects may only be lifted; they may not be moved in any orher way. This art costs 2 Pathos to use.

"' Stone~an~ punch This an allows the wraith ro affect d1e living wocld in a violent. physical manner. The wroith may , scrike a rnrget of his choice. System: The player must roll Strength + Outrage. The difficulty is the local Shroud. Each success inflicu one Health Level (or Corpus Level if the tar~et is another wroith) on the target. This art costs Z Pathos per use.

'"' Deat~'s Jouc~ l11is art allows the wraith to manipulate objects in th e real world. The wraith may type, tie shoes, etc., by using this art. Alternatively, the wraith ma1• creare fnction, thorcby st.art· ing llrcs in the living world. Synem: The player must roll Dexterity + Outrage (difll· culty of the local Shroud). The number of successes indicates

th~ delicacy and control of the wr.urh's tou
..... o~li~ate This truly hid<-ous art a llows o wrdith ro destroy something or som<"<>ne, banishing it to Obhvion. If used to dcsrroy an objccr in the living world, rhnt object vanishes Into Oblivion, unless it inhabited by o wr•ith. In that case, it bKomc a relic. If rhis art is used on objects in the Shadowlands (including relia), they arc immedrately banished ro Oblivion. \Vhen this nrt is used on anothc1·wrHith, ir inflictS R~rn~ vated damage. A wraith who is rcduccends immediately into Oblivion. System: The player rolls StrCnAth + Oucrage (difficulty of the local Shroud, unless t.h e chur:rcrcr is attempting "'af· fect unmher wrnith, in which case th~ difficulty is the t:uget's Stamina +3 ). Each success inn lets one level of aggrn1•ared dam· age: this damugc cannot be soaked. This an com 3 Pathos to use. In addition, the wrnirh gains I Anest each time this an is used.

,.,L,

pandemonium 1

iglus! C'.nmera! POLTERGEIST!!! Pnndemonium, also c~ li ed the Wylding, is n power of pure chn06. (c cnnnot be commllecl, bur it is very effective in tAm· pcring with the living world. Those wnriths who usc it develop an unsavory repumcion: dabbling in rhe Wylding is nor conducive m

I'Mimninin~ one's sru\ity.

Storyteller Notes: Ahl10ugh the Fog clooks most of the it ofren causes considerable problems with local mortnls. People tend to freak out when clocks stan n11nrng hook""rd,t:IIS quite quickly, leaving no lasting ef. f«:r<, and people don't tend to believe wild·t;cdder· diets who clnim they saw ghosts. Although pho· 1ography and vidc..'O cquipancnt record effects char dircct1) :1ffcct rhc living world, most arc quick todisbdicve whnt rhey sec. After all, video ef·


1

foccs ~lfc c:L~Y to f11kc ...

'Tltc difficuhy for :my Pandemonium effects is the local Shrood. uniCM smted otherwise. The Fog pte\'Ctllt p<.'Ople frorn remembering the exa« details (/ wh.'! happened: sec the F"': Chart on pg. XX.

~aunte~ - pandemonium Cl.,..ly •IIred wrth the Spooks' Guild, the Haunt· trS wtre somtwh.;)~ mi$.1nrhropic: rhey vicwt.-d themselves IISCxtcrminators whowoold rid buildingsof"hum~n pe.ts." Nnw J-l:umrcrs ;trc curu.ic.lcn.:d quite insane. bxause their ans require them to evoke ::md witness mind~ arn.l n..~tlity-~llter· ing cffccl.'l. Mnny of them develop quirks reflecting their shaky saniTy: rhc habit of giggling too much, the tendency to usc d'e royal "we/• Cl"c. They arc b'C-ner::~lly high·srnmgm1tl easily irritmcd. One cnn identify n llnunter by her odd manncri.
Basic Anilities Sense CMo.: The ""tith i> highly attuned to the forces o{ch.-.os :rd !heShocb.••. llyconccnnannc, rhe wr.tith is able to tell ifa pwticu· lar a'Mt hilS l~n cnusnJ by ~ium. or i{ somethinc h.~ been t!Uho
I

Weirdness

The wraith can cause something strange to happen to one individual: he suddenly feels a hot fla.
System: The player rolls C harisma + Pandemonium (dif· nculty of the local Shroud). This art costs I Pathos.

" Befuddlement Through use of this art the wmlth can cause her subject to become confused. Tite subject will become momentarily disorientod and unaware of who he is or what he is doing. System: The arr m:ry be,~'() on n moon! or an· other wraith. The pbycr roll< lnrelhb""cc + Ptmde· monium (difficultY ofthe rorget's Willpower). The effects last for ec roll (difficultY 8) each rum to think cle:ulyor:tccdcci· sively. This art costs I Pathos rouse. Ill

Dark Ether

Througl:t use o{this an, the wraith may affect. c:urrendy ex~ "-eather-related or liglt(·~l'ICed environmenml eon· dirions in a small area. She em make the 11rta bittedy cold or

blisteringly hot, JX'infully brigltt, or impener:r.lhty Wrk. She em c r\L'!C blue-white arcs o{ elcctri<:itY to dance e number of successes indic.1tes the degree of vari· ance and rhe dumtion o( the effect. Five successes on the roll create sufficient rurbulence to inflicr one level ofdamage (Health or Corvu>) upon beings in the vicinity. Genemlly, howe\'cr, this art is me:t.nr ro renify, not injure. This nrt costs I Pathos to evoke and I Pathos per tum o( mairucnance.

"" foul Humour With this art, a wroith may cause foul vermin :rnd sub· sr:mccs rn manifest in a small area. l lc can evoke ;'I pl~g\le of

across a lxlllroorn seem loke one step. The wraith, however, cannot reverse lime. System: The player must state what effect she is attempting and roll Intelligence + Pandemonium (difficulty of the local Shroud). The number ofsuccesses indicates the amount of tempo. ml or spatial change permissible in the wraith~ immediate vicinity. Each success alter.~ the now of time by one mm. This can be attempted once per scene. For instance, if • wroith was slow· ing down rime for a victim and scored four successes, an acrion normnlly requiring one tum would lost for four cums. If she was speeding up rime, anyching requiring four turns could be done in one nom. (Note: d1is will not add to the number of actions the target gets fmon Celerity, Rage or Effects of the 11me Sphere. It can, however, prevent them ... ) Thi.5 art also works in the Shadowlands {difficulty 7). This nrc com 4 Patho.< . By rolling Dexterity + Pandemonium (difficulty 7), a wraith may focus the time/space distOrtion on herself alone Tiuough this art, a wraith may change the spee-d at which and thus gain on extra acrion per turn for each success on the rime passes, or nUt)' distort che distance of an area. Thus, she roll . This applicmion of the arc costs 2 Pathos to use, and the can nccclcnuc rime or make lc pass very slowly; she can. ntuke effects last for one seeM. the dismnce across o foyer seem like a mile or rhe distance

locusts, a rain of frogs, a nest of black snakes, a jXICk of rats or a web full of spider$. Alternatively, he c:.•n evoke blood (dried or wet), gore, acid, slime, flesh or other noxious substances. The wroith accomplishes these feats by using Pathos to chall· nel his very Corpus through the Shrood. System: The player must Stllte what effect he is attempt· ing and roll Intelligence+ Pandemonium (dimculty of the local Shroud). The number o( suc<:esscs indicates the extent of the manifestation {and how much the Storyteller will elabo· rate on the description). At the end of the effect, the mallifesration usually vanishes, although traces of it may remain, cs· pecially if the roll scored five or more success'"'. Note that anything damaging creared with this power inflicts one die of damage for every rwo successes on the creation roll. Tiu• art costs 4 Pathos plus I Corpus per success.

..... Tempus fugit

•

phantasm ome 1virh me on wings of dream . 1 can take )'Ou anywhere 'JOH wane ro go - UIOuld )'Ou like w have dinner witlo Marlene Dien·ich! Sip cappucino on the canal$ of Mars/ Walk with me ll1roo(!(h the Elysian Fields! I promise ro have you lxtck l>efore you wake. Phantasm is the knowledge nf murt'..tls' drcmning souls. While asleep, mortals' souls rest lightly in their bodies. It is rchuivcly ettsy, for those who know what the~' are doing, to slide a soul out of a morwl shell "nd bring it along on journeys through the Shadow lands. The sleeper doesn't remcrnbcr rhc journey completely- at best, he renlcmbers n vague nightml.lrc or a good dream.

Storyteller Notes: Phantasm offers the Storyteller the opportuniry ro involve nonnal people di· rcctly in the story. While the cvems of a Phan· tnsm-controllcd dream arc not real to the dr~nm· ing soul, {hey do have an imp~u.:t on life and ptrceprions. Somerirnes these drc:-~m ..jottrncys

cause o person to reconsider his life and per· haps change ir.

The dre~mer tr~nsl~tes rhe landscape and denizens of the Shadowlands into comprehen· sible symbols. Of course, the wraith c~n change clcmcnrs of rhc dreamer's dream through use of the Lucidity art. For all intentS and purpoc;cs, a dreaming person is a wr.oirh wirh a very solid Corpus that can only be damaged by special artifacts or things that inflict "L:b"''vated wounds on wroiths. If attacked, a dreaming soul rctums imntediarely roher bod\'• slipping 1.hrough the Tcmpcsr, and "wakes up'' (in most c3SCS, though there are rare occasions when the drcarncr does not make it back). Causing perm~nent d~magc or death to a drcllmcr through usc of this Arcanos isonly possible ac the high.. C$1 levels of the art.

Basic Abilities Sleepsense: The wraith may observe the dreams oi a mnr· ral. She nmy usc this abili[y co determine where n morml is in

his sleep cycle: REM sleep (dreaming), deep sleep (not dream· ing) or transition. This Mt may also be usecl to experience the subject's drcMn. System: The player musr roll Perception + Phantasm (dif· Ciculty 6). Each success allows the wraith to view the mortal's clrcmn for one turn.

•Elysia By gently raking the soul of a sleeping person into her hands, a Wf'ttith c~m pull it ouc. This causes no lasting dnmage £0 the soul. Once freed, lhc wraith may carry the dreaming soul along with her.

System: The player must roll Dexterity + The difficulty depends on rhe subject's current sleep cycle (sec Sfcef>SJ!ttSe, :rhove): REM sleep (6), Lransitional sleep {7) or deep sleep (8). Each success itllows the , morral to sta)' one scene in the dreantscape. If the subject is watching television or un .. cler a similar h)•pnotic state, he may be affected by Elysia; the difficulty is 10, however, and at least three successes are required. This m1mber is deducted from rhe number o( successes for duration. Th is art costs I P~thos. Phant~sm .

"lucidity

This art allows a wraith to change aspccls of a mortal's dream, For example, a dreamer dreams of being in a thunder· storm, adrifr on a boat in the nliddlc of the ocean. A wraith could use this art to change the rhunclersronn to a <:Him day, or the boat to a raft, or rhe ocean to adestrt. If a wraith using rhis art ch::mges enough ~1spec~ o{ a drcarn, she can effectively rak~ it over and guide its path, going so far as ro change a pleasant Sandmen arc the actors and playwrighrs of the Under- dream to a nightmare or tlice versa. world. Their II'Oupes roam the Underworld, tr~vcll ing from System: 111e Sroryreller must first decide how dmstic the Necropolis to Nccrorx>lis witlt their plays and encenain1nents. change is and assign an appropriare difficulty, 111c player must TI1e f.'lCt that their guild w"s disl"nded me:mt nothing to them: roll Manipuh>tion + Phantasm. For each success, the change is they do what they do not bc'Ca11se of some guild, b11t because it more vivid and permanent. lf the roll botches, the dreamer is is what rhcy love. dmwn into the wraith's Shadow :md experiences irs tender mer~ One c:m idc-nti(·y ::l Sandman by his rcndcnq• ro dress in~ cics vi~• an cxtrctnely incense, sanir:y.. threa.tcning nighm1arc. conJ;truously, with cloches woven from wisps of previously in~ This (Ut costs 2 Pmhos. habirt-d dreams.

~andmen - rhantasm

... Dreams of Sleep llois an allows rhe wraith to cause orher wmidu to fall ..Jeep nnd dream in the manner of the living. System: The player nee-d make a roll only of rhe wraith is unwilling. In rhb <=<•se, the player rolls Charisma+ Phamnsm (difficulty of the wmith's Willpower). ll1c LargcL may also resiS! using a Slrni~ht opposed Intelligence +Subterfuge roll. This nrt costs I Pathos .

.... Agon This is n direct means of ripping <1 mortal's soul from his sleeping body. This method is ext by usiog Wirs + Subterfuge (difficulty 8). Agon sometimes becomes an epic com esc bcrwoen the living and the dead. If the wraith botches, the dreamer's soul has somehow been harmed: he may become neurotic. or :.u(fcr a recurring nightmare.

ll1is :orr com 3 Pathos, and the wroith's Shadow ~tnins I Ansst per usc. Botching will bestow two points of Angst. IIIII

p~antasmagoria

The wroith may weave her Pathos (and Corpus) into lllu· sions. These illusions are not solid to other wmiths (nlrhough they can still be dangeroo••l unlus the wraith has invested O>rpus inro them. A wraith can weave illusions in the living world if the wraith first Embodies there. The ollusoons can af· feet all five senses, alrhough rhey last for only a short amount of time.

System: The roll to create an illusion is Charisma t Phan· this roll equals both the numberofsuccessts required (on a Perception+ Alen· ness roll) to see through an illusion and aged: another Phanrns· tnSill (difficulty 6). The number ofsuccesses on

mngoria aucmpt must be made ro recreate it.

