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  Mind’s Eye 
  Theatre: The 
  Masquerade 2nd 
  Edition 
  
  Mind's Eye Theatre: The 
  Masquerade 2nd Edition 
   
  Prelude: Hammer and Anvil 
  Chapter One: Introduction 
  Chapter Two: Character 
  Chapter Three: Characteristics 
  Chapter Four: Rules 
  Chapter Five: Systems 
  Chapter Six: Story Staging 
  Chapter Seven: Scripting 
  Chapter Eight: Narration 
  Chapter Nine: Chronicle 
  Chapter Ten: Adjudication 
   
   
  Prelude: Hammer and Anvil 
   
  Courtland frantically ran down the street. A thin      
  he heard the sultry voice of Mr. 
  Tippadeux's compan- 
  sheet of bloodsweat matted his brow. He couldn't       
   
  ion. Her ashen trench coat 
  blended inter the grimy 
  fathom how he got into this mess, but he knew he had      
  surface of the brick wall 
  behind her. 
  to get out of it, and soon. His clan, the Ventrue, were            
  "Hello again, Court-
  Land," Consuela purred. "Here 
  already displeased with him for his frequently frivo-       
  for your next fix?" Courtland 
  was furious with himself 
  lous association with the Toreador. Ahh, yes, the       
   
  for getting into this situation, 
  but he couldn't control 
  Toreador. That's how he got into this mess... the      
   
   
  his urges. Whatever these 
  Setites were mixing with 
  Toreador, of course, and that mysterious Mr. Tippadeux      the vitæ they had given him, 
  it was irresistible. His 
  who frequented their gatherings. Mr. Tippadeux, yes,      
  hands were trembling. Keep 
  
  it cool, he thought to 
  it was all his fault,                                                                   himself. They don't have to 
  know you need it this badly . 
        Courtland's footsteps echoed through the Bar-          
   
  "If you want your next fix, 
  Court-Land, you'll 
  rens. Hardly anyone was around so late, save for a bum       have to do something for us 
  first." Consuela's voice 
  down the street. He ducked into a nearby alley as he      
  was absolutely captivating. 
  Courtland seemed to be 
  made a conscious effort to regain his composure. Then     
   
  hanging on her every 
  word. 
   
  "Now, Court-Land" Consuela whispered into his 
  ear as her lips grazed him ever so teasingly, "You're 
  going to help us with one of our problems. As you 
  know, the Setites hold an auction once a month. It 
  seems that the prince has taken offense to this and 
  would like to see our business shut down." 
  Consuela reached out and took Courtland's hand. 
  "She will no doubt send her Sheriff, Maddox," Consuela 
  continued. She pressed another vial into Courtland's 
  hand. "All you have to do is make certain Maddox gets 
  the same habit you do. If you fail..." She closed her 
  hand around his wrist like a vice. "Let's just say that 
  there are worse things than not getting your fix." She 
  drew him closer, kissed him gently on the forehead 
  and then slowly drifted into the shadows. 
  Courtland was defeated. He knew that the Setites 
  had him, body and soul. Now he would have no choice 
  but to do their bidding and exist from one fix to the 
  next. If the Ventrue elder ever found out, he'd be cast 
  out for certain. The Harpies would be just as ruth- 
  less-- one well-placed scandal could ruin him socially 
  with the Toreador. The thought of losing his clan and 
  his status made him ill, but he was trapped. He could 
  do nothing more than comply with her bidding... for now. 
   
  "No," Courtland insisted. "It's over." 
  "On the contrary, my love, it's just beginning." 
  Courtland's eyes were drawn to the small vial of 
  Vitæ that dangled on a chain around Consuela's neck. 
  "How badly do you want it!" Consuela asked. Her 
  hand gently stroked Courtland's cheek. Courtland 
  didn't answer; he didn't need to speak. The trembling 
  of his hands and the fresh coat of bloodsweat covering 
  his brow was the only answer Consuela needed. 
  
  Courtland tried to mutter something, hut he could 
  not. As Consuela yanked the chain from her neck, he 
  began to salivate. She gently tilted his head back and 
  poured the rich vitæ down his throat. 
  The liquid felt like an icy fire. Hot and cold all at 
  once, it sent spasms of pleasure throughout his body. 
  Its fiery tendrils flowed through every inch of his 
  body, and the Beast within him reveled. He opened his 
  eyes to the now familiar glow of the world. His vision 
  sharpened, his mind focused and euphoria spread 
  throughout his body. He smiled. 
   
  He briefly entertained a faint hope. Could his       
   
   
  Courtland left the Barrens 
  with a smile on his 
  addiction be cured! Hopefully, he might someday find      
  face, and his thoughts turned 
  to the Sheriff. He had 
  a Kindred who could help him. That, however, would     
  never much liked Maddox 
  anyway. If anyone was 
  be a difficult task indeed. He had far more important      
  deserving of this hell, it was 
  certainly him. He quick- 
  matters to handle. After all, hadn't Consuela chosen     
   
  ened his pace. After all, 
  Consuela was waiting. 
  him! As he licked the taste of dried blood from his 
  teeth, the mere thought of her now filled his undead 
  body with warmth. It felt good to belong to someone. 
   
   
  Chapter One: Introduction 
   
  "No one commands me . No man. No god. No Prince . What 
  is a claim of age for ones who are immortal? What is a claim of 
  power for ones who defy death? Call your damnable hunt. We 
  shall see who I drag screaming to Hell with me." 
  -- Günter Dorn, Das Ungeheuer Darin 
   
  This game is Probably different from anything you've 
  ever played. In some ways, it's not really a game at all. There 
  is no board, there are no dice, and there is no set way of 
  winning. The Masquerade is more concerned with stories 
  than rules. In fact, this game has more in common with 
  childhood games than with Trivial Pursuit or Monopoly. 
  This game allows you to confront the Beast Within; it enables 
  you to assume the role of a vampire. 
  If you have never played in a live game, be prepared for 
  a departure from the realm of boardgames. Even if you've 
  
  been playing tabletop roleplaying games for years, you will 
  find that live gaming feels different. Rather than the game 
  existing solely in your mind, it comes to life around you. The 
  rush of adrenaline and the feel of "being" your character is 
  much more intense. We have a name for this style of game. 
  We call it Mind's Eye Theatre. 
   
  The Art of 
  Storytelling 
  Before you become engrossed in the rules sections, 
  remember that The Masquerade is a storytelling game. The 
  story should always come first in your mind. If everyone 
  involved in a dispute can agree on the outcome, ignore the 
  rules. Rules are a safety net for when players can't decide what 
  should happen in a situation. 
  Mankind has been telling stories since the time when 
  cavemen sat around fires. Since that time, we have explored 
  incredibly diverse types of media to tell our stories. Books, 
  radio, television and even computer networks have carried 
  our tales to others. Live-action roleplaying grew out of the 
  roleplaying games of the seventies. Roleplaying games in the 
  nineties no longer have an emphasis on looting strongholds 
  for treasure and fighting so-called "monsters." Instead, they 
  focus on telling stories in a unique way. Therefore, we call 
  these diversions "storytelling games." 
  Storytelling games allow people to work together and 
  weave a tale. This interactive type of storytelling is beginning 
  to appear in other media as well. Various theater groups are 
  experimenting with new types of interactive drama where 
  audiences can be involved in the plays they watch. Cable 
  companies are investing heavily to research networks sup- 
  porting interactive television. We are changing not just the 
  means by which we tell stories, but the methods as well. 
   
  The Live Gaming 
  Paradigm 
   
  Tabletop roleplaying, however, still leaves most of the 
  story under the control of one person. The Storyteller has to 
  describe the entire world and any additional characters that 
  the rest of the gaming group encounters. The Storyteller has 
  total control of nearly everything in the world and creates 
  most of the story, with the players contributing their parts. 
   
  Live gaming is starting to break the standard roleplaying 
  mold. When a hundred or more people are telling a story at 
  once, the Storyteller does not have to describe the entire 
  world. The Storyteller creates ideas and goals and describes 
  
  the world in terms of rules and descriptions to players. The 
  players then act out their characters and create the story with 
  small amounts of input from the Storyteller. Designing a live 
  roleplaying story is not really like creating a traditional story. 
  Rather, it is more like a chemistry experiment. You mix plot 
  elements and see what happens. The story begins to take on 
  a life of its own, with elements provided by all the players. 
   
  Another major shift that live gaming brings to the art of 
  storytelling involves escaping the limitations of the medium. 
  The game is no longer limited to words and imagination. 
  Costuming, props and other visual cues can be an integral 
  part of a live game. Instead of a Storyteller describing two 
  people talking across the room, the players actually see them 
  standing in the corner whispering. When you play a live 
  game, you must keep in mind an old writer's adage: "Show, 
  don't tell." 
   
  History of Live Roleplaying 
  Live roleplaying is actually not a new idea. Various 
  groups have been experimenting with live games since the 
  early 80's. Because many of these groups worked indepen- 
  dently, three main traditions of live games have evolved. 
  There are many variants to these three types of games. 
  Innovative groups have run many new and unusual live 
  gaming experiments at conventions over the last few years. 
  These groups have only recently come together to exchange 
  ideas. 
  Tabletop Variants: Many of the earliest live games 
  appeared in Australia at various gaming conventions. Most 
  of these games used simple revisions of tabletop rules or no 
  rules at all, augmented by elaborate sound and dramatic 
  techniques to make gaming more atmospheric. The method 
  of telling the story is still the same one used in many 
  roleplaying games. Descriptions of places and events still 
  come from a single storyteller. Sometimes the players dis- 
  cover a story that has already taken place by investigating old 
  documents and newspapers. 
  Live Fantasy Gaming: In the late eighties, several 
  groups originated in different parts of the world to play live 
  fantasy games. Many of these groups used systems involving 
  foam weapons as part of their combat rules. One particularly 
  interesting aspect of these games is that people were creating 
  their own characters. Early efforts were very similar to the 
  dungeon crawls of early tabletop roleplaying. However, some 
  groups got large enough to populate entire fantasy villages 
  once a month. Because of the combat system (swinging 
  
  around padded weapons), many games of this variety take 
  place outdoors. 
  Interactive Gaming: Other groups have merged the two 
  traditions, creating short single-run games with elaborate 
  characters. Instead of contact weapons rules, these games use 
  ad-hoc rules for each story, covering skills, combat and 
  magic. Unlike the early live experiments, stories happen 
  during the game. Interactive games are currently very popu- 
  lar at North American gaining conventions, where large 
  groups of roleplayers gather together. 
  Mind's Eye Theatre is almost a direct descendent of 
  interactive gaming. Mind's Eye Theatre games share com- 
  Mon rules so that storytellers can concentrate on creating the 
  right "chemicals" for a good story. 
   
