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2008 CCPhf. All rights reserved. Reproduction without thewritten permission of the publisher is expressly forbidden, except for the purposes of reviews, and for blank character sheets, which may be reproducedfor personal use only. White Wolf, Vampire and World of Darkness are registered trademarks of CCPhf. All rights reserved. Vampire the
Requiem, Werewolf the Forsaken, Mage the Awakening, Promethean the Created, Changeling the Lost, Hunter the Vigil, Exalted, Scion, Storytelling System and the Storytelling Adventure System are trademarks ofCCP hf. All rights reserved. All characters, names, places and text herein arecopyrighted by CCPhf. CCP North America Inc. is a wholly
owned subsidiary of CCP hf. The mention of or reference to any company or product in these pages is not a challenge to the trademark or copyright concerned. This book uses the supernatural for settings, characters and themes. All mystical and supernatural elements are fiction and intended for entertainment purposes only. This book contains mature
content. Reader discretion is advised.
Check out White Wolf online at http://www.white-wolf.com
Check out the Storytelling Adventure System online at http://www.white-wolf.com/sas
What Is A Storytelling
Adventure System Product?
Advice
Every story has unique challenges and pitfalls that can trip up
even an experienced Storyteller. No matter how great the parts are,
they dont do you much good if you dont have a clue how to put
them together for maximum effect. An SAS product often provides
specific advice on how to use those parts in just the right way to create the story you want to tell, as well as suggestions on scene flow,
relevant background, and unique rules and mechanics useful to the
story at hand.
SAS Structure
Storytelling is the most powerful way
to put ideas into the world today.
Robert McAfee Brown
Characters
Adventure Ratings
Scenes
Scenes
Mental OOOOO
Physical OOOOO
Social
OOOOO
XP Level
o-34
Scenes: This is the total number of scenes in the adventure. Its used
to convey a sense of the length of the adventure (how long it will take
to play). If there are nine scenes (even if two of them are optional),
then the Scene rating is 9.
The scenes that make up the story follow a specific format. Each
scene is built as a discrete game encounter (or a closely-tied collection
of game encounters) for the troupe to play through. As the players take
their characters through these scenes, a story naturally unfolds.
2
Pacing and plotting scenes are part of the fun of being a Storyteller
for some people. If its fun for you, take these scenes apart and use them
however you like. You can even import scenes from other stories or
create new scenes for yourself. If you prefer to just get to the table and
start playing, though, youll find an example already plotted for you in
each storys Treatment section.
Whats a Treatment?
Scenes
Scenes are the most important parts in your kit, so usually a large
portion of each SAS product will be devoted to them. Theres a
common structure for each SAS scene to help you quickly find
information in the heat of a blazing gun-fight or during a tense
negotiation, especially if you decide to snag a scene from a different product to use in your current story. Some sections may be
missing if they arent appropriate for a particular scene, however
(such as the Actions section if theres no defining core action for
the scene).
MPS Ratings: These dots are similar to the ratings for the overall
story. Theyre intended to give you a quick summary of the severity
of the challenges the scene presents, and of what types.
Overview: This is a big-picture look at the scene, including a synopsis
and a short description of what triggers the scene (e.g. Finding the
homeless camp or Noticing the queens tomb). The central conflict
in the scene is described here as well.
XP Levels:
0-34
35-74
75-119
120-179
180+
Beginner
Seasoned
Established
Veteran
Legend
After the scenes, there are suggestions and ideas for potential story
ideas that can result from the aftermath of the adventure (if the SAS
was run as part of an existing chronicle), as well as suggested experience point awards.
Scene Cards
There are also scene cards included in each product. Every scene
in the story gets its own card, which summarizes the scene in short
notes so that you can focus on the story. Print them out, cut them
apart and keep them on hand as youre Storytelling. You might even
keep a few scene cards on hand from other stories a fight scene,
a chase scene, whatever just in case you need to toss them into
the current story.
Aftermath
In Print or On Screen
Scene Flow
How to Use
an SAS Product
The design of the Storytelling Adventure System allows you to avoid committing two of the cardinal sins of Storytelling boredom and confusion.
#1: Boredom Is Poison. If players are bored, the story will die. If
the story dies, the chronicle is likely to wither and perish, too. If you
see that the players are spending more time reading a comic book
or talking about what they saw on television last night, dig through
your scene cards and throw in a scene that will get them focused
on the story again. Raymond Chandler said, When in doubt, have
two men come through the door with guns in their hands. If it was
good enough for Chandler, its good enough for us.
#2: Confusion Kills Fun. Being mystified isnt the same as being
confused. A puzzle or a riddle can be fun because youre not sure how
to solve it, but thats not the same as being confused about just what
the hell to do with it. Clarity in every scene is important, whether that
clarity comes from the big picture (We have to get out of this room
before midnight so we can save Daphne!) or the little picture (We
have to break down this door so we can get out of this room!). By
having goals assigned to each significant scene and putting them right
at the bottom of every scene card, both you and the players can keep a
sharp focus on whats important in that scene.