If the Illusion is of a dangerous or damaging nature, the player rn.~y roll Dexterity + Phantasm (diffo<:ult)• 7) as an at· mck roiL lloe victim may dodge rhe anack. The dam31:e roll is Strength + Phanmsm (difficulty 7), bestowing one point of damage for each success. The victim may soak the damage. lllis art costs 3 Pa
puppet!)' re )'mt so naive as w think rhtu humanit)' has diremd itself over the course of history! Wlhy do you think there U/11.! no nuckllr holocawt during tM Cold \VIorl Cmainly not b..>catlSC of JlellCe-lo•ing milirnry officials. \Ve puU the srrifllS, cmd they dance for '" - btcouu Chorcm himself oouldn'c hout ~pt Oblivion or ooy •f rhose me~ mushrooms had blossomed. II m~~y have been a:ainsr /tis Code, bur l J>ersonally don't think ht would have minded. Puppetry i~ the forbidden art of possession. Of all Arcanos, it Is the one Charon specifically :~;t iel was the province of his Dc"uhlords and the Hierarchy alone. Noncrhclcss, an entire subculture of wraiths are ad. dieted to this Arcanos' power-tripping ways. They lo.-c the experience of feeling alive ~g~ln. They love rhe power they have over their hosts, e'•er\ after their hosts are hospirali,ed for mcntlll illness. Srorytcllcr Notes: While inhabiting rhe body of n subject. the wraith is not considered tO IJC "in" rhe Shadowlands. He Is lilfe from rhc rnvagcs of that place. However, he takes damage whenever his host wkes dam· oge. Note that unk-s.s rhe "'raith i.s m direct con ..

trol of rhc hody, you should use the host's Ph)'Sical Attributes and Talents. The Puppeteer is just • h~ngcr-on.

fuppeleers - puppetry The ultimate 8ccrct weap
of an elite group of equals than a guild. Chnrot\ himself uS<--.:1 their services on more than one occasion, alrhnugh he obvi· ously lo.uhc when skinriding different people.

Attunement In order for a wraith to perform rome •spects of Puppetry, he must fin;t prepare • Consort. To prepare a Consort, the wrnirh must spend a considerable amount of time skinriding the individual, spending a point of Willpower each rime. This represents a process ofidentifymg wirh rheConsort over time. Ftve points of Willpower are required to prepare the avcr.tge Consort. I( the Conson is a close friend, rwonr r:h ree points of Willpower will be sufficient. The Skinrider must succeed at each nf the lower levels of Puppetry bcforc attempting a higher level. Once the StOryteller deems rhe rime is right, the wraith must expend a permanent Willpower point, at which point the subject becomes a Consort.

Basic Abilities Detect Possession: Not only does this abil· ity allow a wraith to dctccr rhc signs of possession, buc to sense if a mortnl h:u !>ten attuned for the purpose of using p.,ppcuy. System: To detect n current possession.

the player rolls Perception + Puppetry (di((i, culty 7). To detect the subtle siRns of past pos· session, the difficulty is 9. The Skinrider may resist cunenr derecrion by using Appearance + Subterfuge (di((iculty 7) or Appe.,rance + Puppetry (difficulty 6).

•Skinride Before the wraith may attempt to control a mortal in other ways, the wraith must forst learn the an of skinriding. Skinridin~ is essentially the ability to slip Into the mortal's lxKly, thereby temporarily joining with her. This is a very basic level o( possession; in effect, the wraith is simply along for rhe ride, and the hoot is mcl\'ing of her own free will, c:~rrying the wraith along. However, all other uses of Puppetry first require the wrnith to Skinride rhe host. I( he $0 desires, the wraith may ::mempt to implant a one..

word suggesrlon or simple impulse. This Sti,AACS[ion or impulse cannot be contradictory to the hoot's Nuturc '"very dangerous. System: In order to have his ch:trncter enter a host's body, the player must roll Dexterity + Puppetry (difficulty of the subject's Willpower). The roll indicates how many succeSSC$ arc needed for another wraith ro wrcsr rhe W1'3ith out o( the hoot's body. This art costs I Pathos.

Th~ Puppeteer may now send an impulse directly to an arm or leg and cake fleeting control of it. This :m may b.: used to force someone to pick something up without knowing ex· acdywhy. System: The character must first Skinride the host. The player then rolls Snength + Puppetty (difficulty o£ the subject's Willpower). The victim is allowed a ruin~d roll of Willpower. The number of succ~sscs indic.11es the degree of control the character has. This art costs I P~rhos per usc.

'

.

... Masters V01ce The Puppeteer briefly overridu th~ speech ccnrers o£ his host and causes her to speak. The vole~ produced when using this art is a bizarre hyhrid o( the wraith's and host's voice.•. System: The player must rolllmellig~nce + Puppetry (dif· ficulty of the subject's Willp<>wer). The Puppeteer may speak for one breath per success gained. This an cosrs I Pathos to use.

.... ~ein in the Mind This more p<>wer£ul possc.sion allows the Puppeteer to control a hosr without her realizing it. In order to do this, however, the Puppeteer must ha'·~ attunt-d her as a CoiUOI't (see Armnement, above). The host remains semiconscious throughout th~ process and will emerge £rom the p<>Musion when the Puppeteer f.. nally relea~s her. Once relcosed, she will immediately try to rationalize her actions. This isn't always possible, and many hom have sought mental h ealth profcssionols. ttsting and therapy. Note, however, that nny pain felt by the host is felt by rhe wraith also: electroshock therapy has been extremely use· ful in throwing a Puppeteer o
obliterate ~~e Soul

It should be no
IIIII

the wraith totals enouch successes <0 equal r:Jf~~~~==:~h power, she can destroy the soul of the h0$t an<~~· that person.

Usury 11pply and demand. It's simpk economics. You need, we /JTOIIide. You ®n't ask ItS wl~t.>re we get tM j11ice, and toe won't ask whm 'JOII'rt Assessment: The wmirh cnn sense the amount of life (or, planning to do tuitlt it. Fair! I thought so. conversely, the amount ofdeath) within an individual. He cnn

Basic Abilities

Usury Is the art of exercising the power rhatdeath has over life.l'hroogh it, wrnirhs can gain life cncrb'Y - Pathos. Every day, the Quick die a little more. Usury Is just the process of speedin~ the arrival of
At o11c tim•, the Usurer's Guild had considerable po· lirical clout in Srygin. The Usurers made a bid to rake over the government of Stygia and were thus cast out along with the rest of the guilds. For this reason, the Usurers must cnn· duct rheir business in secret. In order to reach a Usurer of some renown or power, a client musr forst follow a seri.s o( direc· tions leading her on a 50mewhat unorthodox wild goose cha!C. If nobody follows the client (and if the Usurers decide her In· rent is good), then the Usurct> will see her. O ne can identify a Us11rcr by her tendency to speak in precise, numerica.l terms, ns well ns by the scales she carries. which nllow her to keep track of the bnlnnce of energy ll'nns· ferred.

gain a general sense of that individual~ Sramin.1, Health and Corpus. By loold11g at wounds, he c.1n tell how gra••e they arc. TI1is ability has an adjunct use: the wraith can usc tt "' sense rhc presence of life energy within :m area. System: Tile player must roll Perception + Usury (difftculty 6). The number of successes indicates the accumcy of the reading.

•Transfer The wraith may tmnsfer her own Pathos to another, if she so desores. Alternatively, the wraith may use this art to steal Pathos from :morher wraith. To use this an succes.sf\tlly. che IWO wraiths in qucs.tion must be in contflct 1ll the

[imc of the trttns(crence. The Cll Cflt\' nmni· fests ns n glow that infuses the wn•ith receiving the Pnrhos. System: The player must roll Manipula· lion + Usury. If this art is bemg used to transfer P~thos. the d1fftculty equals the amount o( Pathos rhe receiving wraith currently ha>. I( the art is being used to steal Pathos, the difftcuh:y equals the subject's Willpower. The number of succesS indi· cau:s how m• ny points of Pathos may be trnnsferred.

" Early With~rawal By merely touching a subject (livi11gor wraith), the Usu· rer may siphon life energy from the subject. In order to drain energy from the liviJ18, tl1c wmirh must physically contact the chosen illdividual through some means, generally through use of the Embody Arc.1nos. System: Once the subject ha.• been touched, the player rolls Manipulation +Usury (difficulty of the opponent's Willpower). The number of successes illdicatcs rhc numhcr of Health or Corpus Levels stolen. The.
... charitable Trust Tiois art allows the wraith m heal a mortal or another \llrnoth by onfusing her with his own CO
"" Exchange ~ate Though a wraith can convert his Pathos to Corpus (S<.-e I ltaling, pg. XX), Corpus always remains the s.1me. With thos art, a wrnith may now conven Corpus into Pathos. lie mar simply convcn h is own Corpus, or he may tose thos art in conjunction with Early \Vithdmwal (see above). System: The player rolls Intelligence + Usury (difflculty 6). Each success allows one point of Corpus to be convened into Pathos.

""' Investment Through use of this art the wroith may use relics as rc.
You may ncveT urvlntumd how rhe SITanger is inspired, For he is no• alwa1s •••l. and he is nul altvays "'rung ... -Bil ly joel, "The Srronger"

Duality

wr:mh, thrt:~tening to consume evel)'thing a wraith holds dear.

Both o( these imerpretaLion.s, in :.a sense, arc rruc.

1l1e "ch:u-acrer" played by a Wraith player is the Psrche aspect. When desperation and suffering grow strong enough, here :ue rwo main aspects c·o a wraith however, the Shadow side of the wrnith emcrucs. 1l1is Shadow character's persMn lity. T he fi rst, the .liidc ill It scpar:uc character, complete wl{h irs own Traits and Ps~~c::hc, i:s usually the domin:-mr sirle o ( ;;t ch~raccer sheer, and is usually nor under che player's control. wraith. The Psyche represenrs 1he force of This chapter describes how the dark side nf a charac1er is will and the source of identity. A wraith developed. The Psyche is crea1ed by the plarer with the help follows his Psyche by being rn1e rn himself of the StOI)'teller; the Shadow is created by the Stol)'tellcr and acr:ing in accordance with his inner with the help of the player.1l>e rule$ prcscnred in rhischaprer bclids (his Nocure). The Psyche rrusts, believes. crea1es, hopes enable 1hc Sroryreller ro define and delineoce the Shadow. and dre;,ms. The Psyche, however, comnu. exist on irs own. Every chamc1cr has a dark side as well. Wraiths call this inner darkness the Shndow. Usually, this The Shadmv is an intelligent force. It does not mindlessly isthe reprcs!mncc, anriparhy and rhe •ubconsclous. From the Shadowguide. Thus, each Wraith player uciUally controls rwo vi<'o-poin1 of rhe Ps)'Che, the Shadow is a force of desuuction. cl1arncu.:rs: her own characrerand :mothtr ch3racter"s Sh3do\v. n(l( crtalion. It is the death wish, the shard of Ob!ivion in any The Shadowguide roleplays the subconscious urges of a char·

shadowguide

•

acu:r. The Shadowguidc woll often whisper hints and promist> of power, trying ro rrick the plnycr into sclf-dcsrnoctive actions. Any roleplal•ing game is playtd by consensus. The Story· teller usually decides which player will rcprcsrm which Shadow. l lowcvcr, a pbyercan feel fre-e to choose her own Shadow!."' ide. All players must be comfortable with the final deci51on. The Shadowguidc assistS in developin~ the charncter as the game pro,::rc~cs.

It should be nottcs (as <>PP<»<--d tn influences) the wraith, the l>lnyer, not theShadowguide, comrols the Shadow· ridden character. As a Shadowgmde, you ha•·e a
on your poor oargcr. If the Shadow i>ahvay• active and always trying to do harm to the chamct
shaoow charncter Generation 'm harboring a fugiri<-e, a tk/ector of a kind She lit-es in mJ soul and drinks of mJ urine Ancl l'cl give m, last lnemlo ro keep liS alive - h-.di!,'O Girls, "Fugitive" Afrera pbyer has finishe-d allohe other swges ofchn.-nctcr crcalinn, the Storyteller begins to develop the character'• Shadow. The Storyteller must give depth tO each char.ocrer on his game. He must make the ''ligh~' in his ~:une briJ;hrer by contrnsting it ncainst the grow· ing darkncl<'! he evokes.

~tep One: Concept Yet rhis shall/ne'er know, lnu live in doubr Til my bod angel fire my good one out. -William Shakespeare, "Sonnet 141" The Storyteller and the player need to pick a concept for the Shadow. This rcprcscnu the generAl personali ty of the Shadow, but also says something about the personality of the character. Try to determine exactly what about this character will make it unique. What sccretl; will trouble and rorment the chamcter throughout the gamer An excellent time to develop these ideas is during a tharacter's prelude. By understanding the forces and desires !lun drove a character through life, the Storyteller will gain an undemanding of what motivates the character not just in death, but toward death. The Shadow is the incarnation of lht Psyche's nightmares. Below are listed several Shadow Archetypes. Some of them nrc variants of existing Psyche Archetypes (it's even possible, in some cases, for a charactet to have the same Archetype for the Demeanor, Nature and Shadow). l11e ones listed below arc only a sampling. Feel free to develop unique Shadow con· ccpts in addition ro the ones provided.

~~adow Arcnetypes These Archetypes mainly apply co the Shadowguide. As he deceives and corrupts, the Shadow develops its personality and methods. The Archetype can also be helpful to the player when roleplaying through periods of Catharsis.

l~e A~user This Shadow represents the battered "inner child" who has come full circle, grown up out of her terrible beginnings to inflict more pain on others. She is alternately childlike and rng.-fllled, caring and terribly abusive. Mcmly she is chaotic and nearly impossible to second-guess. Like the Perfectionist, rhc Abuser makes impossible demands; unlike him, however, she never expects the character to fulfill them. She hopes rh e character will fail- failure gives her an excuse for her cruelty. \Vhen dominant, this Shadow uses her power to abuse others: mindlessly lashing out, demanding servitude, or me· thodically inflicting pain and suffering. She wishes the whole world to suffer just like she does.

l~e D irector This Shadow is aloof and quiet. He seems mild·rnallllered enough. Indeed, he is quite gendei'nanly and presents a strong facade ofhc'>nor. He is rhe master manipulator. Your secrets are the keys with which he gradually unlocks ironies and inner

doubts. The Director's ultimate goal is to shatter your will with terror in one fell swoop. He enjoys watching as you stumble in to t rap after t rap thac he's laid for you,

and loves your sur..

prise and incredu lous disbelief when he shows you what you have become. This meticulous, terrify-ing Shadow subtly evokes dark el· ements here and there, seeds of the soul chat eventually blossom into something truly horrific. like a demenced game-show host, he pulls back o ne curtain after anorher, revealing weak·

nesses rhat you never even knew you had. When in power, this Shadow quietly prepares his next series of traps. He also enjoys mind games, forcing mhcrs to

confront their own weaknesses.

~e frea~ The Freak knows all your secrets and gees a perverse kick our of them. It enjoys making you do what you most loathe. When it whispers to you, it makes you feel like you arc all alone, like you are the only one who would ever do the things you've done. At the same time, however, the Freak gives you permission to do horrific, terrible things. The Freak take.' pleasure in your shame.

When the Freak is in !POwer, it often tries to shame its host. It will force the host to indulge in many terrible act,, Moreover, the Freak rakes almost as much pleasure in dredging up others' perversity and exposing it to rhe world.