  Roleplaying 
  When you play The Masquerade, you'll take on the 
  persona and role of a vampire. This is a character you invent 
  and then roleplay over the course of a story and perhaps a 
  chronicle (a series of connected stories). The life of your 
  character is in your hands, for you decide what your character 
  does and says. For the purposes of the game, you are your 
  character.  You decide what risks to accept or decline. 
  Everything you say or do has an effect on the world. 
  During the game, you should always speak as your 
  character. Unless you're speaking to a Narrator, whatever 
  you say is what your character says. Because most of what a 
  Mind's Eye Theatre player perceives will depend on the 
  characters around him, the characters must be vivid and 
  expressive. The characters direct the plot but at the same 
  time, the events of the game guide and develop the charac- 
  ters, helping them to, weave the seamless tapestry of a story. 
  To an extent, you have a responsibility beyond simply 
  portraying your character. Sometimes players need to con- 
  sider the story as a whole, and often players will help make 
  sure that other players enjoy the game. In the end, you should 
  make sure that your actions do not completely ruin the story, 
  for the story is as important as the characters. 
  Characters in The Masquerade are easy to create. It 
  takes about 10 minutes to work out a basic personality and 
  characteristics. However, it takes some effort to turn the 
  collection of Traits and statistics into a living, breathing, 
  working whole. You can create a character that's very differ- 
  ent from yourself, but has enough of yourself in the character 
  to make it seem three-dimensional. When Frankenstein 
  created his monster, the task of sewing together the available 
  
  parts was easy. Providing the final spark of life was difficult. 
   
  Cast 
  Most of the players of this game will create and roleplay 
  characters. Players are members of the Cast, and their char- 
  acters are central to the story. Being a Cast Member does not 
  demand as much responsibility as being one of the people 
  who helps run the game, but it does demand as much 
  creativity and concentration. 
  As a Cast Member, you try to do things that allow your 
  character to "succeed", achieving goals or helping others to 
  do so in the context of the story. Making sure that your goals, 
  strategies and schemes work to your advantage adds to the 
  friction that builds the story. 
  Most Cast Members play protagonists, the "heroes" of 
  the story who are free to do as they choose. Occasionally, you 
  may find yourself playing the part of an antagonist. Antago- 
  nists are often essential characters to a particular story. They 
  are characters who stand a. good chance of being "defeated" 
  during the course of a story. Usually Antagonists may be 
  required to perform certain actions to move the story along. 
   
  Narrators 
  Any story requires some people to become Narrators. 
  These participants are the imperial judges who run the 
  game. Narrators describe scenes and events that cannot be 
  staged, adjudicate rules, and occasionally play the roles of 
  antagonists. Generally, enlisting one Narrator for every 
  twelve players is a good ratio. That ratio can he adjusted: it 
  usually depends upon the how much experience your Troupe 
  has. 
  As a Narrator, you must ensure that the rules are not 
  broken, interpret rules when they are not fully understood, 
  and keep the peace when rules are in dispute. Sometimes, you 
  must arbitrate what happens in an unusual situation that is 
  not covered by the rules. You have to coordinate with the 
  Storyteller to make sure that the story moves along and that 
  everyone is having fun. A Narrator cannot "win" a story and 
  has no real goals. Her impartial position, however, places her 
  in a unique position to watch a story unfold. 
  Narrators also take care of what happens when a charac- 
  ter decides to interact with something in the game that is not 
  a Cast Member. If a character needs to sneak past a security 
  system or break someone out of a distant jail as part of a story, 
  a Narrator will adjudicate whether or not he is successful. If 
  a character has to go out to a distant alley to feed from a fresh 
  
  victim, the Narrator will play that victim as an antagonist for 
  a brief while. 
   
  Storyteller 
  The Storyteller is the ultimate authority and final judge 
  in The Masquerade. The Storyteller creates the elements of 
  the story that is told and is in charge of making sure that the 
  story unfolds well. It is a demanding job, but it can he the most 
  rewarding of all, for the Storyteller is a weaver of dreams. 
  As the Storyteller, it is your responsibility to set the 
  wheels of the story in motion and make sure that they keep 
  rolling. This does not mean that you dictate the course of the 
  plot-- that is the job of the Cast. You must make sure that the 
  basis for a plot exists. You do not tell a story. Rather, you 
  create the "chemicals" and elements of the plot and turn the 
  cast loose to watch your ingredients mix. Most of your work 
  happens before the game begins; after that, the Cast usually 
  takes over. 
  During the game, however, you must be forever watchful 
  and ready to create new elements to add to the mix to make 
  sure that the story works out well. You have to make sure that 
  everyone is involved in the story and in the game. If you do 
  your "pre-game" job well, however, you will often spend most 
  of your time as a Narrator. 
  You are also the ultimate arbiter of rules and a court of 
  last resort. Other Narrators will handle many judgments for 
  you, but sometimes a decision may have a serious impact on 
  the story. At that point, your Narrators or Cast will appeal to 
  you for judgment. 
   
  Rules 
  Although the main idea of this game is to roleplay and 
  tell stories, The Masquerade still contains rules. They are 
  needed to resolve what happens when a character does 
  something that the player cannot do (like transforming into 
  a bat and flying around) or does not want to do (like engaging 
  in combat with another character). Rules are necessary to 
  settle arguments-- "Bang, bang, you're dead ! " "No I'm not ! "- 
  and they add a vital dose of consistency to events in your 
  world. Cast Members may resolve conflicts with each other 
  by engaging in challenges, where they "bid" their Traits 
  against each other. 
  This bidding can be performed (by experienced players) 
  during normal conversation without a pause in actual 
  roleplaying. Time outs are rarely necessary. 
   
  
  Winners and Losers 
  There is no real way to "win" a game when you play The 
  Masquerade. Your character can do well or poorly, but there 
  are no concrete conditions that grant the laurels of victory. 
  Your character possesses motivations, ambitions and goals 
  that help you decide what her aspirations are in a story. It is 
  possible for everyone to "win." 
  Ultimately, the goal of Mind's Eye Theatre is to im- 
  merse yourself in the story and have fun doing it. If you have 
  fun playing, then you certainly cannot consider yourself to 
  have "lost" in a game. 
   
  Props 
  In order for others to visualize your character, you might 
  choose to wear a costume and employ props. You must not use 
  anything that can harm you or another Cast Member. Guns, 
  fake guns, wooden stakes, foam stakes and water guns are 
  strictly forbidden. The Mind's Eye Theatre system uses a 
  bidding system in place of any actual physical combat. A 
  player with a weapon might be tempted to hit someone with 
  it or wave it about in a threatening manner. Actual physical 
  danger is never an element in the game. 
  Cool costumes, jewelry, makeup and fangs are strongly 
  encouraged. Some people get heavily into costuming when 
  playing the game, and other players appreciate the effort 
  involved in creating a very vampiric appearance. A Cast 
  Member should bring whatever she needs to the Mind's Eye 
  Theatre event to evoke the persona of her character. 
   
  Chronicle 
  Hopefully, you'll want to play this type of game more 
  than once. Each time you play, you may choose to create new 
  characters in a brand new story, or you can play the same 
  character story after story, evening after evening. Your char- 
  acter can grow and change like a character in a novel instead 
  of ending her saga after one brief encounter. Mind's Eye 
  Theatre allows your character to develop and grow, gaining 
  new allies, status, influence and power. There's also the 
  possibility that your character might spiral down a twisted 
  path of insanity, betrayal, fear and rage. Both possibilities are 
  the stuff of legends. 
   
  What has Changed 
  When we set out to create Mind's Eye Theatre, we 
  envisioned people playing the game in small groups in their 
  own homes. We thought that large games of 25 or more 
  
  people playing The Masquerade would be fairly rare. Mind's 
  Eye Theatre was intended as a different way to present the 
  kinds of plots that occur in tabletop roleplaying. 
  We were wrong. 
  Many people are now playing in public places and at 
  conventions, some of them in groups of over two hundred 
  players. Rather than playing a small coterie of vampires, 
  people are creating entire cities of vampires, from the prince 
  and primogen down to the lowest neonate. Huge games have 
  become more of the norm and not the exception. players 
  have given us plenty of feedback on the rules. 
  This second edition of The Masquerade is intended to 
  help support- really large games. Some of the changes you will 
  find include: 
  • A new bidding system that speeds up challenges. 
  • A very detailed system of Status Traits. Status is now a 
  very important part of the game. Holding an important 
  position in vampiric society can now affect your social 
  standing. Boons and Influences have also been rewritten to 
  tie into this social structure. 
  • Disciplines have been rewritten to correspond more to 
  the tabletop game for ease of conversion. 
  • Representing Humanity and Frenzy is now a part of the 
  game. These systems depend on Beast Traits. 
   
  The World of 
  Darkness 
  Your characters do not exist in a vacuum. Rather, they 
  reside in a world that exists in our imaginations, a place 
  known as the World of Darkness. It is the proverbial Hell in 
  which your character lives and suffers. Your vampiric charac- 
  ter lives to hunting and feed. Never again will she see the 
  light of day. 
  The world is a Gothic-punk nightmare, a frightening, 
  surreal version of our own world. Here, soggy cardboard boxes 
  are the humble shelters of the destitute, while nearly tower- 
  ing spires of glass and steel claw toward heaven. It is a world 
  of shocking contrasts. 
  Packs of street thugs prowl urban jungles. Bureaucratic 
  sharks stalk the oceans of politics and business. Skulking in 
  dark corners, ancient vampires vie for control of mortals and 
  immortals. Omnipotent Methuselahs manipulate lesser vam- 
  pires like pawns in a great game of chess. Lesser Kindred band 
  together in secret societies to control those beneath them. At 
  the bottom of the hierarchy, young anarchs band together in 
  rough warrior gangs to steal the power of their oppressors. 
  