Hired by Petrovshy
Confronting Simone
Rosarios Apartment
Confronting Melanie
Stories are about characters making important decisions. Games are about
players making important decisions. Storytelling games are about both. Making a blind choice between two unmarked doors isnt interesting. Players need
information for a decision to be important knowing that the reek of rot coming from behind one of those unmarked doors might be from the corpse of your
dead brother makes the decision more interesting. When the consequences of
the players decisions are known or at least can be guessed, choices become
more interesting and more dramatic something is at stake. While youre
telling stories with your troupe, remember the Storytellers mantra:
Difficult choices make drama.
So what is a difficult choice? Its a choice between two equally unwelcome outcomes. You only have time to save one of your brothers,
so who do you choose? Would you kill someone yourself to prevent
your child from becoming a murderer? Would you risk jail time to stop
a supernatural force that youre not absolutely sure is real?
Scene Flowchart
Examples in Action
The last couple of pages of this guide are sample parts of scenes from
two of our SAS products. Were always working on new SAS products,
and hope youll share your stories with White Wolf players across the
globe. Stay tuned to the SAS page on the White Wolf website for SAS
news and releases:
www.white-wolf.com/sas
If they decide to talk, however, the characters will find that Simone
isnt very socially savvy. Shes trained as an assassin, and she doesnt do
much talking except to intimidate people. The players are encouraged
to act out their attempts to convince Simone, but they might want to
back up their roleplay with a dice roll. You can also choose to let the
players roll if the scene is running long.
Confronting Simone
MENTAL
PHYSICAL
SOCIAL
Overview
Fast-Talking Simone
Confronting Simone
Description
Criminal Internt
Simone will attempt to get the drop on the coterie, either near the alley or
by Rosarios apartment. This description assumes that she successfully surprises
a member of the coterie alter it if they catch her sneaking up on them.
A cool metal ring in a blanket of rough wool presses into the back of your
neck. This is a gun under a coat. Its the quiet but firm voice of a woman
from behind you. Were getting off the street so you can explain to me just
exactly why the fuck youre snooping around.
Roll Results
Dramatic Failure: Not only do the characters not convince Simone,
but she refuses to speak to them any further. She will attempt to kill
them if they approach Rosario.
Failure: Simone doesnt believe the characters story.
Success: Simone is willing to listen, but carefully watches the coterie
to see if they are planning to double-cross her.
Exceptional Success: Simone believes the characters completely,
and relaxes her guard around the coterie.
Storyteller Goals
Your goals in this scene are to introduce Simone, demonstrate that she
is protecting Rosario and hint that shes willing to kill the characters if
necessary. Note that checks for Predators Taint can be used in this scene
if desired; see Vampire: The Requiem, p. 168. Things are tense, but
the characters should be able to talk their way out of the conflict fairly
easily. If the scene does move into combat, make sure to let the players
learn about Simones motivations. Perhaps she says Ill die before I let
you kill Rosario before the fight starts, or something similar.
Consequences
Character Goals
The characters try not to get killed by Simone, and hopefully find
out why shes threatening them.
Actions
There are two main options for this scene fighting Simone or convincing her to talk to them. If things get violent, its likely that Simone will be
able to protect herself long enough to escape and warn Rosario, and its even
more likely that the coterie will draw a lot of attention in the process.
8
Scene:
Taken!
PHYSICAL
SOCIAL
MENTAL
Give the characters a moment to take the reins themselves and make
a decision: will they go into the Hedge? Or will they let someone else
go and remain on this side, negotiating the situation from here? If they
hesitate and seem to be fading into the background of the disorder, urge
them forward with the voice of another character, someone perhaps
from their own Court or someone who represents their patron figure
(or even the patron himself). Its even possible that Red Wren will
turn to them during the chorus of rising voices and plead with them to
go into the Hedge shell make wild promises to them in a desperate
bargain, though she claims there isnt time right now to commit to a
formal pledge. Will they take her up on it?
If they dont, assume that the scene drags on until someone finally
decides to brave the Hedge to find the thief and the stolen child. (The
easy assumption is that Autumn Court courtiers undergo this task:
Ornithine, Mary OBrine, and probably Wrens own ensorcelled boy,
Henry. Though, if you have others better-suited to the task, do whats
right for your story.)
Character Goals: Decisions, decisions. What informs the decisions
of the motley? A number of things. First, they surely have some opinion on the Childrens Contract. If they consider it important, maybe
they go after the child. Or, as others note, a child in the Hedge is a
dangerous scenario for the boy, so maybe a rescue is in order even if
the ritual disgusts them. On the other hand maybe the thief had
the boys best interest in mind. Maybe hes taking the child to another door in the Hedge and bringing him right back out somewhere
else, thus working toward the childs safety and the obviation of the
Childrens Contract.
Do the characters go with what their patron asked of them? Do they
go against the patrons interests? Do they give in to Wrens pleas?
Do they enter the Hedge within five turns? After? Or do they stay
behind and let someone else do that dirty work?
Action: The only action is the informal decision of what to do, as
noted. The adventure hinges in part on what the motley chooses at
this point.
Consequences: Really, what the characters do determines how the
rest of the scenes in the adventure line up. What has been up until this
point a relatively linear progression of scenes, it now falls into a pattern
based on the choices they make. And the choices they make have a
very real effect on the freehold and all the children of the city.
Taken!