The leech 11>is Shadow is rhe hole inside you, a pit of raw need dug by neglect and hate. This Shadow needs love, sexual fulfill· ment, goods, food, attention- everything. The Lec'<:h threat· ens to consume everything around you, including yourself. This Shadow often aces like a lost child, a creature wonhy only of pity, dwelling within you alld constantly pleading for help. In truth, it is in control, driving you co Oblivion with its vorn~

cious appetites. Whell in power, this Shadow attempts to gair\ sustenance from others at any cost. (t thinks norhing of using, ruining and discarding ochers. The world owes the Leech, and the Leech will lash out spitefully if rejected enough.

The ~1artyr The Martyr wishes only to quit its existence as soon as possible. He may try and drag od>ers down with him, but his main goal is co force you co embrace Oblivion, to complete the process of death. l-Ie always seeks to die again and again. The Martyr often uses your faith and altnrism as levers, offer· ing glorious, fulfilling sacrifice for the greater good. But che preaching it offers is false, leading only to annihilation. When this Shadow is in power, it will immediately place rhe host in the most dangerous situation it can. It will also

proselytize to other wraith• nbnut the futility of continued ex· istcnce und rhc need to sncrlfice oneself for • higher coal.

T~e ~1onster l11c Monsrer is n foul3nd unknowable thing. You C3n't begin to understand whnt it wants, or why. It Is mindlessly deStructive, lashing out"' everything nround it. When rhis Sh3dow is In power, it will mindlessly arrack anything in its p3th. lt seeks to dt-stroy and will not c~ destrOying until it dcst!O)'S n1elf on rhe process. lt is also verbally abu:.ivc, Sl>uuring obscenhits at anyone within earshot.

T~e rarent Ovcrprorecrive, loving and caring, this Shnclow wanrs to

keep you nice and nC3t and clean. She wants you to love only her. She wants you to li>1en ro her, and if )'OU don't listen, she'llmukc you feelcuilty for not listening. She's only think· ing of you r best intereS[S, anyway. She knows your dirty

though ts nnd vile secrets, hm .
T~e rerfectionist ll1is Shadow sets lirnir:orinns and goals that far exceed your cnpncity m accomplish them. Then, when you incvir~hly fail, he criticizes your every 0ow with all the I:ICt and restraint o( a drill instructor. He know:~ every weakness In you and never lets you fu'b"'' ""I' of rhem. Even your successes could have been bcuer. He offers you the hope of improvement one day, but it is generally a false one. When in power, dli3 Shndow cries to dRillil~c its host, he· licving rhnt It Is worthless and weak. Additionally, it will of· ten castigate olher wraiths 11rc)Und it.

The Pusher is your buddy, your p3l. Uke Mephistopheles, he is helpful, solicitous ~md charming. He's nlwnys re:Jdy rn offer a!Silistnncc- (or a price. lie may even give you credit .. . ofter all. what are friend> for! "Don'r worry, be hoppy": that's the Pusher's et<"<-d. He wanls you to have fun. As much fun as you cun nfford ...

When in power, the Pusher will attempt to place the host in grcnt dnn,ger or privlHion, forcing the host to cnll on the power that only hewn offer.

During play, the Shadowguide must keep track of the character's Angsrscorc. She will also need to know the player's

This Shadow is the r~asoning. thinking person's Shadow. She calmly discusses your situation with you, gently explain· ing why you should do what she wanr.s and offering ror.ally logical reasons for so doing. Of course, her logic is designed to IClld you down the path to Oblivion. She never openly confronrs you. lnsread. she riddles your

mind with doubts - doubts that only she can allay. This Shadow has a sensible, rational answer to everything, and of· (Cr.i you rhc prmection ofdenial as well: certainly, the thoughts

gnawing at you are silly guilt feelings instilled by a repressive upbringing. Ccrminly, the thoughts, words and deeds this Shado w has insrigated haven't really hun anyone wo much ...

When in power, this Shadow creates conditionsrhat prove her various postulates. She also "advises" other wraiths, trying 10

nick rhem imo "logical" behavior.

~tep Two: Angst

permanent Willpower score. The Storyteller may choose ro keep track as well, but she will usually be too busy telling the stOry. The pla}'Cr wOJl always kno w her \Villpowcr SCOre, but

will never know her Angst score.

Step Tnree: Dark passions Nexr, rhe Storyteller must choose the Passions of rhe Shadow. Deline the Shadow's Passions (or"Dark Passions") in rhe same way you define rhe Psyche's Passions: each Passion

consists of a brief, one-line description of rhe Passion, followed by the. appropriate emotion. You should use the Passions of the Psyche as a guide, because Dark Pas.
"Life," wid Marvin. ;/Don't cnlk ro me abouc life." - Douglas Adams, The Hitchhiker's Guide to the Gala:ry The Shadow is power<.-d by aTrait called Angst.lllis Trait represents and quantifies a wraich•s pain, alienacion, se)f.doubr The Storyteller has 10 freebie poinrs to spend on the and frustration. The higher the Angst raring, the more power· Shadow's Traits. These freebie points can be used to mise the lul the Shadow. Angst score or purchase Thorns. Note, however, that a The A ngs[ rating always srarrs equal ro or less r.han rhe Shadow's permanent Angst score can never init:ially exceed chamcrer's initial Willpower. Roll a number of dice equal to the character's Willpower, although temporary Angst can be the character's Willpower (di(ficulty 6). The number of sue· as high as 10. ccsscs indicates the number o( "pcnnanenl" Angst poims the Permanent Angst - 5 (XJints per doL character has ar the start of the game. (cannot initially be higher chan pennanr.nr Wi llpower) Angst represents the stress and repressed emotion inside a Temporary Angst - 2 points per dot wmith. Angst also determines the strength of the Shadow. ·n,e (cannot initially be higher than pennancm Angst) Shadow may spend Angsr poinrs just as the wraith spends Willpower. Dark Passions - I point per dor (maximum of lO dots) Unlike Willpower, ltowcvcr, temporary Angsl can exceed the boundaries of its permanent score. When ::1 characrer's t:em.. Thorns- list~d individually below porary Angst exceeds h is permanent Willpower, the Shadow con attempt to overpower the Psyche and usurp comrol of the wrnirh. If the Shadow possesses iO points of temporary Angsr In tl•e end you will submit while it is dominant over the character, the Shadow trades all lr's gor w hurt a little bir. its temporary Angst for a point of permanent Angst. The char· acrer is one step closer to Oblivion. - New 0Jder, "Perfect Kiss'• Ol.1ring play. Angst can increase and decrease withom the Thoms arc special qualities that the Shadow possesses. player's knowledge. l11e idea is that the player should never These qualities are lOtally under the conrrol of the Sroryceller, really know where her character stands. Some Arcanos give not the player. the Shadow temporary Angst poinrs. The Shadow also has Spectre Prc.
Step four: freeoie points

Thorns

Sh<1dow had the Allies B:.ckground, applicable only the region's Spectres. Tainted Rellc: l poi or/relic- The Shadow has on impor· canr relic that manifcsas only when it is in JlO"'Ct- llti> rcloc could be a mask, a ""apon or some other item. The chamcter should be able"' rccogni'e Its origin if it isuescribc.-d to him or if he SC('S it in a mirTOr. The manifcst:nion of this rdic demonstrntcs to others in the wmith's Ciocle th.1t the Shadow is in roorrol. Infamy: I point/level- People cunle the character's name as they lie down to sleep. The In fumy Thon> causes • kind of Memoriam to collect ~t the character's Fetters. O nly the Shadow can benefit from this energy. Whenever a wraith Slum· bers, the Storyteller rolls a number ofdice equal to the Shadow$ rating in this Thorn (difficuhy6). For each success, the hatred of the living convel'S one point of Angn ro the wraith. The maximum ratin~ of this Thorn is 5. Death's Sigil: 1·3 points - The Shadow causes the chat· actcr ro manifest a distinctive feature that accompanies her wherever she goes. lltis can be :mything from the sound of rushing wings that announces her prcscnc'C to glowing hellfire that drips from her and cover.s everything she touche-s. This sigil even colors her Arc.1nos effects, and makes it quite e:uy to perceive her presenc~ and track her mm•em~nu. The sigil can be "mrned oil" by the char•ctcr by expending Ol\e Will· power per Thorn point spent on the sigil.

Shadow Trait&: 2 points - You can buy one dot of any Anribure or Ability that the Shado"' con bestow as a bonus to the Oic~ Pool for that Trair. You must specify the Amibureet Abiliry when the Thorn is bought during the creation of the Shadow. The character may acCCM rhe Shadow Trait at will, but the Shadow gains one temporary Angst each time the char· acter accepts help and makes a roll using rhe Shadow Trait. Aura of Corruption: 2 poina - The Shadow "'llrpS lhc character, making him disrasceful ro other wraitl><: perh
knowmgly. When a p.-.ct is made. the Shadow gains a num~r


rome action that the Psyche musr Glke. The De vii's l>are '"'"' be very specifically defined, and must be something rh01 rhe character can acrually do. The Angst poinrs ore immediately spent. E.1ch point or Angst so spent represents the sevcriry of the action: if the action is very $Cvere. the plnycr mar petirion the Storyteller ro have it lowered. 1r. by rhe end or the 5eSSion, the dare isn't somehow worked •nro the characte(s actions, then the chamcrer lose.< the number or Willpower points equal to the Ang:;r invested in the dare.

Afinal Note on Shadow Creation Although the Shadow is n very impormm part or n char· :acrcr, ~'ou mu.S[ make sure thar rhe Shadow's character c.IO<.:s n01 "upstage" the Psyche or that chamctcr. Even though the Shadow may eventually t~iumph o••er tltc Psyche, the player's chnmcter is more important than rhe Shadowguide's.

Guiding the Shadow The tempmtions or the Sharlow arc offered by another player called rhe Sh:>dowf(Uide. Titc Shaclowguide develops a pcr>yche's player while doing rhis can also make )'OUt imcntions more evident. If nothing else, you muSt make It cleM that it is not your characrer speaking, bur rhe Shadow.

psychic Torment: ~e War 1~th the S~adow Accepr rhe rrwh. 11tere is no ligh1 urirhour shadow... - Shiwan Khan, The Shadow The Shadow within each wraith uhimotely se~ks one rh lng: to be united with Obhvion. The character's Psyche is what imprisons it. The Corpus acts as the htst vestiges o( a rnorml cocoon. A cmnsformntion awaiu ... Many Sh:>dows have unknowable urgtS or cannot fixmc on one spccifoc ~at. Mos1, howevor, have a definite b""'land \VOtk totvard it. Tilt primary goal is usually I he ultim~re Sllbju• g:uion o ( the Psyche. To the Shadow's way of thinkinl(, the Psyche should allow the Shadow free rein.

P~Wions. h may uti lite any of d>c P>ychc's Arc:anos. It may use Thoms, such as Ooppelcanger, Shadow Relic and Infamy. It may not cause t he Psyche to regain Pnthos, nor can it refuel The Sh~dow cannot understand "finer" emotions. Even the Pathos of the Psyche once it is spem. 11>c Shadow cannot emotions like love or hope arc at best facaJcs. Still, it has b>Uid· expend Willpower, nor can it reduce the character's Parhos ing Pa,.ion~, burnins needs that it must fuiAII. below I. FuiOIIIng Dork Passions can strengthen the Shadow. Each The Shndow uses Catharsis as a threat: it is the uh:imatc Dark Passion has a purpose. The purpose• of the Shadow arc a<..'Cret that will later come oock to haunt the may seek to destroy him. Whenever the Shadow fulfills the character. Thos effect can only be reoosted wlrh Eidolon dice. I"!JlO'C of a Dark P~ion, ir can roll its PaMion score (diffi· rulty 7). The number of succC$$C$ on the roll indicates the amount of AngSL the Shadow receives. The Storyteller has the q>tion of chnngins the purposes of Dark P~S$Ions from session rosesslon, although the emotions behilld them should remain ngst rcprcscnLS the dcgn:c of pH in and i.So· the same. Iarion a wrairh feels, :md inc Shadow can f\tlfoll the essence of his Dark P3S$iOn (as live strength of the Sh:Kiow. Again, if the mdic of temporary Angst .-1li-en by fear, if the Shadow can evoke fear from someone, it nent Angst grows, the charactCl slips ever ..mfulfill that Dark Plls>iot\. If the Shadow achieves this goal, closer to Oblivion. d11:n it can roll iro Passion score (difficulty 9) and receive an amount of Angst equal to its successes. Some examples of Dark Passions nrc: lust, fear, anger, hate, despair, frustration, pain or cynicism. IL"hould be nmed, however, rhat some Dark Passions are merely rcprc$600 emotions, not necessarily "dark" ones. There are several ways the Shadow can gain Angst: More information on developing Dark Pltssions is detailed • Shadow Dice: The Shadow can offer her Psyche extra in the S«tion on Catharsis, below. dice on any roll that the player makes. One point of Angst is gained for cad\ botch that occurs on the Shadow dice. (For each "I" rolled on Shlldow Dice, wbtract one success, but only from the Sh:Kiow Dice.) The Shadow can offer a maximum of five extra dice LO a ny roll. • The Shadow's Passions: By accomplishing its gools, his is not hell, nor am I our of ir. the Shadow can gain Angst points. Roll rhe appropriate Dark -Christopher Marlowe, Doctor Fat<:nnancnr) Willpower roll, adding Eidolon dice if appro· Of course, If the Storyteller feels that it is appropriate, she pythc. scene conveying rhe separation and alienation of a ch.~racter When the Shadow is dominant, it interacts with the world may result in a point of Angst. the only way it knows how. It can gain Anll't through its Dark

DarK passions

Angst

""""'&""

Gaining Angst

Catharsis

ike you, I mn broken and fragile Like you, I am I
rime

like you, I nm feeding on slumber likt you . l't.\lle{c my eyes far behind mt Oo111n for che ooum anJ sriU drolllnmg. - Christian l.)(:~uh, ~e Drowning"

Because wraiths do not have to fear deatl>, many of chem aer with impunity in the UnJcn.-orld, rhinking that they are somehow immortal in their Resrless smre. TI1is is no l true. When a wrairh loses ~II her Corpus, she imrncdiutcly plunges inro che Tempest. ! Jere, she experiences a nighrmore n~ged for her by her Shadow. nus prnceM is called tht llarrowi•'X· The Harrowing is like a theatre of torture, a highl1•nrual· rsric challen~. It is designed to empower rhe Shadow and rip apart !hose thing$"' dear to rhe wraith: her own Passions and Fetters. The scage is sec in tl1e Labyrimh, a rwisred network of tunnels and cavcms, chambero and endless sea irs that the Spectres usc to move about the Tempest. The Labyrinth re;ponds rn the Shadow's ministrntions, evoking scenery nf stork night· mare ac a moment's whim. The players ~re shades and other dread creatures of rhe Labyrinth. The scar is the fallen wnoirh, bodiless. without a shell tO surround her fr.tgrle Psyche. The director is che Shooow, who whispers rhe wranh's d~rkest se· crets to the asscmbk-d hordes, and who manipulates them like a macsuo.