  The darkness is grimmer and the colors are more vivid. 
  Cold, monochrome buildings are spattered with screaming 
  graffiti. The corporate machine is huge and uncaring; spirits 
  are crushed and people are forgotten. Some bodies end up in 
  the streets-- their blood adds a splash of crimson as it runs 
  down city drains. The shocking brilliance of violence is more 
  explosive when seen against the grim backdrop of urban 
  decay. 
  There is no escape from the madness. 
   
  The Meaning of the Myth 
  To get into the feel of The Masquerade, you must be able 
  to savor its mood. The game is stark and brooding, but with 
  an underlying sensuality. The world of the Kindred is an 
  erotic and provocative nightmare in which reason does not 
  always play a role. The romance and mystique of the old 
  gothic is set to the accompaniment of screaming guitars. 
  The romance is tinged with a layer of sadness. In The 
  Masquerade, vampires are doomed from the moment they 
  are Embraced. Although they are powerful beyond imagina- 
  tion, they are also cursed. No matter what they do, they 
  remain monsters with a horrible unquenchable thirst for 
  blood. They are hunted like animals. Stories in The Mas- 
  querade are unique because they often bear this element of 
  tragedy. The traditional tragedy of classic theatre depicts a 
  hero coming to a great and horrible demise. The hero's fate 
  is clear from the very beginning. Because of who and what the 
  hero is, he is damned from the moment the curtain rises, and 
  the audience knows it. Characters in The Masquerade are 
  doomed from the moment they receive their first Embrace... 
  Paradoxically, these tragically doomed characters have 
  the potential to become heroes of uncommon valor. While 
  their very nature is shunned, they do not have to be evil. They 
  drink blood and are spawned from an ancient race, and thus 
  possess the taint of evil. However, they are expected to be 
  heroes and rise above their very nature. They certainly have 
  nothing to lose. 
  Justice is only served if good overcomes evil. To "win" 
  this game, a vampire must fight her dark side, restraining it 
  with the bonds of human virtue. She must display courage 
  and heroism and not fall prey to her own weaknesses. If she 
  fails, the Beast Within takes over, and she will spiral into 
  depths that even the Kindred find repulsive. Sometimes the 
  tragedy of Final Death is a vampire's only hope of escape. 
  There is a slim possibility that a vampire may find a way 
  to escape the curse and become mortal once again. Not all 
  
  characters seek this, but some realize what they have become. 
  Some seek Golconda, a state where their basic instincts do 
  not control them. Golconda is even more difficult to survive 
  than living with the curse of undeath, but it is still sought. 
  Characters spend much of their time combating evil. 
  Instead of fighting monsters outside themselves, they combat 
  what is inside. Some win. More often, they fail in a mad, 
  screaming, terrible whirlwind of destruction. 
   
  The Becoming 
  The moment a human becomes a vampire is never 
  forgotten, for the transformation is usually painful and trau- 
  matic. A mortal becomes a vampire when a Kindred drains all 
  the blood from him and kills him. Just before the mortal dies, 
  the vampire pierces his own skin and releases a small amount 
  of his blood into the mortal's mouth. The potent vampiric 
  blood rouses the poor soul, and he begins to drink hungrily 
  from his sire's open wound. Some realize what is about to 
  happen and find the willpower to resist. Some of them even 
  die peacefully. 
  A newly made vampire takes on the lineage of his sire 
  and is therefore of the same bloodline, or "clan". The blood- 
  line affects which mystical powers, or "Disciplines", the 
  character can have at the start of the game. Each clan also has 
  a special weakness. Clans often work together to achieve a 
  common end, although they often fight among each other. 
  For the next few years or decades, the childe (the young 
  vampire) remains with his sire. His sire may choose to teach 
  him nothing about vampiric society, rules or his own kind. 
  He might be nurtured or abused, denied rights, or granted full 
  freedom to learn more about his kind. Until he is released by 
  his sire and presented to the prince of the city, he is not 
  accepted into vampiric society. 
   
  Fledgling 
  The Beast is strong in you. Although you may regret 
  what you are and the things you do, you cannot deny them or 
  excise them from your soul. But resist you must, lest you slip 
  away into complete degeneration and chaos. 
  It is difficult to be good, for so many of your urges drive 
  you toward sin. If you falter, you will lose your essential 
  humanity all the more quickly. If you do not strive to 
  maintain some moral standard, the Beast will drive you to 
  depths that you cannot imagine. You will cease to love or care 
  about anything except the blood. When the Beast wins, the 
  results are horrific. 
  
   
  The Hunger 
  Vampires must feed. It is not merely a need, but an all- 
  consuming passion. The hunger for blood is not merely the 
  instinct for survival, although blood is the only thing that can 
  sustain a vampire. Vampires need the closeness of the feeding 
  and the erotic sensation it gives them. They need the thrill 
  of pursuing and capturing prey. Feeding brings the vampire 
  closer to life and bestows the most powerful emotions a 
  vampire can feel. 
  The blood does not need to be from a human, and the 
  vampire does not need to kill his victim. However, the 
  bloodlust often causes older vampires to lose control and 
  drain all life from their victims. Some vampires forsake 
  mortal lovers because of their fear of this happening. 
  Vampires can cover their feeding easily. Fangs leave 
  only a small wound, which will disappear entirely if the 
  vampire licks it. Some vampires can make their vessels forget 
  the feeding, while some find mortals who live for the feeding. 
   
  Nature of the Beast 
  What does it mean to be a vampire? Kindred are not, 
  despite their appearance, human. Vampires have an alien 
  nature. They are an inhuman race. They are similar enough, 
  however, for us to compare and contrast them to humanity. 
  By comparing vampires to humans, it is possible to discover 
  what their capabilities and limitations are. Vampires are not  
   
  humans with fangs, they are monsters masquerading as hu- 
  mans. Just as a vampire stalks humans, a vampire lives in fear 
  of the Beast within himself. 
            Welcome to the other side... 
   
   
  Chapter Two: Character 
  "Each person is many persons: a multitude made into one person; a corporate 
  body; incorporated, a corporation... the  
  unity of a person is as real, or unreal, as the unity or the corporation." 
  - N.O. Brown 
   
  Before you can begin to play The Masquerade, you must create a character. This 
  character is the role you assume in the stories you and your friends tell. It's the person 
  you enact, and you play that character throughout each game. Unlike make-believe, you 
  don't just make up a character as you go along. Instead, you've got to create a character 
  before you start playing. There's a certain amount of work involved- characters are 
  
  created, not born. Character creation is a creative struggle, and even the most experienced 
  roleplayers find it a challenge to build a compelling yet honest character. 
  This chapter describes how to create a unique character, starting with a general 
  concept and translating that concept into values that can be used in the game. The process 
  itself is very simple, but you should not hesitate to ask a Narrator (one of the "referees") 
  any questions you might have. 
  Character creation is like cooking. You've got to gather the ingredients, stir them 
  together and let the result bake for a while. You start by deciding what kind of character 
  you want. Are you going to be a street-hardened punk or a rich and spoiled ex-debutante? 
  Are you a college graduate, or were you tutored in life somewhere in the Appalachian 
  Mountains? The background and personality of your character are the essential 
  ingredients of his persona. From your basic concepts, you can work out the details. 
   
  Getting Started 
  • You can create a character at any age. Her culture and background is entirely up to 
  you (with the approval of the Storyteller, of course). However, you start the game as a 
  fairly young and inexperienced neonate, a newly-created vampire. You have only 
  recently left the tutelage of your sire- the vampire who Embraced you. You know little of 
  vampiric society or unlife, except what you've been told by your sire. In any case, you 
  have been a vampire for 50 years or less. Your apparent age is the age when you "died." 
  • The Storyteller, the person who organizes the story, may restrict your character 
  creation choices or offer you other choices besides those listed here. Many stories have 
  special considerations that must be taken into account. There will often be certain roles 
  that need to be filled in a story, and you may have to create a character to fill that need. 
  • The Masquerade's character creation process is designed as much to help you 
  define your character as it is to provide you with a means to interact with the rules. The 
  processes of creating the character and picking your strong and weak points are meant to 
  help you sharpen the concept of your character. 
  • This game's character creation system is a selection 'system. By choosing Traits, 
  qualities describing your character, from a series of lists, you build your character. It is 
  best to list all the Traits and qualities you would like your character to have and then 
  eliminate the ones that aren't essential to your character concept. You cannot have all the 
  qualities you want; life isn't like that. 
  • It is your responsibility to create a character that suits the story. In this, you are 
  guided by the Storyteller. If your character doesn't have a place in the story, you have to 
  create a new character or create your own place. 
   
  Character Creation 
  "How often at this desk 1 sat into the depth of night and looked for you until over 
  these books and papers you appeared to me, my melancholy friend." 
  
  - Goethe, Faust 
   
  The following is a breakdown of the character creation process. 
   
  Step One: Inspiration 
  Before you write a single thing, you need to find inspiration for the type of character 
  you want to play. Once you're inspired, you need to develop a rough idea of who your 
  character is. 
  This development involves choosing a concept, a clan and a personality (defined by 
  choosing a Nature and Demeanor- see below). The better you relate these three aspects of 
  your character, the more intricate and complete the end result will be. A character's 
  Demeanor is often completely different from his concept, and the stereotypical image of a 
  clan can be contradicted by choosing a contrasting Nature or Demeanor. 
  Though short lists are given in this chapter, complete descriptions of the clans, Natures 
  and Demeanors can be found in Chapter Three. 
   
  Character Creation Process 
  • Step One: Inspiration - Who are you? 
  - Choose your clan 
  - Choose a Nature and Demeanor 
  • Step Two: Attributes -What are your basic capabilities? 
  - Prioritize Attributes (seven primary, five secondary and three tertiary) 
  • Step Three: Advantages -What do you know? 
  - Choose five Abilities 
  - Choose three Disciplines 
  - Choose three Influences 
  • Step Four: Last Touches- Fill in the details. 
  - Assign Blood Traits 
  - Assign Willpower Traits 
  - Choose one Beast Trait 
  - Assign one Status Trait ("Acknowledged") 
  - Choose Negative Traits (if any) 
  • Step Five: Spark of Life - Narrative descriptions. 
   
  Clan 
  Your choice of clan is arguably the most important element of your character. Your 
  clan describes the essential lineage of your character. (Unless you are Caitiff, you are 
  always of the same clan as your sire). The seven clans from which players may choose 
  
  are all members of the vampire sect known as the Camarilla. There are other clans, but 
  they exist either in their own sects or on the outskirts of Kindred society. 
  You do not necessarily need to choose a clan, for some younger Kindred are of such 
  diluted blood that no single clan's characteristics are imprinted upon them. These Caitiff 
  are increasingly common among the Kindred, but they are outcasts- accepted by none, 
  scorned by all. If you wish to play such a character, simply list "Caitiff" as your clan. 
  Players choose or are assigned their clan. The Storyteller may desire a certain number 
  of characters from each clan and may ensure that her quota is filled during the character 
  creation process. 
   
  Nature and Demeanor 
  At this point, you should choose personality archetypes that suit your concept of the 
  disposition and image of your character. 
  Your character's Nature is the most dominant aspect of her true personality. The Nature 
  describes who your character really is on the inside, but your chosen Nature is not 
  necessarily the only archetype that applies- people aren't one-dimensional. 
  You should also choose a Demeanor to describe the personality you pretend to 
  possess. This is the role you play in the world, the facade you present. It should probably 
  be different from the archetype you have chosen as your Nature, but whatever you choose 
  is only your typical pose; people can change outward behavior as quickly as they change 
  their mood. You may change your image at any time to suit different people and different 
  situations. Demeanor has no practical effect on the rules; it is only intended to serve as a 
  roleplaying tool. 
   
  Clans: 
  Complete clan descriptions can be found in Chapter Three. 
  • Brujah -Respecting no authority and acknowledging no leaders, the "rabble" 
  consider themselves free. Disciplines: Celerity,  
  Potence, Presence 
  • Gangrel - Loners and rustics, the "outlanders" are the only Kindred who dare 
  venture outside the city. Disciplines: Animalism,  
  Fortitude, Protean 
  • Malkavian - Commonly perceived to be insane, the "kooks" possess an uncanny 
  vision and wisdom. Disciplines: Auspex,  
  Dominate, Obfuscate 
  • Nosferatu - Ostracized and misunderstood by others, the hideous "sewer rats" live 
  out their sordid existence in hiding. 
  Disciplines: Animalism, Obfuscate, Potence 
  
  • Toreador - Known for their hedonistic ways, the "degenerates" prefer to think of 
  themselves as artists. Disciplines: Auspex,  
  Celerity, Presence 
  • Tremere - Wizards of an ancient house, the "warlocks" work together to spread their 
  influence and power. 
  Disciplines: Auspex, Dominate, Thaumaturgy (Path of Blood) 
  • Ventrue - Aristocrats of rarefied tastes and manners, the "blue bloods" are fiendishly 
  cool and cunning. 
  Disciplines: Dominate, Fortitude, Presence 
  • Caitiff - Those with no clan: the outcasts and the dishonored. 
   
  Step Two: Attributes 
  Attributes are everything a character naturally, intrinsically is. Are you strong? Are 
  you brave? Are you persuasive? Questions such as these are answered by the Attributes, 
  the Traits that describe the basic, innate potential of your character. 
  The first step is to prioritize the different categories of Attributes, placing them in 
  order of importance to your character. Are you more physical than you are social? Does 
  your quick thinking surpass your physical strength? 
  Categories of Attributes: 
  • Physical Attributes describe the abilities of the body, such as power, quickness and 
  endurance. 
  • Social Attributes describe your character's appearance and charisma- her ability to 
  influence others. 
  • Mental Attributes represent your character's mental capacity and include such things 
  as memory, perception, self-control and the  
  ability to learn and think. 
   
  Nature and Demeanor: 
  Complete Nature and Demeanor descriptions can be found in Chapter Three. 
   
  • Architect - You seek to create something of lasting value, a legacy. 
  • Bravo - You are something of a bully; you like to be feared. 
  • Caregiver - You seek to nurture others. 
  • Child - You never really grew up, and you want someone to take care of you. 
  • Conformist - A follower at heart, you find it easy to adapt, adjust and comply. 
  • Conniver - There's always an easier way, one that usually involves someone else 
  doing your work. 
  • Deviant - You're just not like everyone else. 
  • Director - You're accustomed to taking charge of a situation. 
  • Fanatic - You have a cause and it gives your life meaning. 
  • Gallant - You are as flamboyant as you are amoral. 
  
  • Hedonist - Life is meaningless, so enjoy it as long as it lasts. 
  • Jester - Always the clown, you can't take life, or death, seriously. 
  • Judge - You seek justice and reconciliation. 
  • Loner - You are forever alone, even in a crowd. 
  • Martyr - You need to be needed, and enjoy being morally superior. 
  • Rebel - No need for a cause; you rebel out of habit and passion. 
  • Survivor - You struggle to survive, no matter what the odds. 
  • Traditionalist - You prefer the orthodox and conservative ways. 
   
  The concept and clan of your character may suggest what your Attribute priorities 
  should be, but feel free to pick any way you please. For now, think in the broadest of 
  perspectives- you can get more specific after you understand the big picture. 
  After you've chosen the order of the three Attribute categories, you need to choose 
  specific Traits from each category. The Traits are adjectives that describe your character's 
  strengths and weaknesses, defining your character just as a character in a novel is 
  defined. In your primary (strongest) Attribute category, you can choose seven Traits. In 
  your secondary category, you can choose five. In your tertiary (weakest) category, you 
  can choose only three. Thus, you receive a total of 15 Attribute Traits. You can take the 
  same Trait more than once, if you wish, reflecting greater aptitude. 
   
  Attribute Traits: 
  Complete Attribute Trait descriptions can be found in Chapter Three. 
   
  • Physical - Athletic, Brawny, Dexterous, Enduring, Energetic, Ferocious, Graceful, 
  Lithe, Nimble, Quick, Resilient, Robust,  
  Rugged, Stalwart, Steady, Tenacious, Tireless, Tough, Vigorous, Wiry 
  • Social - Alluring, Beguiling, Charismatic, Charming, Commanding, Compassionate, 
  Dignified, Diplomatic, Elegant, Eloquent,  
  Empathetic, Expressive, Friendly, Genial, Gorgeous, Ingratiating, Intimidating, 
  Magnetic, Persuasive, Seductive, Witty 
  • Mental - Alert, Attentive, Calm, Clever, Creative, Cunning, Dedicated, Determined, 
  Discerning, Disciplined, Insightful,  
  Intuitive, Knowledgeable, Observant, Patient, Rational, Reflective, Shrewd, 
  Vigilant, Wily, Wise 
   
  The Rules Chapter describes how Traits function in the game. For now, you simply 
  need to understand that these Traits reflect how competent your character is at different 
  kinds of actions. The more Traits you have in one Attribute category, the more skillfully 
  your character can perform actions involving that category. Listed below are examples of 
  Attribute Traits from which you can choose, separated into appropriate categories: 
   
  
  Step 3: Advantages 
  Advantages are the Traits that separate one character from another. They allow a 
  player to take actions that would otherwise be impossible. There are three categories of 
  advantages: Abilities, Disciplines and Influences. 
  Choosing Abilities 
  Abilities represent your training and knowledge beyond the outline provided by your 
  Attributes. They are what you have learned and what you can do rather than what you 
  are. Abilities let you perform specialized tasks that are only possible with training: 
  picking locks, driving with skill or reading the Dead Sea Scrolls. 
  Choose five different Abilities from the list that follows. 
   
  Abilities: 
  Complete Ability descriptions can be found in Chapter Three. 
   
  • Animal Ken - You have a rapport with animals and can train them. 
  • Brawl - You are skilled in unarmed combat. 
  • Bureaucracy - You understand the rules of government and organization. 
  • Computer - You can operate a computer. 
  • Drive - You can drive a car with skill. 
  • Finance - You can manage money. 
  • Firearms - You can handle guns and other ranged weapons. 
  • Investigation - You are a skilled detective. 
  • Law - You understand the legal system. 
  • Leadership - You understand the principles of command. 
  • Linguistics - You are fluent in at least one language. 
  • Medicine -You can heal people (you don't have to be a doctor). 
  • Melee- You are ski lied in the use of many different hand-to-hand weapons. 
  • Occult - You know many of the ancient mysteries. 
  • Performance - You can act, dance, sing or play an instrument (maybe all of the 
  above). 
  • Repair - You can fix nearly anything. 
  • Science - You understand the fundamentals of technology. 
  • Scrounge - You can drum up just about anything. 
  • Security - You can disarm security systems and pick locks. 
  • Streetwise - You understand street culture. 
  • Subterfuge - You know how to manipulate people. 
  • Survival - You can survive in the wilderness. 
  
   
  Choosing Disciplines 
  Disciplines are vampiric powers- the supernatural abilities available to a vampire. 
  Each vampire begins the game with three Disciplines, but a vampire may only choose the 
  Disciplines that are typically possessed by his clan (see the clan lists, above). Each 
  Discipline has two powers at the basic level. If the character has a Discipline, the first 
  power listed must be chosen first. The character cannot advance to intermediate level 
  powers in a given Discipline until all of the beginning powers of that Discipline have 
  been learned. A player may chose to work his way up to the intermediate level of a 
  Discipline rather than choosing the basic levels of three different Disciplines. However, 
  you must have your Storyteller's permission before selecting the advanced levels of any 
  discipline. Only the basic level of each Discipline is shown here. 
   
  Disciplines: 
  Complete Discipline descriptions can be found in Chapter Three. 
   