The result is horror created cxpre.
losing Angst There ~re stvtrnl ways the Shadow can lose Angst:

The Beginning

• Castigation by another wrairh: Thi.s Arcanos is spc ..

lr is important to escablish a sense of normalcy for rhe

cillcally designed rn reduce the Anf(St of anomer wrdith. Nore. however, that unleos a wraith is using the Arcanos: Defiance, he may n01 Castigate himself. • Using ce,rtain Arc:t.nos while the Shadow is dominant: When che Psyche is dominaau, some Arcanos give a wraith Angst if he fails or lx>Lchc; a roll. If rhe Sh~dow is dominant, these Arcanos insrcaci reduce Angst. Arcanos that normally cosr Willpower actually incrensc Willpower if rhe Shadow Is dominant. · • Botching any roll when the Shadow is dominant: The Shadow c~nnoc scand to see its own failure. If rhe Sh:>dow botches any roll while duminunr, or~~ point of temporary Anf(St.

~ginning of me Harrowing. The charncrer regains a semblance

of a body, although rhu "not his Corpus: it is merel1•a mcnml projecrion. Usuall)'. the Shadow chooses a typical scene from rhe life of the wraith, thus ~iving the wrairh a sense of
If a Fetter or P:usion is targeted, the Shadowguide should

choose it with care. The Quarry should be a P~•ion or Fett"r !hat the character has ne~lected, or one that has troubled the character. h 15 easter to desrmy a weak Passion or Fetter than it is to destroy a srrong one. The Shadow must spend six temporory An~t points In ordtt to Initiate a Hnrrowin~: for the purpose of scverinR a Fet• ret or extinguishing a Passion. I( a Shadow doesn't have six Angst points m spend, it cannot initiate a Harrowing, although It can still try to call Shades ro the wraith's location. In [his case, the wraith's Psyche simply Aoats helplessly in the Tern· pest for a numlx:r of scenes equal to his highest Fetter rating, at which point it maps back to that Fetter in the Shadow lands, and the wraith's Corpus re·forms.

J~e Middle Next, you advance the plot of the nightmare along simple

Iones and onrroducc oth
force.

J~e End During rhc climax of the Harrowing, the wraith l.s pre· S
number of poinlS from rhe mting equal to his number of failures or botches. Still, he escapes the Harrowing and can roll for Corrus renewnl normally. Botch: If a wn1ith botches the dilemma, he lo.1es the Pns· sion or Fcner ourriaht. Additionally, he plays right into th< Shadow's clutches and experiences a moment of weakness as it triumphs. The Shadow rolls liS Angst versus rhc wraith's Willpower: if the Shadow wills, the charocrer is dead forever. If the Harrowing began because the character was rcducal to z.ero Corpus, 1cro Passion or ztro Witii>Ow<:r, no one Fetter

or Pnssioll is applicable, so no such roll is made. The character is dirccrly confronted by the possibility of her own death. Th< end of~ Harrowing results in an opposed roll between per· manellt Willpower and permnnellt Angst. If rhe Shadow wins, the character Is utterly consume-d by Oblivion. Hert are some ideas about how you could run • Harrow· lng, based on the Shadow's Archetype.

Aouser Beginning: A nice Sunday afternoon - qtnct, calm ... except for somewhere, of( in the disr.tnce, a suangc, mcw.llic gmting coming from another room. You wolk through your old hoose, looking here and there. Mother! Father! Who's there! Yoo tum rhc comer, and ... Middle: ... there stands your father, sharpening n srmighr raror. l-Ie looks down a< you and hisses, "Don't move." You freeze. He srans to shave your eyebrow$, )'OUr hair ...he moves the cold steel across your skin •nd soon yoo're totally hairless. You shiver. He screams, "DON'T MOVE!" and slaps you ... End: ... you try to scream back at him, to run, and you run through the door of~ bathroom, trying to escape. You mn outside, throogh the front door. Your father chases you, scream· ing obscenities, his eyes blazing red like fire. Looking up in the window, you see your sister, her hair on firt, waving down a1 you, crying. As the house goes up in flames, you b
over.

Director Beginning: All around you, you sec hallways. Corridors stretch nff in all directions. Doorways line the corridors. Each doorway has a small red button next to it. Tile burrnns Rash slowly, on and off. You push a button, nnd ...

Middle: ...one of the doors opens. It leads down anorher haliW3y, and you follow ot. You catch flashes of terrible scenes from )'OUr previous life as )'OU pass hand. Both of your loved ones drop im· mediately into their pits of ~cid . Your Shadow laughs as acid spills our ill to rhe roon1 you're in, burning your feet and follinu 1he room wirh :t11ickly sweet smell.

freaK llcginninl(: You're in j)ublic, walking down the srreer, a nameless individual in the crowd. Faceless pcoj)(e walk past JW. All of a sudden, someone whispers ro you from an alley· way. A fingercrooks in your direction. You rum to look, and ... Middle: ...you sec '"' okl friend of )"OUrS. He gives you a key and whisper$, "behind the W3rehouse." You h<-ar voices and sec men with rorches nnd shotguns stalk down the alley, lookiOJ: for 'crearuros" just like yuu. You run. and dley call out your name. End: ... you n.m behind the warehouse and down to the door. 0pcllilllt the door with your key, you se:e a whole bunch of people jiLl! lrke you, hiding, hunched down, tryillg not to be secll. This ls where you belong. You co and embrace one of your old friends and beuin rodallcc. Suddenly, a gtlllshot reverberates throuch rhc n:)()ln, :mel your friend convulses in your anns. You whirl around ... and see the men with torche.• •tanding in the stairway, laugh· irog at you, call ins: you awful things, their guns leveled at you. SucceS$: You scream in anger at the men with guns, who 5tand there looking befuddled. They step back. Your anger is like fire. You step forward, rising up. surrounded by lighr. You tell rhcm rn ~ocr the hell out and never come back. One by one they leave, and as you me up, )'OU sec others standing up and shouting out their rage. F:oilurc: Yc•onttnck the men. One by one, they empty their shoccuns Into you. As you rise up in a nimbus of crimson lis:ht,

you realize that the ones you left behind arc cowering as they laugh at their own fear. Botch: Yoo nl1lltk the mob. but somehow they're on \'OU. They crnb you, calling \'Ott "Freak," and C3ny you OUtSide. There's~ flrt there for you, and rhey lash you to a stake. They hold a brond co d~e kindling. and you scream as the flame< begin to sear your~

Leech

'

Beginning: You're sitting down co a bountiful feasc. h's eleeant and tasty; evcl)'thing on th" roble is something rhac you love to eat. It's all there for you. Then, you hear romeone call ing you in the next room... Middle: ... you sec your Shado'v there, lying on the bed, demanding to be fed, complaining, saying tha< you don't u.re about him, that you only care abour you~lf. You bring him food and drink, and try to nuff his pillows, but nothing is enough. Still he complains, whining, demanding, griping ... End: ...uncil, flnally, he stops and plaintively asks if you re· ally care about him. And bow you plan to shoo• him. And then he asks you to feed him some more, nnd you do, and l'"'' begin to feel empty inside. You realize he's sucking your wul fTom your body. Success: Finally, indignantly, you throw down the scn•ing my. You take a piece of bread for yourself, and as the light surrounds you and you begin to rise, ymo see your Shadow :;cream in pure jealousy and rage. Failure: You cram more and more food into the Shadow's hideous mouth. Finally he gets ovenealous. You secream as he clamps down on your fingen and bites them off. Botch: He eats more and more. .(lnd you soon run out of food. Finally, the Shadow opens his maw and begins to take bites out of your Oesh - but you are cold and dead. You feel no pain and can only watch in hormr as he consumes you.

Martyr Beginnine; You're on an airplane.. thousands of feet in che air. Suddenly, shots ring out, ~nd a masked Lcrrori.r &rorms throuRh the plane ... Middle: ... stnnding up, you offer youl'$elf as a hostage, co protect the other innocent$ on the plane. Titc gunman draes you up to the Oi~t deck. One of the llighr crew secreams nnd breaks free, pushing and kicking at che terrorist. You scc1tim . lower his machine gun, and you step in from of the bullets ... End: ... you feel hot lead rip through you as you fall for· ward. Blood sprays everywhere. The terrorbt steps oveq'OU ... Success: ... and you see remorse in his eyes. As you ore surrounded in light and begin to rise up, you realize that you did nor die in vain. Your death had a last in& effect on him. Failure: ... and you see that )'OUT death was meanin;less. He unloads the rest of his clip into the crew member and stalks down rhe aisle, looking for more victims.

Botch: ... ~nd you realize dmt, somehow, you're still ~live. So

I'""""'Jup again.and again you gcrshm. At!'tin you stand. Again,

rou gcr shot. You take the bullets for everyone on the plane. Fi· nall)•, in :m orgy nf .w:lf-dc:.truction, l'OU make your way ro the

""""""'door and slam it open. You leap out into nodlingn= ~lonster

lk'l!inning: You're comfort•hly ensconced in your bed, durchmg the covers aroulld you. You look at the shadows on tht wall, and rhe1• •lowly bt.--gin to mo,•e... Middle: ... all around rhe bed, tentacles whip and writhe. One of the tcntack-s lashes out for your teddy bear, l(ra~ it, and yanks it away. Ynu wub nt the teddy be~r. trying to Sllvc it, and more tentacles wmp :1rmand yuu. They begin to drng you of( the bed. You scream, but you know no one will hear you ... End: ... you gcr up, wrc11ch your teddy 3WO)', and mn rm.,lnl tht light swirch. One of the monster'• tentndes snares )'00, and Y'• •trip aud (all. The tentacles pull you closer; you stmin a~ainsr \'OUr slimy bonds. You rend1 out to flick the switch, and ... Success: ... you nick iron. Light floods the room. The monster ''""i!I>CS, lc·•,•ing only n tmil of slime, as l""·' rise up into the light. Failure: ... you nick un the light, and it illuminares the most terrible mon.su:~r ynu'vc ever seen. You scream in horror, dropping your teddy benr. The l~st thing you """'· save for n wrlthint; net of slimc·cUvcrcd temncles, Is your teddy sitzling

In the ncld of the thing'• body. Botch: ...a tentacle gr.~~ yoor hand jw.t as you uy. Another ttnt:~Cie, then ancxhcr, then another. then another... covering \'WI' ~hole body, dragging you :lCroSS the floor tO the gaping, open beak.

rarent lkginning: You're with the most beautiful person you've .....,. bt."'" with, and it's going well. You stan to get intimate, and suddenly rhe door to your room fliu open ... Middle: ... your P:lrcnr Shadow stands there, a look of di•· •l>i>rovul on his face. l ie screams at your lover to get out, and }'Our lover v:m ishcs. T hc1·c is no reasoning with h im. He cnr-

rits you upstairs ro '\v:uh your mouth out''. ..

End: He fills a sink with water and wn:stlcs\'OU into place, thnt!ttng your head under the water. The soapy,..,.,., fllls)'Our mouth, ~nd he bring• your head up again. "Are you ever coing to be with that nasty person ~sa in?" he scrcruns. Success: You spilt he water out at your Shadow, covering his (nee in soap. He scrc;uns in rage ns you begin to rise up, tk11\llnding that you "come right b.1ek down here." He is still Kretming as you k-:wc. f':lilure: You shokc your head slowly. "No," you mutter. Your l'flrcm smiles and s.1ys, "Th~r'.s more like my baby." He Imps you to d1c bed. "Nighty·Night," the Pnrrnr says, and shuts our the light. You nrc utterly alone.

Roteh: You "'Y "Yes!" throujth. mournful of soapy water. Your Parent backllamls you, send on; you reeling into the wall. He bc)(ins [0 rccire a lir:my o( ~Vrl')' b.1d, dirty, terrible thinx thnr you've ever done, all the wllile !(rubbing your heod and thrusting you under d,c wHtcr agnin... :md again ... and again. You feel ~~our life rlrai n from you"$ the water fills your lungs.

perfectionist Beginning: lr's rhe morning of your big interview. Every· thin~

hM to be perfect. You go to tile mirror and check your suit to see how I'OU luok ... Middle: ... and you look perfect - except for one >Lrdy thread, which rou pull away. So you ~·· inm the taxicabnnd halfway to your inu.:rvicw, )'lm find ~mother thrtnd. You ~ul l it out. Anmher one. And still more threads, sprouting from your suit like black weeds. End: You reach your intcrv1cw after throwing a handful of thrc•Js in !he mtsh. Your Shadow is !here, seated behind the d.:sk. As }'<>ll walk in, you realize that an entire 'mil of !he mom 1s a giant mirror, one designed cunnongly ro sho"· eve!)• part of }'OU. You lx:gin !he inrervtew and look down at }'OUr sleeve. A thn:ad! Sue~: You ignore tile til read, c:onccnmt
but you feel chat it's of no concern, and say ;o. As }'OU use up into the light, rour Shadow h<~:ins unraveling his own suit. Failure: Yo;r ntg on !he thread. It seems to be stuck. Yuu mg :~gain. lr starts to come throul(h, and ~rou can feel that thi
is pooled around your ankle<. You look at !he Shadow, who >.1)'>, "I'm afraid we Mve no openings for \'OU right now, sir,'" and lcowcs.. &tch.: You t\lg on the tlm.-...J, and n nps comple!el}· out. Yoo find another one, and an<>ther """· until fmallr \'OU're ~ wtrh unraveling }'OUr domes. The inrervie"-er calmI)• watd><:> 100 and men beginsgoingovcr )'OUT resume while \'011 pull 001 !hrt:>
pus~er Beginning: You're at a really nice P""i'• and you feel great. You havcn'tcvcn !houghrofalcohol. Yousi1down on the couch and realite that someone's left on emire boule of cxpcnSI \'C

whiskey righc there in front of you. You see a glass with ice

cubes sparkling next to it. Your hand srorts to shake ... Middle: ... you reach out co rake the glass, and then someone offers you a mirror with cocaine on it. You re.ach for rhat,

roo, 3nd someone offe~ you a remote control, which he sticks in your hand. You're trying to experience everything. Some~

one is stuffing food in your mouth ...

End: ...and you realize that you're the only one doing anything, that you're drinking and snorting and eating and watching the TV alone, while rhe rest of rhe party has long since

left. Your Shadow stands next to you with a hypodermic needle, s.1ying, "Come on, g\ty. let's really bum it up..." Success: You gmb the need le from him and throw it across

the room. Standing, you throw of all of the other crop and run for the door. As you run through the open doorway, rising up into the light, you hear your Shadow say, "Ym1'll be back ..."

Failure: You grab the needle from him and plunge it inro your ann. You feel the white fire dancing through you; you feel ilwinciblc. Your Sh:.1dow leads you over ro a window and whispers one word in your ca.r: "Fly."You run toward the window, throwing you~If through

it. You fall, endlessly falling, into the dark.

lXn<:h: He plunges the needle into your heHn, shooting

the white fire directly into your blood, and you scream in pain Mit burns all over you. He plunges another, and another, and,

in the midst of it you realize that this is what you w<>nt, to feel the white fire and to burn up in it. You fall over, and the last thing you remember is your Shadow smiling at you.

~ationalist Beginning: You're roaring down ;1 winding rm1d hue at nisht, feeling the exhilaration of speed as the car responds to your slightest touch. Suddenly your headlights illuminate ... Middle: ...a child numing along utc mltl. She cuts in front of you, and you nm ·right over her. You hit the brakes and skid to a stop. Getting out, you see the child'scrumplcd bod)' on the road. End: Your Shadow, a "friend o( ~~ours" sct& tcd in the car nex[ to you, says. lfGo on, nobody saw you. Let's just lc(lve."

Success: You get in the car, pull our the c<>r phone, and dial the number of the local police. Titcy arrive and put you in handcuffs for the crime. As you ascend into the Sh3dowlands, your Shadow shakes his head in disbelief. Failure: You gc.r back in thccHr, close thcdoorandsay, "Noone has to know." Your Shadow agrees. You drive off into the darkness. Botch: You get back in the car and drive off. You're driving fast on a high mountain road. Your Shadow tells you to bear left, and you do so. Your car nics off the side of the moun· rain, spinning end over end, and crashes in a deep gorge.

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Understanding doo nor cure evil, bw ir is a definite l•elp, inasmuch as one can cope wirh a comprehensible difficulry far more easil)· than with an incomprehensible darkness. -Carl Jung, Preface ro Psyche & Sy1Jibol

his chapter discusses lhe different ways a character can change during the course of a chronicle. It des<:ribes many different sysrcms for resolving changes to characters, whether 1he change in quesrion is the ac· cunH.1Iation of experience or the accumu· Iarion of wounds. This chapter is divided into rhree sections, each of which discusses anumbcl' or different systems for implementing charaC[Cf changes. Ch:.uactcr Dcvclopmcru describes how Traits can increase (and decrease). Physical Srates includes systems for injuries and recovery from injuries. Mental States includes sysrems for rhe Fog, the Shroud and additional information on Tr.tnscendence. One of the most exciring things about playing charactcl'll is seeing them change over Lime. Watching a character de~ velop ~nd grow is like watching a child grow up before your eyes. In Wraith. however, development doesn't always mean Lhc character gets better. h o(ren means the character slowly and steadily sinks into the <1byss. Such is the nature of this game. Focus on getting better ~nd surviving the rough periods, and tr\' to appreciate the l:lrtiscic impact of losing your human· iry or your mind. This is a ch:~prer o( permutations, not n._tles. There is norh~ ing conwined in the next several pages thac you need to know. only things you 1nic:hl wam ro know.

chatacter ~lopment od,''n Ha.sidic ma..ner rema·rketl,

fldid

nm SCI)'

rlwr 'it lv
Experience points Humans arc lc~mling machines, and we learn constantly - ~I most

de$plte ourselves. By acquiring not only facts and figures, but new ways of being, we cnn make ourselves imo wh:;.t we want to be. Change occurs in wraiths as well. During a story. ch~rnccers learn many things. Much of whnc they lcam is not the type of thing that can be recorded on character sheets, but rather something the players simply keep in mind. They may have learned never co leave a Nihil ul\watched o r never to walk into a dark alley wirh a light behind rhcm. Sometimes, however. whac characters learn can be recorded.

At the end of each story. the Storyteller a1V'dtds experience points to each e:hnmctcr, nonnally giving rhe same amount to each one. Tile plnycn~rhcn simply record how many expe,·iencc poinl'llrheyg<~ined. Experience points can be used to increase Tmill<. The cost for raising Trairs varies wic.k:ly; sec the chart below for specifics. 1l1c c.uot i.l nlmnst always ~ on the present rating times a certain number. Thus, if the character has an Alcnncos "'" "''·.rJJII mtingof2, and the player wants to r•isc It to3, it costs l'oorexperience points to do so. If rhe charocter does not have the Trait at all, the C05t is listed ns n •'new"' Troit. A TmiL can only be mist-d one dot per story - never more.

As the Storyteller, you should nm let a player spend her experience pomrs tn roise any Tmit she wishes - it's a liulc more involved tht'ln that. The increased Trait mun be some· thing the character had a chance "' lcnrn or use during the story - either the chnr•ctcr achieved great success throuRh usc of the Trait, or she made a big mistake from which she can learn. In the case of Willpower, somcthlnc must have actually occurred to bolster rhc character's self-<:onlidencc. You should only allow Trait increnscs if they have been or c:m be woven imo the story. At the very lea.
Awa~ing Experience points The o/Mr o man grows, the more mysterious life beccnne.• ro him. Wle sometimes say ro a your/, rl•ut when he grows up he will know more, but t/tat is a hnlf·rrurll. In general , an increasing cx/)
End of Each Chapter Give each characrer one to five experience points at the end of each chapter {game session). One point is given whether or not the C ircle succeeds or fails, as a funcrion of simply participating (rcnlcmhcr, somc[imes we le::-rn despite ourselves). • One point - Automatic: Ench pln~~cr gets one puint after every game session. • One point - Learning Curve: The character learned something from hi.lexperienc.sduring the chapter. Ask the pla)'Cr to describe what his character leanled before l"•••ward r.he point.

• One point - Acting: 1l1c player mlcpl:.ycd well not just enrertaini"lll\', bur appropriately. Award for exceptional roleplaying only; your smndards should get illcrensingly higher. In most cases, award this only to the person whn did rhe best roleplaying in the troupe. • One point - Concept: The player nctcd out her character's concept very well. • One point - Hcroi•m: \Vhen a charncter risks herseff for od1cn, such as when she suffers multiple disn1;>tions of her Corpus fighting off spectres while the rest of the Circle c.
End of Each Story At the end of each muy, you c.1n assign each player one to three cufdirionol experience points over and 11lxwc the one to five points enrned for completing the chaprcr. • One point - Succc•s: T he Circle succeeded in its im· mediate mission or go:~l. Perhaps it was noL n complete sue· cess, but at least a mnrginal victory was achieved. • One point- Danger: The cha.rocter experienced great danger during the story and survived. • One point - Wisdom: The plaj•cr (am! thus the char· nccer) exhibited grcuL wits nr resourcefulness, or c;unc up with >Ill idea rhat enabled rhe Circle to succeed. I( you w:mt to nwnt'd even more points, rhu~ allnwing rhe characters to develop even more quickly, simply invent new categories in which to award experience. These c:nn even \'al)' from story to story, and can be based on the spec1flc circum· smnces of that story.

personality Development A man is exactly whm he has •no& himselfand wh
- Franklin ~rton, The BIIQgaiiOd·Gua A cllllrdctcr's personality can changt over the course of rhe chronicle, but for the most pare, the chan~tc> occur
Demeanor Though the Demeanor listed on the dmmcter sheet is sim· ply the way dlc chamctcr m<>
ity. A player may chan&oc hischaracter's Demeanor at any poult in me game, but should either tell the Stor,~eller he has done so or, prefembly, make it evident through his roleplaying. Sometimes the Storyteller might suggest the change after watching the way the character is played, simply as a way of alerring the player that she has noticed rhe change in person· aliry. Keep in mind that Demeanor is only a tool the player uses 10 focus and direct roleplaying. If a change in Demeanor is called for or seems appropriate, the player should feel free to go ahead and change it.

Nature A player may also change her character's Nature, but rules for cllis are somewhat mote strict than the ones for changing Dcme:mor. A character's Nature is cenual w who and what he is- it is the locus of his being. A change in Nature is akin to a change in personality - evctything is different after it occurs. It should nm be decided on the spur of the moment, but must be thoroughly considered. The Storyteller should re· quire the player to roleplay the change over a number of game scssionsja story might even be created around the tumultuous transformation. Conversely, sometimes it may make sense for the change ill persollality to occur suddenly, as a reaction to what has happened to or around the character.

increasing ana Decreasing Traits The costs for pennanently raising the Traits list(.'(] below are listed on the Experience Chart.

1\aising Arcanos lr is possible for a wraith to learn Arcanos on his own, btu it takes longer and I'Cquii'CS more efforr. Jf a wr~ith has the Mentor Background, he mn)' roll this Background; each succc« reduces the cost o ( learning an Arcanos. For example, a character with four dot> in Mentor can roll four dice (diOl· culty 6); each succe"' reduces by one the exp
Willpower Characters can raise their maximum Willpower with ex· p
passions lr gers dark, it geu loatcly On tltc other silk from yuu. lt>in• a lor, I findolot,

Cnm rlrrough wit/tout 1()11. - Kate !lush, "Wuthering Heights"

losing apassion TI1e Storyteller has complete control over whet her nr nnt :a Passion diminishes. There arc rwn wa\'~ th:lt !:1 Pa..~ion candiminlsh: Neglect: If~ wmlth neglects n Passion~ ovc1· time it will diminish. If the Storyteller feels that a wraith has ncglccuxl her Passion, he can call for n Pil$1tnn roll (difficulty 9) to sec if the Pas.,ion raring IS reduced by one. A botch indicates that two points of Passion are lost. Narrowing: Tile Hnrrowmg 1s a snul·sc.1rring experience. Often, a wraith's P:tssion Is the focus, or Quarry. o ( a HarfOII'· ing. If she fails to resist the horror of the Harrowing, her ent ire Passion Trait mny be ripped away. Numbing: Many Spectres, especially Shades, hnvc the power to numb thr spiriwnl 11 hcnrt" o( a wraith untl chu:s dam· age a wraith's Passions. Through a succe..~ful awack, the .spec.· trc can n.'ducc the wr:tith5 Passion by one. (See Spectres, PI!· 232) If a wraith's Passion is reduced to zero. it \~"J.nUi.hcs :and can no longer gh•e him Pathoo..11uu tic to his morrnl ltfe has been .cwrcd. If a wrnlth loses all his Panlons, he immediate!)•slijlS mtn Obiivion and uoses to bc a character.

Increasing a passion There are no hard.-and.-fast rules for increasing or gaining

Very rarely, a wraith may gain a new Fetter by interacting

anew Passion. Passions only increase at the behest of the Sto . ryteller, who must make a decision based on roleplaying and the circumstances of her chronicle. Passions may not be in· creased by spending experience points. Although a player can suggest when a Passion of hers should be increased, the Storyteller has final say in the matter. There is 110 attached roll: the Storyteller simply tells the player

with the living world and coming to care for and identify with

to mise the Trait. Experience points need nor. be spent on the

Passion. l11e Storyteller should permit a Passion's increase only in extreme circumsranccs. after a major even_t in che character's

existence. The increase should make sense in terms of the Passion and the character.

Gaining a New passion A wraith may gain a totally new Passion only by becoming involved wirh the living world and interacting wirh the

living. The Storyteller decides when a new Passion is gained, although a player may choose not co accept the offer of a new Passion if she docs not feel that the Passion is warranted. The new Passion cannot be meed greater thm' 3, but may be in-

creased from there.

fetters Givt nu life Give me pain Give me myself again. -Tori Amos, "Little Earthquakes"

losing afetter The Storyteller has complete control over whether or not a Fetter diminishes. There are three ways that a wraith may looc a Fetter: Destruction: If a wraith's Fetter dies or is destroyed, she looes her connection to that Fetter immediately. For this rea· son, most wraiths seck m protect their Fetters.

The Harrowing: A wraith's Feuer might be the Quarry of a Harrowing.11'e entire Fetter can be lost if the wraith fails the Harrowing. Rending: A Spectre, particularly a Shade, can rend a wraith's Fetter, thus reducing its rating by one. If n wraich's Feuer is reduced w zero, it no longer binds him to chis world. If a wraith loses all her Fetters, she can no longer operate in the Shadow lands: she can only stay there for afew mint1tcs at the very most. \Vrniths without Fetters should

either find a "safe" residence in the Tempest or emigrate to Srygia or some other realm within it.

people, places, or things. Although there are no hard-and-fru;t rul~ for chis process, it should generally be easier for a wraith to g-.tin a person, rather than a place or thing, as a Fetter: the living are much more important to wr3iths.

Backgrounos Background Traits never change through the use of experience points. Changes to Background Traits happen during the normal course of events in the chronicle. Evennmlly, the Storyteller will note the changes, and the ch~racter's Traits will increase (or decrease) app.-opriately. A player may wish to ask the Storyteller if one of her character's Background TraitS should be changed, bur this should nor be done coo often. The Storyteller may design a list of things charoccers must accomplish in order to increase each Background Trnit, nnd the players may or may not be shown the list. To gain a new Contact, for example, a wraith has to find the right subject and befriend him. For the most pare, &ckground·ra ising decisions take place over the course of a story. Backgrounds generally increase one dot at a time, but major victories or upsets in n story can lc:ad

ro the gain or loss of more rhan one Background clot ac a time . •

Injury Here's a quick imf>ression for you: Caw! Caw! Caw! BANG! Oh, fuck! l'm dead! - Top Dollar, The Crow Wraiths arc paradoxical in chat they are both fragile and incredibly resilient. Even though there are many different ways that a wraith con be injured, only one Trait deals with injury: Corpus. A wraith's Corpus is the shell o( plasm that surrounds and protects her Psyche. A player records injuries by marking off levels of Corpus, signifying damage co that body. Unlike humans, who lose blood, visccrn, and viwl orgnns when they are damaged. wraiths lose substantiality- physi· cal coherence. When a wraith's Psyche is no longer protected by her Corpus, it becomes cx
Corpus States Material: This state is accessible only through use of the

Embody Area nos. A Material wraith is made ofsolidified spiri· cual energy. When injured in this state, the wraith takes nor• mal damage and suffers penalties to Dice Pools (pg. 200), just as though she were a physical being (of course, the soak roll still applies- sec Combat in Chapter Nine).