  • Animalism (Beast Within) - You can arouse the Beast in others. 
  • Auspex (Heightened Senses) - Your senses are preternaturally sharp, even allowing 
  you to pierce Obfuscate. 
  • Celerity (Alacrity) -You are supernaturally quick. 
  • Dominate (Command) - By gazing into another's eyes, you may give them 
  commands. 
  • Fortitude (Endurance)- You are capable of resisting severe injury. 
  • Obfuscate (Unseen Presence) - You can remain obscure and unseen, even in 
  crowds. 
  • Potence (Prowess) - You possess superhuman strength and vigor. 
  • Presence (Dread Gaze) - You may instill terror in others. 
  • Protean (Wolf's Claws)- You can sprout sharp talons from your fingers. 
  • Thaumaturgy (Blood Mastery) - You may control another via possession of the 
  other's blood. 
   
  Choosing Influences 
  Influence reflects a character's control over mortal society. Influence is the source of 
  most power and conflict in vampiric society and is the primary means of waging wars of 
  intrigue. For instance, if you own a nightclub, that is reflected by an Influence Trait. If 
  you are a wealthy stock market investor, that is also a function of Influence. 
   
  Influences: 
  Complete Influence descriptions can be found in Chapter Three. 
  
   
  • Bureaucracy - The organizers who really run City Hall. 
  • Church - The religious establishment. 
  • Finance - Big business, including the largest corporations. 
  • Health - The medical system, from clinics to research labs. 
  • High Society - Rich dilettantes, aristocracy and the art community. 
  • Industry - The factories and the unions. 
  • Legal - The court system: lawyers, judges, et al. 
  • Media - Newspapers, radio, TV and other forms of communication. 
  • Military-National Guard, Army, Navy, Marines, Air Force, Coast Guard. 
  • Occult - Cults and other mystical practitioners. 
  • Police - The cops. 
  • Political - Politicians of all stripes, from local to national. 
  • Street - Gangs, the homeless, small-time dealers- the guys in the know. 
  • Transportation - Trains, buses, ships, taxis and planes. 
  • Underworld - Organized crime: gambling, laundering, drugs and other rackets. 
  • University - The educational and scientific community. 
   
  You may choose three Influence Traits. Each represents a contact or holding in the 
  area. You can take a single Influence Trait (such as High Society) more than once, 
  indicating a greater degree of dominance. The only limitations on your Influence 
  selection are those imposed by the background and identity of your character (but even 
  seemingly weird Influences can be justified). 
   
  Step 4: Last Touches 
  The most important stage of character creation, in terms of character definition, is the 
  application of last touches. These are the little details and flourishes that complete your 
  character. During this stage, you may take Negative Traits- flaws in physique or 
  personality. Negative Traits allow you to take additional (positive) Traits on a one-for-
  one basis. You also need to record your Blood Traits and Willpower Traits based on your 
  generation. You must also choose your Beast Trait. Finally, you must be aware of your 
  character's state of health. 
   
  Blood 
  Blood Traits work like other Traits, but they can only be used to heighten your 
  physical power or heal yourself, and they can only be regained by feeding. Your Blood 
  Pool indicates your maximum Blood Trait capacity, not necessarily the amount of blood 
  you currently have in your system. Blood Traits are not assigned adjectives; each simply 
  represents a volume of blood (about a vial's worth). 
  You start the game with three Blood Traits (unless you have lowered your generation 
  
  by using Negative Traits). These Traits are either used as sustenance or as desperate 
  situations arise. Chapter Three discusses the uses of Blood Traits. 
  Willpower 
  Willpower reflects your basic drive, self-confidence and tenacity. It is essential for 
  controlling the actions and behavior of your character, especially in times of stress when 
  predatory instincts emerge. You may choose only one Willpower Trait at this point in the 
  game, although more can be gained by lowering your generation (see below). 
  Humanity 
  Beast Traits represent how close your character is to the Beast. The more Beast Traits 
  you have, the more likely you will periodically lose control and enter into a state the 
  Kindred call "frenzy". The more Beast Traits you possess, the less human you become. 
  When a character accumulates five Beast Traits, she is completely overwhelmed by the 
  Beast and becomes a mindless raving monster. At that point, the player must create a new 
  character; her last one is now an uncontrollable monster. 
  Kindred must also start the game with a single Beast Trait. If you wish, you may take a 
  second Beast Trait. This is worth the equivalent of two Negative Traits. However, 
  remember that your character goes into a permanent frenzy upon receiving the fifth Beast 
  Trait, so you would need only three more to lose your character. 
   
  Beast Traits: 
  Full descriptions of Beast Traits may be found in Chapter Three. 
   
  • Vigilante - Witnessing needless death brings out your Beast. 
  • Frustrated - You crack easily under stress. 
  • Item - The sight of a particular object causes you to frenzy. 
  • Blood - You are unable to control your hunger when exposed to large quantities of 
  blood. 
  • Hunger - You are unable to control your need for blood. 
  • Lust - You get carried away during feeding. 
  • Phobia - You have a terrible fear of something. 
  • Sunlight - The sight of sunlight causes you to enter a mindless panic. 
  • Fire - You are absolutely terrified of fire. 
  Status 
  One of the main aspects of your background is Status. Status is an indication of where 
  your character stands in vampiric society, particularly within your city. You start with a 
  
  single Status Trait, which represents the fact that you have been presented to the prince. 
  Your existence has been recognized. If you are Caitiff, or choose to be an anarch, you 
  have no initial Status Trait. This could be because you have never been presented to the 
  prince, or you may have such a terrible reputation that any former Status has been lost. 
  (Yes, you can acquire more than one Status Trait by taking on Negative Traits, but 
  anarchs and Caitiff cannot gain Status this way.) 
  Your initial Status Trait is always the word "Acknowledged", representing the 
  acknowledgment of your existence by the prince. Others can be chosen or earned as the 
  story progresses. 
  You should be able to explain, in terms of your character's background, what your 
  Status Traits represent. Just how are you Exalted? Why do others Cherish you? 
  Chapter Three describes all the uses of Status and indicates how more Traits can be 
  gained. 
  Status Traits: 
  Admired, Adored, Cherished, Esteemed, Exalted,  Famous, Faultless, Feared, Honorable, 
  Influential, Just, Praised, Respected,  
  Revered, Trustworthy, Well-Known 
   
  Negative Traits 
  At this point, you may increase your character's power by selecting counterbalancing 
  flaws. By taking a Negative Trait, you can, for example, add a new Trait to your 
  Attributes or take another Ability. Negative Traits are Attributes that have a negative 
  effect upon your character. They can be used against you in a challenge (a contest staged 
  between you and other characters). Each Negative Trait is equal to one positive Trait; for 
  each Negative Trait you take, you receive a positive Trait of your choice. You can take 
  no more than five Negative Traits unless you have the Storyteller's permission. You can 
  take whatever Negative Traits seem to fit your character; you need not take the full five, 
  or any at all. However, it's fun to have at least one; ironically, Negative Traits make your 
  vampire more human. 
  Each Negative Trait you take allows you to choose one of the following options: 
  • Take one additional positive Trait in any category of Attribute: Physical, Social or 
  Mental. (The maximum number of Traits you can possess in a given category is listed in 
  the "Generation Chart" in Chapter Three.) 
  • Take one extra Ability or Influence. Optional: Your Storyteller may allow you other 
  options for modifying your character. Possible options are: 
  • Lower your generation by one (from a base of 13th). It costs two Negative Traits to 
  
  lower your generation by one level. All 
  characters start at 13th generation unless generation is lowered in this way. (Generation is 
  your distance from Caine, the primordial First Vampire; having a lower generation places 
  you "closer" to Caine and increases the potency of your blood.) 
  • Three Negative Traits allow the purchase of one new Basic Discipline (even one that 
  is not a clan Discipline). 
  • One Negative Trait allows the purchase of a Status Trait (see above). 
  • You can take an extra Beast Trait or Derangement in lieu of two Negative Traits. 
  That is, an extra Beast Trait or Derangement allows you to purchase two other positive 
  Traits without acquiring the usual two Negative Traits. You can never take more than one 
  extra Beast Trait or Derangement. Of course, Malkavians already have a Derangement, 
  and a second must be taken to get two positive Traits. Malkavians begin with no more 
  than two Derangement Traits, and vampires of other clans may begin with no more than 
  one. 
   
  Negative Traits: 
  Complete Negative Trait descriptions can he found under Attribute descriptions in 
  Chapter Three. 
   
  • Physical- Clumsy, Cowardly, Decrepit, Delicate, Docile, Flabby, Lame, Lethargic, 
  Puny, Sickly 
  • Social - Bestial, Callous, Condescending, Dull, Naive, Obnoxious, Paranoid, 
  Repugnant, Shy, Tactless, Untrustworthy 
  • Mental-Forgetful, Gullible, Ignorant, Impatient, Oblivious, Predictable, 
  Shortsighted, Submissive, Violent, Witless 
   
  Generation 
  Unless a player buys down his generation with Negative Traits, his character will start 
  at 13th generation. For every two Negative Traits spent in this fashion, the character can 
  lower his generation by one. A character can NEVER buy his generation lower than 8th, 
  unless he has the express permission of the Storyteller. More information on generation 
  can be found in Chapter Three. 
   
  Health 
  Characters are considered to be at full health at the beginning of each story unless the 
  Storyteller states otherwise. Of course, characters can be hurt or even destroyed during a 
  story. There are four "levels" of health beneath Healthy: 
  "Bruised," "Wounded", "Incapacitated", and "Torpor". Chapters Three and Four discuss 
  
  these levels in full detail. 
   