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Corporeal: This state is the normal sr~te of the wo1oith as she exists in rhe Shadowhonds. When damaged in this stare "through the Shroud," i.e., by anythinll from rhe living world, the wrairh l=s one Corpus l<:\•cl and suddenly becomes In· corpore~! (sec below). A Corporeal wraith injured in the Shadowlands receives normal Corpus clunmge but does not become Incorporeal. Incorporeal: When a wrnhh is Corporeal and is damaged by an object in rhc living world, he becorncs lncorpore~l with respect ro the living world. This alw·• ys com a level of Corpus. His form immediately becomes misty ~nd indistinct. Thissrare lasts for a number of norm equal to his Stamina. Destruction: When a wraith lose• all his Corpus, he is immediately sucked imo the Tempest. n,ere is n strong chance that his Shadow will drag him into the Lubyrinth and there bc~in the nightmarish experience called the Harrowing (sec The H(m'()wing, pp. 184). It ''possible that over tl1c course of the Hnrro"tin~, the wrailh may discorpomtc, passing on to

Oblivion and ceasing to be a playable chnractcr. If a wraith :,urvivcs the Harrowing, he is drn\vn ixtck to one of his Fcncrs:, where his Corpus rc·fonns. When this happens, he begins with a number of Corpus Levels equal to his Suomina rating.

Healing Luckily for wniths, their ghosrly shells don't require much maintenance. and chey may cnnvert their own Pathos energy into Corpus. By spending n point of l'udms, >t wraith con re· gain nne of her lost Corpus Levels (only one point may be thus spent per turn). Using
Aggravated Damage Ccrrnin cre;1tures and items damage wraiths .so $C\'Creh• rhat rhey CannOt easily ref"llr the damage. n1ese injurocs, known as aggnwntccl wounds, ore commonly inllicu:d by 1nagl· calwcapotts (both in the living world and rhc Shadowlnnds). weapons made ofSty~ian steel, nnd the claws and teeth uf >p<.'<· «ts and other foul crcanti'C$. Several Arcanos powet> al50 have the potential ro damage wraiths (Sec Oumoge and Us11ry. pp. 161 :md 170). The Storyteller may declare any particulurly severe injury to

be aggravared.

When an aggrnvot«< wound is inOict«<, the player must cross off one Corpus Level per level of l!AAnlvatcd damage. AJ«ravatcd damage "'"I' be rcpair<-d only thmu~:h Slumbering and rhe expenditure of three Pathos pet day. Healing one ag· grovatcd wound requires eight hours of Slumber or meditation (sec Lhc Mc
&lurces of injury Despite wr;'liths' resilience, there nre mnny ways to harm them. Son>C 111'C shared with ami readily understandable by mortals; n1 her~ nrc S('lecific ro wrniths. The~e sources of injury are described below. Characters, huma11 or wraith, can make SLamina rolls (difficulty 6) 10 "stxtk" damage. Each succcsstndtcarcsone fewer Corpu$ Level (or Health Level, in the case of non-wraiths) is lost. Each botch means an additiot\allevel is lost. Physical objecno in rhe world of rhe living can harm '1111irhs, provld«< rhat the object could have harmed them in life. n>crcfore, because min, snow and Nerf Arrowstorm T~ arrows ~:~rc ntlt hHnnful m the living, rhey do nor d::1mage wraiths ci1her. On the other h~nd, unfriendly COI\tnCt with an oncom· ing tn1ck, bullet or sword - decidedly hnrmfulthings- rc· suiLS ill the loss of a Corpus Level and rhe remporary incorpnr""lity of the wraith.

Occ.'slonnlly, charocters will fall. Use the chort below to colculate damoge. Note that damage from fallin~t is never considered ••through rhc Shroud"i falling wrairhs acru;;tlly irnp;acr the material of the Shadowlands. Also note that there is no consmm gravity in the Tempest; at any Aivcn momcm, falling dam~c may be more or less than in the Shadowlands. Oi$t•nce (in feet) Injury 5 One Corpus Level l0 Two Corpus Levels 20 Three Corpus ~vets 30 Four Corpus Levels 40 Five Corpu~ l..c, •cls SO Six Corpus Lev-els 60 Seven Corpus Level> . .. and so on, to a maximum of 10 Corpus Levels.

fire Fire is hazardous to mortals, and can inJure wrairhs when

ignited In rhe Shadowlands. Fire in the living world c:m hurt wraiths "through the Shroud, • but, like any O[her sort of physi· cal da&uagc from the living world, iL simply c:1usc,s them to go Incorporeal. Fire in theSh~dowlands. also c~lled barrow·Oame, always causes aggravated damage to wraiths a11d therefore can poLcmially destroy them. Barrow-llamc l!xists solely in the Underworld and as such cannot horm the living. It functions jusr M flredoes in the world of the Quick, sove f()( the fact that it is cold rather than hot. It is said that lxtrrow-Oame is fed with the power of Oblivion. Any sl.e Aame can potentially harm a charocter. The player Combat wounds arc de-alt with at length 1n rhe Mdu and may roll a number of dice equal to the cl1nrocter's Stamina Firefight •ectlons of Chapter Nine. Each succo« on an rating again>L Lhc difficulties liSLcd below. 11tc pla)•cr must roll oppone11t's clnmnge roll causes the character LO lose one Cor· e~ch rum rhc ch:u::.c{er is in rhe names to see if she c..1n resist pus level. Remember r:h:u dHmazc from an ;ur:.1ck ;across the the damafie. If the roll fails, the character tokes from one to Shrourl (from the living world) merely results in the assump· three Health Levels of darnagc (sec Lhe sccuml chart below), tion of the l11corporenl state. while if the roll succeeds, the charocter takes one fewer Health ~in..:arms wurk normally, bur: firc:s and other chemical re~ Level of domage per success than she normally wo.,ld. If rhe acuoru produce no heat in the Shadowlnnds. roll is botched, the character is hannd in liiOmc sp<:cial wayperhaps •he loses her eyesighr or her limbs are maimed. Difficulty Heat of Fire Many Sry~lan we;~pons are forged from the peculiar alloy 11uec Heat of a candle (flrn·dcgrcc bums) called dnrksteel. Developed by Nhudri, the Oral\d High Arti· Five Hear of a torch (second-degree bums) fleer, durkstccl is an aHoy of Stygian Irem :mel wr~ilh plasm Seven Heat of a Bunse11 burner (third-degree burns) that is reportedly tempered in the stuff of Oblivion. It bites Heat of a chemical fire Nine deep into wraiths' Corpus bodies, causing a~gravaLcd damage. Ten Molten Metal Wrailh$ who usc Uarkstccl to ::&r:mck other wrairhs ofcen gain Wounds Size of Fire Anl}"t poinrs. Torch; part of body burned One Bonfire; half of body bum«! Two Raging inferno; entire body burned Three

Combat

The Maelstrom From rime to time, Maelstroms sweep across the Sh>dowlands and cluough the Byways. Maelstroms are vorti· oes of pure Oblivion that originote in the heart of the Void. Sec Maebrrmm, pg. 41, for more Information. Aside from the fact that Maelstroms carry spcc~res with them, they also c~n do great damage to a wraith depending upon the level of the Maelstrom: Maelstrom Level Damage One fourdke Two slxdice Three eight dice Four 12 doce Five 14 dice A wraith may resist this damage by using Casrigate or by seeking shelter wiLhin a Haunt. Damage Is per turn of contact with rhe Maelsrrom.

Mortals ccausc wrairh• frequently de.1l with humans, ir is impormnr ro understand what injures d'cm. 1-luonn.n.s' state ofinjury is measured hy u Trait called Health Levels. Humans have 3even Health Levels, aso~ to a wrairh'$ 10 levels of Corpus. Health can lx: rhrnd>t of as a specrnom with "Bruised" 3t one eoo and "lncapacirared" at the ather. Each Health Level suffered be· )-ond "Bruised" causes a human to suffer penalties 10 acuons:

MortalHealt~ levels Bruised No effect Hurt ·I Injured .J .z Wounded Mauled ·2 Crippled -5 lncapacicated Mark off one Health Level for each wound that a char.x· ter takes. Wr-Aiths suffer pen:~lties for wounds when they are

1113terlalited. The first four wound le••els hove no effect; the last six function just like the six lc••cls for mortals (ranging from Hurt 10 lncapacir:tted).

~lortal Death A n1urtnl or nnim~l who reaches lnc;;:tp3cittlted is one Health Level owJy from denth. If she is injured one more time, or if it is impo&sible to stem the flow of blood from her body, she will die. 0( course, mnrmls heal differendy than wraiths do. With pmper medical attention. mortals recover based on the fol· lowing chon. Note that the time given is how long ir takes ro rewvcr thru p:micular Heolrh Level- other Health Levels must be hen led as well. Thus, if the mona! rakes three months 10 recover from being Mauled, he ""'"still rake rhc rime to heal \Vuundcd. Injured and so on. Hc:ohh Level Time Bnoised One Day Hun Three Days InJured One Week Wounded One Momh Maule-d Three Months Crippled Three Months t

tNot only do mortals have to he.1lthls Health Level. but the)• lose one point from one Physical Allribute as well. Mor· tals who reach Incapacitated heal at the Sooryrellcr's discre· tiOni smnc cnrcr comas for lhe rest of their lives. If a mortal die> while possessed with Puppetry, the wraith possessinA her may receive Corpus thunngc. Nmc rhar wrairhs con healmorr.ls using the Usury Arcnnos (pg. 170). ,.,._.,...,.,

ohli~on fo< wraulu, final death means f.1lling into Oblivion. There are several ways a wrnith can reach his ftnal death. • A wraid' who loses all his Corpus Levels 10 aggravared wounds will arrain Oblivion.

• A wraith who reaches n score of zero in Willpower or Corpus (from nonaggravated wounds) will undergo a final Harrowing. (Sec Harr,wing, pg. 184). The Harrowing docs not involve a Fetter or Passion roll. At the end of the Harrowing, the player must roll permanent Willpower venus an oppo><.-d roll of permanent Angst (both rolls are difficulty 6). (( the player falls, the character passes Into Oblivion. • A wraith who is Harrowed by SJX'<:Ir<'S will nee-d to un· dergo 1he process of Harrowing. The •pecrre will usually target Harrowing ends with a a Feuer or Passion to obliterate.

n,e

• ....

.. ..

Fetter or P~ssion roll. If the roll botches, the pl~y~r must roll permanellt Willpower :~g:~inst an opposed roll of permanent Angst. If the player fails this second roll, the characrer de· scends into Oblivion. • A wraith who loses all his Passions from Harrowing immediately falls into Oblivion.

Mortn ls nrc affected by poisons, but wrniths are not. (Though It Is ~id that 'certain Stygian lords have access to foul, ghe»tly poisons distilled from spectres' ttars ... )

Suffocation and Drowning MonoIs col\ die byurownlng. The length of time a mortal can hold his brcarh is determined by his Stamina rating, per rhe following chan: Holding Brearh Stamina I 30 seconds 2 One minute 3 Two minmc.s 4 Four minutes 5 Eight minutes

Mortals may expend WillpowN to continue to hold ohcu breath; each point expended allows the murml;mothcr 30sec· onds If her Stamina is J or lower, or " full minute if her Smminn is 4 or higher. When a morro! can no longer hold her breath, she begins to suffocate or drown as appropriaoc. A drowning charocoer suffers one Health Level of damage per turn; this is not n{Wra· ''"'cd, but may not be healed until the morral is om nf 1he honile environment. When the morllll reaches lncnpncltotcd, she will die in one minute per poinc or Stamina.

Mental States his section discu:
rranscendence Among those who believe that such " thing is possible, Transcendence i:> the ultimate goal to which a wraith can as~ pire. It is said that some souls pass d irectly to a State of inne r peace immediately upon theirdemise, wh ile otherssl ipdirecd~r

imo Oblivion. Whatever the truth is, the different beliefs about Tramccndcncc form some o( the pri nulry schisms among the mrious f.1cr-ions of wraiths.

The llicrarc hy firmly believes rhat Transcendence is

merely" myth, "childish fantnsy SliJliXlrted by the Hererics for 1he J>urposc of obtaining more souls. If there were a Trnnscen.-

dencc, what would distinguish ir from Oblivion?Scholars are tvaSivc, bur l!lany Hicrnrchs have pointed ou1: that Oblivion

and Transcendence ;.1re borh :=~n end of sorrs, a lo~s of idenriry and self. They dismiss the notion ofTranS<:endence as either a fairy tole or a fool's paradise, and try ro make the best of their prc.~nr sinmrion. On

rhc mhcr hand. cerrain Hierarchs whis ..

per that Charon himself was pursuing Trnnsccndcnce, and may in (act have achieved it:. .. The Hcrcricsarc rhc fi rmest proponcnrsofTransccndcncc.

believing thor each person mllst follow the path that best suits him. Of COlii'SC, each Heretic Cllil tries to pcrst~ade the Other

denizens of the Underworld that its path is best. Heretics be· lievc that only by fom>ing mutually Stipporrive, like-minded communities can wraiths hope tO achieve Transccmlcncc. lt is too difficult to stand form against the Shadow alone, they insist. Nonetheless, even in the various realms formed b~· Her, cdcs, corruption, ~&busc, selfishne-SS and the taint of Oblivion

are everywhere. If the Renegades can be said to have a collective opinion o n anything, it is ch;lt if Transcendence docs indeed cxisL, iLis

something that each individual has to find for h imself. Many state chat ifTrnnscc-ndence is possible, it is not anainable by trying to get it; it either comes about or doesn't, based on the spirituality and ethics of the individual. Reneg"des believe rh"' each wraith should act in accordance wh:h his own c.onscie-nce and beliefs. J( the result is Transcendence, grcati if not, who carcsr

Believers in Transctndence say that Transcendence is a state in which Ps,,chc and Shadow arc one, in which Eidolon merges wirh rhc self m achieve a level of uldnmtc sc lf~mvarc..

ness and inner peace. Althot~gh there are no hard·and·fast rules for how to pursue Transcendence, most Heretics state th~u Lhe first srcp is to resolve ~ny matters srill q•ing o ne ro rhc living

world. This alone is enough to turn many wrniths from the

path to Tmnscendcnce, out of fea,· that if their Fetters are dis· solved, norhing will hold rhem ro rhc hmd of rhc Quick. The next step, and undoubtedly the most dif(icult one, is to come to terms with the Shadow. Wraiths tend to think of the Shadow as some thing outside of 1hc msclvc.s, no longer a

part of them. By externalizing all that the Shadow stands for, the Psyche is often repulsed b1• her Shadow, seeing it as a re· pugmm t monsu:r. Yet o nly by achieving a balance between Psyche and Shadow, say the Heretics, may Transcendence be found. Some stare that the Shadow must be defeated: others insist chat the Shadow must be absorbed and intcgrntcd into

the Psyche. Storytellers should emphasize that Transcendence is not merely a maucr of mcch:mics, but a spiritual journey si•nilar

to those in countless myths and legends. The hero's journey through d1c Underworld is ultimately a quest for enlighten· mcnt, mtd each player is a Persephone, a Dante, an lmun)a or an Orpheus. The search for Transcendence is ultimately a search for self, and not every chr~racrer is prep:ned lO f.-lee chc labors demanded by such a search.