  Derangements: 
  Complete descriptions of Derangements may he found in Chapter Three. 
  Amnesia, Crimson Rage, The Hunger, Immortal Terror, Intellectualization, Manic-
  Depression, Multiple Personalities, Obsession, Paranoia, Perfection, Power Madness, 
  Regression, Undying Remorse, Vengeful 
   
   
  Generation Table  
    
    
    
    
  Generation  
  Blood Traits Willpower 
  Starting 
  Traits Max 
  Max. 
  Traits 
   
  13th 
  3  
  1  
  3  
  10  
  12th 
  4  
  1  
  3  
  10  
  11th 
  5  
  2  
  4  
  11  
  10th  
  6  
  2  
  4  
  11 
  9th
  8  
  3  
  5  
  13 
  8th
  9  
  3  
  6  
  14  
  7th
  11  
  4  
  7  
  16 
  6th
  13  
  4  
  8  
  18  
  5th
  16  
  5  
  9  
  20 
  4th
  20  
  6  
  10  
  25 
  3rd
  ?  
  ?  
  ?  
  30 
   
  Step 5: Spark of Life 
  There are other aspects of a character that should be detailed. These flourishes are not 
  necessarily important in terms of the game, but are vital with regard to roleplaying. In 
  many cases, these "sparks" are provided for you, or at least suggested to you, by the 
  Storyteller. Your character needs to be woven into the story, and these "sparks" allow the 
  Storyteller to do just that. 
  Other Aspects 
  • Background - You need to create a background for your character, describing her 
  life before the Embrace: what she did, how she lived and what was unique about her. This 
  background may describe what your character did for a living, how she saw herself, and 
  what others thought of her. Indeed, many Kindred find it difficult to abandon their 
  concepts of themselves as humans and cling to the trappings of their former lives. Their 
  pasts remain with them forever. 
  Regardless of when you were Embraced, whether in the days of Ancient Rome or in the 
  modem age, you have spent 50 waking years or less as a vampire. All other years of 
  
  undead existence are assumed to have been spent in torpor. 
  • Secrets - Each character has secrets of some sort, things that he doesn't want others 
  to discover. One secret almost all Kindred possess is the location of a personal haven. 
  The Storyteller is likely to give you a number of secrets that you need to protect over the 
  course of the chronicle. 
  • Motivations - What is your purpose? What motivates you on a night-to-night basis? 
  Is it hate, fear, lust, greed, jealousy or revenge? Describe your motivations in as much 
  detail as possible; 
  ask the Storyteller for help if you can't think of anything. Unless you are an experienced 
  player, it's likely that the Storyteller will provide you with a motivation or two at the start 
  of the chronicle. 
  • Appearance - You need to find the props and costume that will help others 
  understand, or at least recognize, your character at a glance. You need to not only act like 
  your character, but look like 
  him as well. Your character's appearance makes his Physical (and many Social) Traits 
  visible to other characters. 
  • Equipment - Your character likely begins the game with equipment of one sort or 
  another. Ask a Narrator for more details on your personal possessions and assets. If you 
  want to spend money on equipment right away, feel free. You may buy weapons, 
  clothing, homes, condos, cars... anything. Use an appropriate catalog for prices. (Be sure 
  to get your Storyteller's approval if you wish to buy anything unusual or dangerous.) 
  • Quirks - By giving your character quirks (interesting personal details), you add a 
  great deal of depth and interest to her. Write a few sentences on the back of your 
  character sheet about the strange and interesting things that define your character. 
  Examples of quirks include a twisted sense of humor, a gentleness toward animals, or a 
  habit of grunting when answering yes to a question. 
  Advanced Character Creation 
  Sometimes the Storyteller may want players to create characters who are not typical 
  starting characters. In such cases, additional Traits may be provided in many categories, 
  and limits on Negative Traits may be raised. Rules for such "advanced" character creation 
  are provided in Chapter Three. Ask your Storyteller for more details. 
  Sample Character Creation 
  Larry sits down and skims through a rulebook. Enthralled with the prospect of 
  assuming the role of the undead (in his imagination, at least), he decides to create a 
  character. Aileen, the Storyteller, lends a willing hand and guides Larry through the five-
  step process. 
  
   
  Step One: Inspiration 
  Larry thinks for a little while and decides he wants to play a rebellious, punkish 
  vampire who doesn't take crap from anyone. However, he wants his character to be more 
  than a savage brawler. He wants his character to have an image, to be charismatic in the 
  eyes of other characters. His character will be a gang leader feared for his skill and 
  power. 
  Larry decides his character was a child of the streets, raised on knuckle sandwiches 
  and petty thievery. He tried to hold various inner-city jobs, but couldn't take orders well, 
  so he never worked at one place for more than a couple of months. Of course, a man 
  needs to eat, so Larry's character turned to crime, for which he had a natural aptitude. 
  Larry chooses the clan of Brujah, which he feels fits in best with his character concept. 
  Larry now thinks about an appropriate Demeanor and Nature. He decides that, even 
  though his character constantly breaks the rules and rebels against authority, it's just part 
  of the image he tries to portray. His overriding need is to impress and bedazzle those 
  around him. The best way to do that, in his mind, is to act and look tough and rebellious. 
  Larry chooses Rebel as his Demeanor and Gallant as his Nature. 
  Larry has a good grasp on who his character is. He names his character "Roark" and is 
  ready to flesh the concept out. 
   
  Step Two: Attributes 
  Larry is now ready to pick Roark's Traits and starts by setting priorities. He considers 
  the qualities Roark would need to survive on the streets. What qualities will prevent 
  Roark from becoming just another worn-out, cliched stereotype? 
  After pondering his choices, Larry decides that Roark has to be strong, hardy and quick. 
  A gang leader needs to be tough. Larry also wants Roark to be attractive and charismatic. 
  Thus, he makes Physical Attributes primary (with seven Traits), Social Attributes 
  secondary (with five Traits) and Mental Attributes tertiary (with three Traits). 
  Thinking back to his original inspiration, Larry tries to describe his character the way 
  an author would. He finally decides on Brawny, Nimble, Nimble (he chooses this Trait 
  twice), Graceful, Tireless, Tenacious and Athletic as Physical Traits. For Social Traits, he 
  chooses Intimidating, Intimidating, Alluring, Alluring and Charming. Last, he chooses 
  Calm (a real departure from the punk image), Cunning and Wily for his three Mental 
  Traits. 
  Roark has now progressed from a hazy shadow to a tangible character, but the job isn't 
  finished yet. Now Larry has to decide what sort of powers and abilities Roark has. 
   
  Step Three: Advantages 
  
  Larry now picks five Abilities that his character would have picked up as a street 
  criminal and gang leader. The street is Roark's home, battleground and playpen. 
  Streetwise is Roark's first Ability. In his numerous rumbles, Roark has fought with 
  everything from chains to two-by-fours, so Melee works well. Modem times being what 
  they are, Firearms goes down next. Thinking of Roark's past, 
  Larry decides that Roark was once a car thief and learned to Drive well. Roark also 
  dabbled in cat burglary, thus learning some of the finer points of Security. 
  Larry chooses three Disciplines from the five offered to all beginning Brujah. He 
  decides a gang leader would need Celerity (Alacrity) and Potence (Prowess) to retain his 
  position. Since Roark also has a strong Casanova side, he chooses the first level of 
  Presence (Dread Gaze) as his third Discipline. He'll have to work on this one to build it 
  up to the point that he can use it for attraction as well. So far, so good. 
  Influence is not terribly important to Roark, but he still has some. Larry decides that 
  Roark is a secret partner in a lowlife downtown nightclub. He takes Underworld twice to 
  reflect that. He also has a lot of contacts on the street and takes Street Influence as well. 
   
  Step Four: Last Touches 
  Larry is almost finished creating Roark and is itching to play, but there are some 
  details left. 
  He makes note of the three Blood Traits with which he begins the game. 
  Larry marks down that he has one Willpower Trait. 
  For Humanity, one Trait really stands out- Frustrated has "Roark" written all over it. 
  Larry almost looks forward to putting the Beast Trait into action. 
  Larry now looks over his character and decides that he wants to be as strong socially 
  as he is physically. He also realizes that Roark never had an opportunity to hone his 
  higher faculties. Larry therefore chooses two Negative Mental Traits- Ignorant and 
  Shortsighted- so he can add two more positive Traits to any category he wants. He adds 
  the two Social Traits of Commanding and Alluring (giving him a total of three Alluring 
  Traits to use). 
  At this point, if Larry wants to lower Roark's generation, he can take more Negative 
  Traits, two per generation drop. He can also buy more Disciplines at the cost of three 
  Negative Traits per Basic Discipline. However, Larry decides Roark is flawed enough. 
  He leaves him at 13th generation with only three Disciplines. 
   
  Step Five: Spark of Life 
  After noting Acknowledged as his single Status Trait, Larry jumps to his feet, his 
  
  character card complete, and decides to work everything else out after he's been in 
  Roark's shoes. Larry has to think like Roark so that he can learn how Roark smokes a 
  cigarette, how he moves on the dance floor and how he sits in his chair. These little 
  nuances of character that Larry can't write down on his character card are the details that 
  will make Roark seem real. Ultimately, Roark will not be defined by a group of hastily 
  scribbled words and numbers, but by Larry, who will, over the course of the game think, 
  move and act like his character. 
  This character creation process provides Larry with the empty veins and arteries of an 
  inanimate vampire shell. Larry supplies the blood, the life. He's ready to begin the game. 
   
   
   
   
   
  Chapter Three: Characteristics 
  “Caustic dripping grins the Reaper Body count intensify getting weaker.” 
   -Skinny Puppy, "First Aid" 
   
  There are seven clans in the Camarilla (the sect to which all characters are assumed to 
  belong). According to legend, each of these is descended from an Antediluvian 
  progenitor. Theoretically, each member of a clan can trace his roots back to a single 
  Kindred. The origins of most clans have been lost in the mists of time. Some clan 
  founders are little more than legend, and certainly none publicly walk the earth 
  anymore... or so many would fervently hope. 
  Each member of a clan is of the same bloodline. All vampires of a given clan often 
  possess the same powers, tendencies and appearances. In some cases, these similarities 
  are invested with the Becoming. In other cases, vampires Embrace mortals who display 
  the clan image or attitude. As members of the same clan tend toward certain similarities, 
  others learn to expect certain actions from them, although individual personalities can 
  still shine through. 
   