The shroud The Shroud reflects the relative difficuhy to perform

Arca nos in a given Mea of theShadowlands. A local Shroud is affected by a numbe,· of factors, including time of da)', how m:m)' and what sort of people frcqucm the place, and so on. The following chart provides guidelines for general Shroud ratings. The Shroud in an area cannot be reduced below 4, rC· gardless of modifiers.

Mortals affected by the Fog react to wraiths in a variety of bizarre ways, but inevimbly block the encounter fro1n memory. Mortals do not want to Face their own mortality, and any

acknowledgement of wmiths means that they must also acknowledge that they too will one day die. The Fog is the name wraiths ascribe to mortals' instinctive denial of their existence.

Those who do not comprehend rhe ren-or of death (per.<,

children, the insane) are not affected by the Fog, and, as a result, can perceive wraiths with a successful Perception + Alertness roll (difficulty 8).

~

tne: rama White. A blank page, or canvas . The challenge' Bting order 10 rl1e u;hole Lhrough design, cmnJJOsirion, wne, balance, S)'mme.. try, and hannony.

-Stephen Sondheim, Srmday in rhe Park with George

1l1crc urc many actions a player m~ght want her character to t
}I

fence, seducing a new ac ..

quainrance or researching ghost stories in the library. As rhe Storyteller, you already know the rules (from reading Chapter Four) and can probably figure our how to adjudicate a playel''s roll, hut there are a few techniques and extrapolations rhar you might find interesting. That's what this chapter is all about - it provides :u lvice o n rules systems for resolving dramatic actions.

TI>is chapter is not meant to be all-inclusive. These syslems arc only cxmnplcs of how to resolve the actions taken b\' characters. Use the-se as guidelines and invent your own sys~

temsfor l'unning things. Don't stop the action in the middle of adrnmaric scene ro look up something in [his chaprcr-

just

m3ke something up, perh:1ps b~sed on a rules sysrem you first l"ncountcred here. You should only usc one o( the systems described in this d~1pter if a roll is truly needed. If the roll in quesrion is a simple roll, none of these systems are needed. If you're not interested in rhc dmnm created by putting Lhe game into che story, use the :.lutomatic success rules. Gn m d1c Tmits ClHtpter and, by rl"'ttding abour the Trnit in question, determine if the character succctxls or noc, without rolling Oil)' dice.

As a genera l n•le, have rhe player make a roll only when there is substantial doubt in your mind as to whether or nor the character will succeed in her action. If you can reasonabll' assume she will succeed, rhen just let her do it. When you do start making rolls and have the players do rhc same, make the rolls special and make them different. Don't waste a lot of time on a dice roll rhar doesn't do anything spe· ciaI for the story or that is uninteresting for you or the players. Each roll of the dice should be a game in miniature, with strat· egy and (('ICtics co masfer and luck to inject the unexpected.

Scenes scene is n moment in a srory when the uoupc focuses on the events at hand and rolcplays through rhem as if [hey were ac· tually occurring. A scene may only require roleplaying and a lot or conversation. be .. tween the players and the Storyteller, or it may involve a number of different ace ions, some requiring dice rolls.

A scene is l ike~ series of shots taktn in a movie, in the same location and at the same moment in 1.hc stOry. h is rhe
pnckcd middle and a fulfilling (or srmtcgically fmstrntine) end, the berrcr your story becomes. Describe the scene not as a static picture, bu1. us u plncc or tionc full of life und action. It should have irs own existence from rhc characters. The Renegade lender does not sim· ply sit nt a table - while the characters are wmching, he culls over one o(his henchmen and begins ro bernre him. Crtt\[e an open-ended story in your descriptiOn$ and Invite the ployers' charocters to enter it. Don't force the players to ani marc your crentioo - breathe life into it from the very beeinnine. lime '" rhe story not spent in a scent is called downtime. Thb can be when characters travel or conduct cxlcnsivc rc· search, or can sionply be a period during wh1ch " 15n't neces· ••ry to roleplay every moment. Do\vntime is a b~nk from the intensity of the scene. Though downtime should not be over·

"I"'"

used (it can be relatively borilljl). you shouldn't avoid it alto· eerher. Use downtime to org;1ni:e players, direct the story more prtcbely, and progress the plat more quickly. Tile story can tum into a scene m almosr any time. Often

it does so quite nan1rally, withotn anyone realizing it has happened. For insrance, while you and the pla1·ers discuss how the charaClers intend 1.0 make a journey to Chica.so's Necropolis, you may begin to describe what they see along the way. You have gone from downtime ton SCCI\C. When you begin roleplaying a Drone who noats up ro them nnd reenacts her stran· gula
Turns sctne is di••ided into turns in order 1.0 or· ganizc and nrucrure rhe arrnngemenr of even!$. A rum Is a variable period of tim<

during which characters can do things. Such a unil helps rhc Sror,~eller keep rrack o( what is eolng o n and ensures that each

player gets the same chance lO do something. In one rurn. e-ach charocter should be able co do one rhing. Additionally, each player should be given about the same amount of rime rode· scribe what she wants her character to do. Each rum. go :uound the table in order of initia
Multiple Actions A character can perform mulciple acrion.s in a tum (such

as dodging and shooting a gun), but he has to divide his dice.

and hear complainr:s like, u\Vait a minute, you didn't say an~·..

one was over there!'' You may also w~mt co clescrihc rhe cnvi .. ronmental conditions and how they might affect the scene. R3in, wind and smoke can affect the difficulties of rolls. In general, ler a character do ne3rly 3nything she cares to rry, even if you assign a difficulty of 10.

Organizing an Action Turn Jusr as rums organize a scene. t:here are different stages within each turn. Still, you will probably not need to subdi· vide turns unless they are action turns. Though you need nor go exacrly by the following stages, look over this list to get ideas abom how you c...1n organi:e rhings when Lhe action gets hot. The better you've organized a scene, the more smoothly ir will go a ncl rhe more fun everyone will have.

•Describing the Scene

At the beginning of each turn, you should describe the scene from the characters' perspecrive. You may want to sug· gest what the characters' opponentS might be about to do, bm do not acruallydcscribc what will happen. Sometimes this will be a wrap·up of the lasr turn, making it clear to all players what occurred. This son of constant description is cssenrial if you want to avoid confusion. This is your chance ro organize and arrange things so that all goes smoothly when the players begin ro inreract wirh rhc environment you have created. You should make your descrip· tion as interesting as possible, leaving open all sorts of possi· bilities for characters' actions. The players need to roll for initiative (see lnioimive, be· low) ro dctcnnine tl1c order in which their characters will ace. In espc<:ially complicated simations, you can have rhe players describe to you what their characters intend ro do rhat turn, starring with the player who rolled the lowesc initiative (the chtm\cter \\'ith the highest initiative spcHks lasl, after she has heard everyone else's actions, and ~cts first). If you wish to be panicular1y free,spirited, eliminate the initiative roll alcog:erher and have the c::haraclers net in what.. any scenes me so full of actions and dice eve1·order you wish - e.g., )0 the distance, you hear Hicmr.. rolls that they require special nrles to en· chy gongs and sec that the Renegade at the end of the alley sure everything runs smoothly. These are seems to have nociced rhem ;,swell. He wins the initiative and times whe n adrcm1linc is racing and pac~ sprintS toward the fence. What are you going ro do?" ing is fast. Action scenes are rhe fights, races and featS of danger common to ad· vcnrurc swrics. Turns during an action Going in reverse order of initiative (if rhc players made scene nrc usually very short, lasting only three seconds or so. Many different tys>es of actions can occur in an action initiative rolls), have each player explain what her ch"racter scene, (lnd corrclaring everyrhingcan seem a little uicky. Make intends to do
To splir a Dice Pool among different actions, the character takes the dice from the action at which rhe charncter is least 1killed (the one with the smallest Dice Pool) and divides that Pool tlmong ;,ll the actions he wishes to perform. A character with multiple acrions rakes his first action during the normal order of initiative (unless he deliberately delays). He may cake no more than one action at this time. After nil charncrcrs have completed their first (or only) aclion. characters with more actions may cake their second ac.. tion, :tgt~in in order of initiative. After everyone has taken a .ccond action, play proce<-ds with the third and subsequent actions in order of initi::uive, as above. \Vhi1e a character may delay his accion, he must perform it before the rest of the char· ac-tc~ move on to their next action, or it is lost. However) a. character can always use dice to dodge, as long as he has dice left in his Pool.

Action Scenes

10

•Decision Stage

You then decide how you want to resolve rhe action what kind of roll each pl~yer must make, the difficulty of the roll , and the number of successes needed. You can make the process as simple or as complicated as you like - e.g., "If you want to catch him before he gets over the fence, you need to make a Dexterity + Athletics roll, difficulty 6. You need to score six successes to calch up with him, bur he only needs three more co get over the fence.n

· ~esolution Stage This is when the players roll tO see whether their chara.cters succeed or fail. The players roll dice to attempt the actions they described in the preceding stage. At the end of rhe rurn, you need to summarize everything by describing what happened and translating all dice rolls into description, plot and story. Don't simply say, 11 You manage to hit the bad guy for three Corpus Levels of damage." Get more C"' Phic and say, "After ducking away to the left, you sweep across with your fist and strike him in the head. Your hand stings, but you've wounded him for three Corpus.-.. Or, "With a great burst of speed and a daring leap over a garbage can, you race down the alley after him. Next tum, you will be able to make a grab at him before he gets away. However, you see a Hierarchy coach pull in around the corner of the alley."

•

Initiative

At the beginning of most scenes, you need to figure ou1 who goes firs£. Rolling for initiative is the best way ro decide the order in which players will rake their turns for the remain· der of the fight. Sometimes it will be obvious who goes firs1, such as when an ambush was set or when one combaranr is clearly <:-aught by surprise. In combat, however, if you intend ro let the opponents have a free shot at the charae~crs, you should not simply spring the foes on the players. Let them make Perccpti01\ rolls (di(ficult ones) ro see if characters notice some· rhing just before the bad guys open up. Othenvisc, you'll ha"e a pack of whining jackals on your hands. l11c difficulty depends on how well the ambush was set (usually 8 or so). The number of successes the players score indicates the number of dice they can roll on their first actions (usually dodges). In a normal sicuation, each player makes an iniciative roll, and you do so for each of the opponents. Everyone involved makes a Wits+ Alertness roll (or you can have them roll Wirs +Brawl, Melee, Firearms or any appropriate Ability). Thedifficuh:y is usually 4 -characters with the most successes ac1 first. 11es act simultaneously. Chamcrers who fail act after chose who succeed{."{( last. A lxnch on an iniri:.uive roll means the. char~crer does not ger to act that turn - his gun jams, or he stumbles and cannot punch or dodge.

Jahng Actions 1be four b."l.IIC actions characters can take without making rolls are:

• Yielding: The c har:~crer allows the ptrson with the next highesr inidotive to take his action, thereby yielding her tum. She can still take her nee ion at the end of the tum. If every· one, incluuing her opponents, yields as well, no one does any· thing chat turn. • Healing: The character may usc her Parhos to heal wounds to her C<>rpus nt a rare of one per tum. She muse not take any other actions chat round; if she wishes to move, ; he must make a Stamina roll (difficulty 8) to heal. Note that ag· gravoteU wounds cannot be healed in this manner. • Moving: The character may move by walking, jogging or running. If she walks, she may move seven yards. If she jogs, she may move 12 yards + Oexcericy. If she runs, she may move lOyards + (3 x Oexcericy). No roll is r~uired to move, but movement is rhe only action alloweJ to rhe char:~crer in that tum. In some sirua· tions, it can be hazMdous to jog or run, and a roll might be required to maintain b.1lnnce when rhcre is glass on the ground or bullets nrc raining down. lf :.l character wants to run n.way from a conflict or enco~lnter, she must dodge unless she is not in the Oeld of Ore or otherwise hindered.

Dramatic Systems !$Ctibed below arc a variety of different systems co resolve ac· tiocu, or, ro pur it simply, a bunch of ways to make rolls. If you prefer co roleplay through dramatic scenes, just use rhe>e •ys· rcnu .. suggestions of what sorn of things can happtn during the scene. Physical dra· mntic systems are the most numerous1 be· Cllusc rhcse actions are impossible ro resolve rhrough roleplaying alone. Social and Men· to I systems can be simulated by the players.

pnysical The•e systems describe physical :octions and confront~· tions-dromatic situarions in which Physical Attributes pre· domin:nc.

Climbing When a character auempts to climb any sort or surface (a tree, cliff or building), ask the player to roll the character's O.xterity + Athletics. The difficulcy dep
indicores rhat the character has climbed five feet. Once he occumulntes cnou.gh successes to get tu where he wants ro go. he can stop roll ing. For example, Samuel Is trying to climb n 25-foor wall, so he needs five successes to get to the to;>. A failure Indicates the character is unable to make any progress during the turn. A bmch indicates the char:~cter falls and can· not acain attempt co climb without expending a Willpower point. 2 Easy c limb: a tree wi
pursuit A character's Strength is ofren u..d alone, without an Ability, (or actions where bn~re force is all that matters. This sysO$t always 9, though it can vary according ro the surface condi· tions, the structure of the object being lifted, and Storyteller whim. Each success lncreases the character's cffec~llamp post 3000 lbs. 13 Throw a car 4000 lbs. Throw a van 14 5000 lbs. 15 Tilrow a
j umping requires a Strength roll, or a Strength+ Athlet· ics roll if it is a horizonral jump and the character gets a decent running start. The difficulty for a jump is almost alwa)'$ 3 (un· less there are difficult weather condnions or there is a narrow landin.~t space). The Storyteller calculates how many successes arc required to make the jump. Tilere arc no panial successes in jumping; the character either succeeds in one roll, or she falls. Type of Jump Feet per Success 2 Vertical (up) Horizontal (across) 4

Thi.s simple sysrem is used when o ne characlcr attcmprs to catch another. One opponent starlS with a ccrmin num~r of successes. Tilis number is eirher determined by the Story· teller (this is the preferred method) or by having the pursued cha..,.cter roll Dexterity+ Athletics (difriculry 6) for each tum of headstart he has. Add up rhc number of successes ~chievcd. This number of successes must be achieved by the other char· acrerbeforehecancatch up. Once he docs, he can rry togrnw!e the fleeing person (sec the comb:n mles). The pursuer might only want to catch up halfway, in ordtr to get a better shot ar rhe fleeing character.