  
   
   
  Brujah is the most rebellious and antisocial of all clans. Its members forever search for 
  the ultimate expression of their individuality. They are rebels. They tend to be stubborn, 
  aggressive, ruthless, sensitive to slights and extremely vengeful. Brujah appear in a 
  myriad of guises: punks, socialists, skinheads, beat poets, bikers, philosophers, rockers, 
  goths, freaks and anarchists. 
  Members of the Brujah consider it their duty and right to challenge authority and the 
  powers that claim it. Brujah possess a fierce hunger for freedom and refuse to serve as the 
  puppets of others. They fearlessly sink into chaos in their pursuit of change and 
  transformation. Many in the clan believe Kindred society would be completely corrupt if 
  not for them. 
  Brujah are fanatical in their disparate beliefs. The only thing that unites the clan is its 
  members' desire to overthrow the system. Many are bullheaded crusaders of the worst 
  sort, fanatically devoted to their own causes and blind to any other shade of truth. Others 
  are great intellectualists who desire to institute change through the superiority of their 
  cause and ideals. Whatever their methodology, the Brujah are torn between the nobility 
  of freedom and the anarchy that is the Beast. 
  While they lack organization, Brujah are not without common purpose. Diversity is 
  their strength, but they always answer the call of their brethren in times of need. 
  Regardless of past antagonism, when the call is made, the clan responds. 
  Other Kindred often afford the Brujah certain liberties because of their eccentricities 
  and have learned to provide them leeway, for the Brujah are often seen as crazed 
  destroyers. 
   
  Disciplines: Celerity, Potence, Presence 
  
  Advantage: Centuries of rebellion, sometimes in the face of insurmountable odds, have 
  forged a powerful "if against them" attitude among the member of the Brujah clan Brujah 
  are quick to side with their own, even at the risk of personal danger. Prestation is neither 
  requested nor offered for this aid. Refusing a brother aid is frowned upon and will result 
  in the loss of a Status Trait and possibly even result in ostracism for the offender. Those 
  who overuse or abuse this advantage will find themselves losing status. A Brujah who 
  has lost all her Status Traits can no longer expect the aid of her former allies, who may 
  ignore her at no risk. 
  The exception to this are the anarch Brujah, who have their own informal sort of status 
  outside the Camarilla's social structure. These Brujah, although they have no recognized 
  or official status, still willingly answer the call when help is needed. 
  Disadvantage: As a whole, the Brujah bloodline cursed with an internalized rage and a 
  hair trigger. While many spend their existence trying to come to grips with the 
  destructive force within themselves, few if any have ever conquered it. Whenever a 
  Brujah slips into a frenzy she gives herself over entirely to it. All Brujah therefore begin 
  with the Negative Mental Trait: Violent. The character receives no compensation for this 
  Negative Trait. This Trait may not be bought off or lost by any means short of Golconda. 
  Organization: Among the Brujah, it would seem that might makes right. Any attempt to 
  organize the clan would result in chaos because of the intrinsically rebellious nature of its 
  members. Nonetheless, clan members are fiercely loyal to each other, especially when 
  they rally behind a cause. Brujah meetings (known as Rants) are held frequently and 
  often take place at concerts or raves. All vampires are invited to attend the Rants, but the 
  violent nature of these gatherings usually deters all but the very brave or foolhardy. 
  Quote: "Serve you? I'd rather swallow an Inquisitor's cross. The Brujah bow to 
  no one!"  
  Stereotypes: 
  • Gangrel - They truly have the warrior's spirit, but they are lethargic and complacent 
  to the manipulation of tyrants. It is time to stop your flight and fight,  Gangrel. 
  • Malkavian - One minute they're with us a hundred percent; the next, they're counting 
  the holes in the ceiling tiles. 1 can't make head or tails of them. 
  • Nosferatu -They deserve better than the lot they've been given, but I'll be damned if 
  the other clans of the Camarilla will given them half the chance we will. 
  • Toreador - Those effete bastards are so caught up with their trivial games they can't 
  see the flames all around them. 
  • Tremere - They represent everything we despise. One of these days its going to come 
  down to us or them. 
  • Ventrue - These blind hypocrites can and have sold the birth right of every free being 
  in an attempt to secure themselves as a sort of outdated, pompous class of aristocrats. 
   
  
   
   
  The Gangrel are wanderers, rarely remaining in one place for any significant period of 
  time. In this, they are very different from most Kindred, who usually find a haven and 
  jealously guard it. There is no record of who the eldest in the Gangrel line is, and the clan 
  has no established leaders. On the whole, Gangrel seem unconcerned with such things. 
  They are known for being withdrawn, quiet and solemn. They certainly keep their cards 
  close to their chests. 
  Clan Gangrel consists of survivors, vampires who are capable of making it on their 
  own. They do not despise civilization or the society of their Kindred. They simply do not 
  require it. They are known for their lack of concern about crossing the lands of the 
  werewolves; indeed, it is said they have friends among them. 
  Gangrel always pick their progeny-to-be very carefully, seeking survivors who are 
  capable of existing on their own. Once they Embrace these mortals, they abandon them, 
  leaving their victims to make their own way through the world. Though they may watch 
  their progeny from a distance, sires rarely interfere. When they feel the childer are ready, 
  Gangrel sires present themselves and teach the childer the true ways of the line. 
  The Gangrel are very capable shapeshifters, which may explain their ability to cross 
  wild areas unmolested. There are no reports of them being able to transform into anything 
  other than wolves and bats, but there are tales of some Gangrel elders being able to 
  achieve mist form. Perhaps because of this shapechanging power, Gangrel often have 
  features distinctly resembling those of animals. Each time a Gangrel frenzies, she gains 
  another animal feature. 
  If stories are to be believed, the Gypsies may be mortal descendants of the mysterious 
  Antediluvian who stands at the head of the Gangrel line. They are under his protection, 
  and any Kindred who harms or Embraces a Gypsy will answer to him (or her). 
  
  Regardless of whether this is true or not, Kindred are loathe to harm Gypsies. Members 
  of the Gangrel clan are expected, through long-standing clan tradition, to aid Gypsies 
  whenever necessary. In turn, Gangrel have also been known to receive aid from Gypsies. 
  Certain members of Clan Gangrel have adopted much from Gypsy culture, including 
  mannerisms, linguistic elements and even dress. 
  Disciplines: Animalism, Fortitude, Protean 
  Clan Advantage: Gangrel rarely allow themselves to be tied down to one place for long, 
  except when they feel there is some task or goal they must accomplish before moving on. 
  As a result, few princes enforce the laws of Presentation upon the nomadic Gangrel. This 
  is not to say that they can not be told to leave by a prince, but they rarely worry about 
  seeking out the prince of every domain where they wander, 
  Furthermore, when Gangrel deal with werewolves, they do not show a taint of the 
  Wyrm because of early generation. Only Gangrel who have three or more Beast Traits 
  will bear the scent of the Wyrm (see The Apocalypse). This is obviously of great 
  advantage when dealing with the already unpredictable Garou, the werewolves with 
  whom the Gangrel. share the wild places in our world. 
  Clan Disadvantages: Each time the Beast (in the form of frenzy provoked by a Beast 
  Trait) washes over a member of the Gangrel bloodline, it leaves a mark of its passing in 
  its wake. 
  These marks take the form of animalistic features, like a hairy mane, pointed ears or 
  slitted pupils. The player should record these on her character sheet and include them in 
  her description. For every three of these features she possesses, the character must take 
  either the Bestial or Repugnant Negative Social Trait. These traits can and probably will 
  be taken multiple times as the Kindred becomes more and more animalistic. 
  Organization: The Gangrel do not really consider themselves a clan, at least in the sense 
  that other clans do. They never have clan meetings and rarely attend Camarilla councils. 
  Nonetheless, they do tend to enjoy one another's company, at least more than that of other 
  vampires, and they can often be found together. 
  Quote: "The city is not our home. It is simply where we are forced to reside. The 
  outlands are where we belong. Our people have become ill and deranged 
  because we have lived in this purgatory too long. We have grown dependent on 
  the polluted blood of mortals." 
  Stereotypes: 
  • Brujah - Their virtue is pure, but their vision is clouded with hate and pride. 
  • Malkavian - They are reservoirs of immense power, hut they do not know how to tap 
  their potential. 
  • Nosferatu - Kindred of strong spirit; we share much in common with them. 
  • Toreador - We hold them in contempt because they have earned nothing better. They 
  must learn to serve instead of take. 
  
  • Tremere - Though they do not realize it, they are our enemies. They follow the path 
  of greed and seek to destroy us all. 
  • Ventrue - Every sect must have leaders; each leader must serve the sect. These 
  leaders are neither better nor worse than most. 
   
   
   
  In each Kindred soul bums the corrupting breath of a ravenous Beast. The Beast scars 
  each immortal differently, granting powers and weaknesses according to bloodline and 
  ancestry. To those of Malkavian blood, the Beast has gifted wisdom, insight and 
  madness. While the "weak-minded" erect barriers to protect their "sanity", Malkavians 
  revel in the chaos of their reality. 
  Scoffing at the petty intrigues of other Kindred the way an adult scoffs at a child's 
  infatuation with toys, Malkavians manipulate others to alleviate their boredom. They 
  believe the insights they have distilled from madness prove that all other Kindred are 
  insane. 
  Malkavians have no clan ordinances or requirements. They pay no dues and sign no 
  contracts. As a Malkavian, you only have to be yourself... except, of course, on your 
  unbirthday, when you're allowed to be anyone. Of course, if you choose just to be 
  yourself, no one will chastise you. You are free of the bonds of sanity and the ennui of 
  normalcy. 
  Malkavians have the privilege of running along the edge of the abyss, fiddling with the 
  Devil and tempting fate and Kindred alike. 
  Welcome to the Greatest Show on Earth. 
  Disciplines; Auspex, Dominate, Obfuscate  
  
  Clan Advantage: A large number of Malkav's children cavort through their vampiric 
  existence as carefree, if not careless, buffoons. At least, this is how the majority of 
  Kindred perceive them. As a result, once per evening, any Malkavian may choose to 
  ignore one of the following: any use of Status Traits in a Social Challenge, the loss of 
  Status, or any of the other uses of Status. This benefit may only be evoked in a single 
  situation and can only benefit the Malkavian personally. Any Status Traits risked in a 
  challenge are neither lost, nor are they bid- they simply do not exist to the irreverent 
  Malkavian. 
  Clan Disadvantage: While any Kindred can become insane during his existence, 
  Malkavians begin that way. Upon character creation, one Derangement must be chosen to 
  represent the madness their bloodline must bear (or enjoy, as the case may be). 
  Furthermore, this Derangement is always active and should be continually played by the 
  Malkavian. These Derangements can never be "bought off" or removed during the course 
  of a chronicle. They are far too central an aspect of their personality. 
  Organization: Hierarchy? Organization? A scant few of us admit that these concepts 
  exist, but why bother? In the end, only chaos is interesting. 
  Quote: "We don't do quotes. Piece together your own jigsaw puzzle of 
  meaningless words and dance around it in holy benediction. Meaning comes only 
  from madness."  
  Stereotypes: 
  • Brujah - Puffed up with self-importance. Only when they forget their tiresome quest 
  for freedom will they truly be free. 
  • Gangrel - So close to the Beast, yet so far from wisdom. 
  • Nosferatu - These packrats hoard their scraps of gossip in their dirty sewers thinking 
  these make them powerful. 
  • Toreador - Everything about their art reveals the meaninglessness of the universe. If 
  they would only learn from their own art. 
  • Tremere - Always be on your worst behavior for these pompous fools. 
  • Ventrue - They are the most fun to play games with because they take everything so 
  seriously. 
   