~epair Oetting something fixed is not always as easy as roking it to the garage; sometimes the task h:u to be performed oneself. When a character wishes tO fix any sort of mechanical implcmenr, he must roll ~xteriry +Repair. Tite difficulty" deter· mined by the complexity of rhe r:uk (see the chan below). lle(orc the job can be considered complete, a certain number of successes must be collected, usually between rwo and 20. Each roll means that a certain amount of time is spent- what• ever the demands of the story require. A botch indicates tlun the device is somehow damaged in the attempt. This system can be fun to u~e during combat, as one char• acter dcspcr•tcly tries ro start the car while the others (end o(f the Hierarchy's lxlrghem. Difficulty Job II of Successes Simple mechanical «-pair 4 3 Sokk:ring job 2 ; Electronic malfunetion Fining in new part 10 Repair stalled cor 5 Tough auto repair 10 System overhaul 20 Technical glirch 2

sna~owing Sometimes a characler will want to follow someone. In order robe led somewhere interesting, this ne<-ds robe done 35 discreetly as possible. Titat is wh•r shadowing is all about following someone without the pursued knowing the chan.IC· rcr is rhere.

There are two componcnrs w shadowing- keeping track the subject is and making sure he doesn't sec his tail. Shadowing c:m be conducted on foot or in vehicles. Rolls can even be made if someone else is driving, such :u a taxi driver - "I'm sorry, but I can't remember the oddress - rou'll juor have ro follow my directions. Take a right at the comer. No, wait. a left!" o( where

The chamccer attempting to shadow must make a Perception + lnvescigation (or possibly Streecwise) roll. The difficulty is normally 6 (though it con vary ftom 5 to 9 depending on the rhickness of crowds, relative •pecds of vehicles, and •~ather conditions). Each success indicates chat che tal'f(et has been followed for " rum. A certnln number of succcs.lion + Alertness, but this can be modified by up to three points in either direction dcpcndln.: on the circumstances (empty strc<:l5 or thock crowds, for Instance). A single success indicares the shttdower is not detected, and each odditionnl success also makes it more difficult (or the subject to spot the shadower, even if he Is actively looking. A failure indicates the subject becomes suspicious and starts to glance surrepti· uously over his shoulder (and may make Perception rolls of his own; see below). A botch indicates thechar:tctercomp!erely rcvcnls herself and rhc subject now knows he is being followed. If rhe subject Is alerted somehow (by the sh,.dower's failure on the Dexterity + Stealth roll) or simply looks to see if he is being followed (oor of habit, perhaps), roll Perception + Investigation (or Streetwise). The difftculcy is the Stealth+ 5 of the shadower. Each success on this roll indicates n higher degree of suspicion. Successes can be accumulated from turn to tum; see the chart below to see how alert the subject is to the met that he is beinu followed. Failure means that nothing out of the ordinary os seen and the "suspicion value• of the subject decreases to
one. One player shadows for a turn or more, trading off when· ever her partner gives the signal. If the pair swirche.~ off, rhe subject can't ttccumulate successes for very long, which makes

it much harder for the subject to spot shadowers.

Snea~ng When a character attempts to hide in shadows or sneak up on a guard, she must roll Dexterity + Stealth (difficult)' of the guard's Perception + Alertness). Anyone who is on watch or actively looking for intruders can be considered a guard. TI1e sneaking character needs to collect a certain number of successes in order to make it to where she wanes to go. A Perception + Stealth roll can be made if the player wants to estimate how many successes will be needed; the difficulry of this feat is usually 7. Failure of any sort on a Stealth roll indicates detection.

Stunt Driving This system Is used to determine the outcome of nearly any 'l'P" of automobile chase or maneuver. Dice rolls in chases an: made not only tO see how fuse a driver goes, but also co see if she sc.~ys on the road. Each vehicle is raced for irs maximum safedriv· ing speed, as well as its maneuverability. One vehicle is notal· ways as fast or maneuverable a.' another,so the det<1ils of the chase often depend on the make of the vehicle (see the chart below). A character can make special maneuvers in ocdcr to catch or lose another vehicle, such as spinning around a tight cor·

ner, doing a 180° rum, or wheeling about to block a road. Es· sentially, one character makes a special maneuver, and the other character must copy that maneuver by rnaking the same or an approximate roll.

The player must roll Dexterity (or perhaps Perception)+ Drive. However, the vehicle's Mancuvcrabilicy rating dictates the maximum number of dice rhat can be rolled. The com· plexity of the maneuver and the speed of the car determine the difficulty. You should ~ive each maneuver a basic difficulty frorn 2 to 7, and then designar.e a speed at which it can be completed at that difficulty. This is most often the Safe Speed. but can be much less depending on how complicated or tight the maneuver is. The difficulty increases by one for every LO

mph the vehicle exceeds that speed while performing the ma· neuver. The driver decides how fast her vehicle pcrfonns the maneuver, aldwugh she will nor always be able to decelerate enough to avoid a crash or collision.

Six-wheel truck Buo 18-whcclcr Sedan Mini~van

Compact

Sporty COm(XlCt S(Xln coupe Sponscar Foonub One r,lCe car

60

70 70 70 70 100 110 130 140

100 110 120 120 130 140 150 170 240

3

ncr consistent with the rnood o f your game. lt can be as slaphappy or as deadly serious as you like. Willpower points can be expended to resist fast·ralk.

4 5

Interrogation

6 6

lmerroga
7

lio n is cenainly employed. To nurc can be used, but you will

8

have to develop your own ntles for that if you wish to include it in your chronicle. The player mahs a Manipulation+ Intimidation roll (dif· ficulty of the v ictim's Willpower). The number of successes indicates the a mount of information obtained (see the chart below). A failure indicares rhe character le-arns norhing of value. A botch. indicates the subject tells the charocter nothing and will never tell him anything - or worse, the subject lies. For this reason, rhe StoT)•teller should often make the roll for the player. Successes Interrogation I O nly a few mumbled facts 2 Some relevant facts 3 Much interesting information 4 The subject talks on and on 5 Everything of import is discovered

9

10

~ocial These systems involve social interaction ~tween people.

TI1cynearly always require a Charisma, Manipulation or Ap· pe:mmce ro ll. O fren rhese systems are be.sr left unused, with

tht succeos or failure of a particular oodal ploy instead resolved through roleplaying.

ereoioility This system is used when a character attempts to con· vince someone she is relling rhe truth: for example, when she

attempts to persuade a Hierarch magistrate she is not lying or tries to convince a police o((iccr of her identity. The player must make a Manipularion +Leadership roll. The difficulty is the other oubject's Intelligence +Subterfuge. Lower the diffl· culty by one to three if the character io telling the truth (it does make a difference). Each success indicates a higher de· gree ofbelievabilir:y. Five successes indicate the subject is corn~

plttt ly convinced. A failure indicate> disbelief, and a botch indicates the character is caught in a lie (or the subject think• he has caught her in • lie).

fast-Talk F::.sr ~ralk

is a means of verbally bro wbeating and confus~

ing someone into submission. Manipulation + Subterfuge is the most common roll for such a feat; Charisma or Appear:mce can somerimes be substimtcd. The d ifficulty is the target's

\Vits + Strcetwisc. Success indicates that the target becomes confused and is

likely ro agree wirh the subjecr, :.u least momentarily. Failure indicntes that the attempt has faltered, and the target can try to interje<:c something - an attempt to explain himself, or even an attempt to fast-talk back. A botch indicates that the target doesn't get confused , only angry. Fast·talk attempts by che character will never again work o n him. Rcp<:atcd rolls might be necessary to confuse the target. As Storyteller, you need to r" n attempts at fast-talk in a man-

Oration ](a player wants hercharocter to give a speech, but doesn't actually want to recite it. you can use this system. The player should at lease describe what her character says and maybe reci(e a memorable phrase - that might even get her started into roleplayin:g the speech verbatim. O ration is often very dif· ficultto roleplay, so never fo,·ce your players to do oo. j ust use this sysrem. The player makes a Charisma + leadership roll. The difficulty depends on the mood of the crowd, its willingness to hear what rhe oraror .says, and its pcnch;:mt for throwing rot.. ten vegetables (difficulty is usually 7). If the orator has any son of reputation, you may wish to adjust the difficulty accordingly. The numher of successes indicHu.-s how imprcssl.-d the crowd is (~e the following chart) . It is a simple roll, so the player has only one crack at it. A failure indicates the crowd ignore..s the cha racter. A bmch indicates the character is going to be attacked (or, if that oorr of thing isn't common, booing begins). Successes Crowd Reaction They listened, but aren'r excited 2 Tile character has convinced them somewhat 3

The crowd is won over

4

The crowd is completely enthralled The crowd io in the p3lmof the charocrer's hand

5

If the speech is vital to the story, the player may make :.cvcrnl rolls. If you want 10 spend some time on it, you can m.1ke It an extended acrion, inter>persing each roll with role· playing. The character can spend as many rums "'she would like on the speech; afrer rhe rhird tom, however, the difficulty increases by one e.1ch rum. More successes thai\ five might be required to win over the c.rowd complerely.

This system is used whenever" dmmctcr gives any type pedormunce, whether it be comedy, music, acting or storytelling. It can be on a sroge or in a nightclub, and cnn be formal or informal. The plnycr muse roll the appropriate Amibme + Pcrfor• mance (or Expression). The difficulty is bused on how receptive the audience is. A failure indicates a lackluster, eminently forgettable perfonnance. A botch indicates a miserable perfor· mance that cannot even be finished - the instrument breaks or the character is booed off the stage. 111c number of successes indicates how moved the audi· encc is (see the chart below). These successes determine the artisric merit or technical verisimilitude of the pi~'Oc. o(

2

J 4

5 6 7

Me-diocre Average Good Superior Exceptional Superb Brilliant

Polite applause Approval G<."Jluincappreciarion

Vit;orous applause &static reactioll lmmt..Jiarc scnsarion

Mimcle, 11111gn11mopus

Se~uction Seduction is nn ummtuml mc:ms

nrcalnlng Intimacy with

anmhcr person, because every s
the emotions and motives :ore true, then )'0<1 shOt•ld ignore this sysrcm and roleplay it out. Opening Line: The player rolls Appearance+ Subterfuge. The difficulty is the WitS+ 3 of the '"hJCCt (the player gainsa bonus of one ro rhrce dice if lr'$ " s;ood line, minus one to

rhree if it'< a smpid one). Each success after the fir~t adds an mra die w the roll on the next stage. Witty Exchange: 1l1e player rolls Wits + Subterfuge. The difficulr;y is rhe Intelligence + 3 of the subject. Again, give bonuses and penalties for roleplaying. Each success over and ~bove the base adds an extm die to the roll on the next stage. Conversation: The player rolls Charisma + Emparhy.1l1e difficulty is the Perception + 3 of the subject. Again, roleplay· ing bonuses cornc into play here. lnrimacic.o;c: At chis point, the couple may m.ove to a pri ..

vate area and become physically intimate. No roll is required.

Mental These dramatic systems deal with the use of the mind and Mental Attributes. They arc employed in situations where dmma is caused nor so much by the action as by psychological lension.

Dreaminterpretation Among wraiths, dreams often con cain important informa-

The player rolls Intelligence+ lnvesrigar.ion (or sometimes an appropriate Knowledge Abilir;y after a place to conduct re· search has been found). The difficulty is based upon the ob· scurity of the information. Difficulty Accessibility of Information 2 Generally available 4 Widely documented 6 Accessible 8 Difficult to find 10 Incredibly well concealed 1l1e number of successes determines how much the char· acter discovers. O ne success might mea11 that o11ly the most obvious facts are found, while five succes.~es might mean that the full (a11d maybe truthful) story is uncovered. Depending on the precise information sought, 10 or even 20 successes might be required ro find all the available dara. The player might want to continue r~search after gaining a par{ial success. However, continued research rakes longer than the initial search. Basic research usually takes only an hour - that's the first roll. More in-depth research (and a second roll) rakes one complete day. If the player· 1vants a third roll, further research rakes a week; a fourrh roll takes a month, a fifth roll takes a year. After that, usc your imagination. It is e.asy to see how some research projects can take years or even decodes to complete.

rion. Unforrumrtcly, this knowledge is often shrouded in mys· terious symbolism and obsct1re references. This can make it very difficult for a wraith to decipher his dreams. n,e player of a wraith who decides to figure out the deeper meanings of his dreams must roll Perception + Enigmas. The Storyteller decides the difficulty of this roll, based on the ob· scurity of the drtnm and i t'S importance lO the character. The This system enables a character to search for something more important the information contained in a dream, the in a confined area, like a room. Have rhe player roll Percepmore thoroughly it will be hidden, and thus the more dif(icult tion + Investigation; the difficulty depends on how well the rhe roll will be. Not all dreams have information hidden within object is concealed (it is usually between 7 and 10). Each sue· rhcm, hut go ahead and let the players roll anyway, to keep cess indicates that more is found. Some rimes a certain number them guessing. of successes is required to find a deverly hidden objecr. If you Dream$ should be rnysterious things, rich with bizarre sym· wam:, a lower numberof successes could warrnm a hint orclue bolism >lnd personal myths. Stof)•tellers should spare no effort from you, thus encouraging roleplaying and a degree of puzzle when designing important dreams. The players will appreciate solving. As much as possible, lead the player through the search it. step by step. Have her describe to you where she looks. Don't Sometimes, a Storyteller may decide to have a recurring let her succeed if she doesn't specifically search in the right dream haunt a certain character. If this is desired, Dream In~ area, and let her succeed automatically if her description is terpretation can become an extended action. The Swryreller derai led enough. de