  
   
   
  The Nosferatu are the least human in appearance of all the clans. They look something 
  like feral animals. Their smell and appearance are revolting- one could even say 
  monstrous. Some have long bulbous ears, coarse-skinned skulls covered with tufts of hair 
  or elongated faces covered with disgusting warts and lumps. 
  After a mortal has been Embraced by a Nosferatu, the poor individual undergoes an 
  exceptionally painful period of transformation. Over several weeks, he slowly shifts from 
  his mortal guise to his Nosferatu visage. In the beginning, the childe may revel in his 
  newfound powers, but the pain and changes soon begin. It's likely that the psychological 
  trauma is more painful than the physical torment. 
  Nosferatu only Embrace those mortals who are twisted in one way or another: 
  emotionally, physically, spiritually or intellectually. They consider the Embrace too 
  horrific to bestow on worthwhile human beings. By changing mortals into vampires, the 
  sires hope to somehow redeem their childer. It's surprising how often this works. 
  Underneath their grim exteriors, the Nosferatu are practical and mostly sane. 
  It is said that Nosferatu revel in being dirty and disgusting and do little to improve 
  their appearance (not that there is much they can do). Indeed, they are cheerful amid their 
  squalor, especially when others are forced to enter their realm. Nosferatu are known for 
  being grumpy and lewd and cannot be trusted to maintain the standards of civilized 
  society. 
  Though their power of Obfuscation enables Nosferatu travel through mortal society, 
  Nosferatu are not able to interact with it. They must therefore live apart. The habits that 
  derive from such an existence extend even to their interactions with other vampires. 
  Nosferatu avoid all con-tact, preferring their own solitary existence to the chaos of 
  interacting with others. 
  
  Though they do not interact with other vampires, they do remain cognizant of the 
  pulse of the city. Nosferatu often listen to the conversations of other vampires from 
  hiding. They have even been known to sneak into a prince's haven to discover the elder's 
  deepest secrets. If a vampire wants to know any information about the city or its immortal 
  inhabitants, she need only speak with a Nosferatu. 
  The Nosferatu do stay in contact with one another and have developed a unique 
  subculture among the Kindred. They play host to one another with the most elaborate 
  politeness and gentility. They share their information among themselves, and as a result, 
  they are probably the best in-formed of the Kindred. 
  Disciplines: Animalism, Obfuscate, Potence 
  Clan Advantage: The Nosferatu are the undisputed masters of the undercity. In any city 
  where the Nosferatu have had a chance to set up shop, they will be able to enjoy several 
  advantages by using the city's sewer system. First of all, a portion of the city's sewers are 
  the sole property of the 
  Nosferatu clan; no others can access this area without a Nosferatu guide, the use of 
  powerful Disciplines or as part of the story. Attempting to do so will result in the 
  character either getting lost, alerting the Nosferatu or setting off any number of traps or 
  precautions taken by the sewer's true masters. Furthermore, a Nosferatu standing near a 
  sewer grate, manhole cover or the like may utilize it for the "Fair Escape" rule. 
  Clan Disadvantage: Because of their horrifying countenances, a Nosferatu may not 
  initiate Social Challenges with others while her true visage is apparent. The exception to 
  this is Social Challenges involving intimidation or threatening an opponent. 
  Organization: Nosferatu tend to look out for each other and mingle little with others. 
  They are united in spirit, with an established network, but seldom have formal clan 
  meetings of any sort. 
  Quote: "I don't look for trouble, and if it comes, I hide. Damn right, pretty boy. You 
  may call me chicken, but I've known a lot of Kindred over the years who got 
  smart just a few seconds too late. It's not like we can't die. It's just that it don't 
  come so easy now." 
  Stereotypes: 
  • Brujah - Nice enough fellas, once you get past the crap. 
  • Gangrel - Good blokes; they know who they are. 
  • Malkavian - Creepy, ain't they? Don't even trust 'em. 
  • Toreador - Empty-headed whelps who should be spanked. 
  • Tremere - Shady characters, they're up to something. 
  • Ventrue - Too damn proper; something's stuck up their ass. 
   
  
   
   
  The members of this clan are known for their hedonistic tendencies, although that 
  description is a misinterpretation of their true nature. They are indeed proud and regal 
  Kindred, highly excitable and possessed of expensive tastes, but the word "hedonistic" is 
  sometimes a bit extreme. Artists are always so misunderstood. 
  The Toreador are known to be the most sophisticated of the clans. They are concerned 
  with beauty in a way no mortal can fathom. They use the rarefied senses and tastes given 
  to them by the Embrace to become as consumed and impassioned as possible. For a 
  Toreador, nothing matters as much as beauty, though in many cases, the search for beauty 
  becomes a simple search for pleasure, and the Toreador indeed becomes little more than a 
  seeker of pleasures. 
  Like all true artists, Toreador search for truth beyond an existence they fear to be 
  meaningless. It is this struggle for truth, and ultimately salvation, that has inspired the 
  clan with what it considers its mission: to protect the genius of the human race. Toreador 
  are truly in love with the vigor and passion of mortals and never tire of marveling at 
  mortal creations. 
  The clan as a whole considers itself a clan of conservators; its protectorate consists of 
  the world's great artists. Toreador specifically seek out those whom they consider the 
  most worthy and Embrace them, thus preserving their genius from the ravages of aging 
  and death. Toreador constantly search for new talent and spend a great deal of time 
  deciding 
  who to preserve and who to leave to fate. Among the Toreador are some of the greatest 
  musicians and artists who ever lived. 
  The greatest weakness of the Toreador is their sensitivity to beauty. They reflexively 
  surround themselves with elegance and luxury so much that they sometimes turn into 
  addicts of pleasure. Some of this lineage become concerned with nothing but their own 
  
  continued pleasure- the reputation of the entire clan is sullied by the excesses of these 
  few. 
  Disciplines: Auspex, Celerity, Presence 
  Clan Advantage: In their worldliness and continued dalliance with mortals, members of 
  Clan Toreador inevitably collect a herd of fans, followers and hangers-on that can form a 
  convenient and relatively safe source of vitæ. The character may harvest one Blood Trait 
  per evening per level of Performance Ability she possesses. No challenges need to made, 
  but the character must still take fifteen minutes per Blood Trait and must have access to 
  her herd. 
  Clan Disadvantage: Toreador have a fine appreciation for artistic and natural beauty. 
  This appreciation can reach epic proportions when it concerns truly captivating subjects. 
  Any medium that the Storyteller decrees is sufficiently enthralling or the successful use 
  of the Performance Ability at levels three or higher will entrance a Toreador for half an 
  hour unless he spends a Willpower Trait. While in this state, the Toreador will ignore 
  (but not be unaware of) her surroundings and avoid other responsibilities, even to the 
  point of endangering himself. In this condition, any reasonably unobtrusive foe can 
  surprise the distracted Toreador. 
  Organization: The members of this clan meet frequently, though these meetings are 
  more social occasions than councils. In times of great urgency, Toreador become united 
  and ferociously active, but they are typically too apathetic to be much of a force. 
  Quote: "I remember my first love, a beautiful woman with a silver laugh. For ten 
  years, we were constant companions, hut in the end I had to let her go. She 
  begged me to take her, but I could not. You may call me cruel, but in the end, I 
  realized she was not a real artist, but an imitator. She was unworthy. I don't think 
  I have ever recovered." 
  Stereotypes: 
  • Brujah - They have little respect for the accomplishments of civilization, hut they do 
  understand the virtue of change. 
  • Gangrel - We don't claim to understand them. Are they Kindred at all? 
  • Malkavian - Though chaos can be beautiful, it would be a difficult life. 
  • Nosferatu - These loathsome beasts ought to have been expelled from the Camarilla 
  long ago. They hate all beauty and despise us for ours. 
  • Tremere - Honesty is not a word we associate with this clan, but we respect them for 
  their dedication. 
  • Ventrue - The patricians of our kind, the Ventrue are the only ones with the 
  refinement to appreciate art, though not as we do. 
   
  
   
   
  The members of this clan are dedicated and extremely well-organized. Others, 
  however, think of them as arcane and untrustworthy. They are aggressive, highly 
  intellectual and manipulative and respect only those who struggle and persevere against 
  all odds. The Tremere believe they must use the other clans in order to prosper. 
  Tremere are an odd lot indeed. They claim to have once been wizards who voluntarily 
  gave up their "art" for the powers and eternal life of the vampire. They have never named 
  a founder, and some claim they have none, having discovered and harnessed mystical 
  powers to achieve their state. Many of the elder Kindred discount this claim, as they have 
  met those made by the so-called "magicians" of Europe, who are almost uniformly 
  deluded or schizophrenic. 
  The clan's link to the substance of blood apparently runs deep, as its members are 
  rumored to be able to use blood in special ways to gain extraordinary powers. Some 
  believe the oldest Tremere were actually practitioners of ancient magic. They also believe 
  the knowledge of those practices has been passed down from generation to generation 
  and is now viewed by young Tremere as natural and commonplace- certainly not 
  magical. 
  The leaders of this clan are based in Vienna, although the clan has chantries on every 
  continent of the world. A council of seven elders is said to control the entire clan. From 
  that locus, they maintain a tightly ordered, highly hierarchical group and allow no one 
  outside the lineage to view the clan's inner workings. 
  Young members of Clan Tremere are expected to obey their elders without question, 
  
  but this is not as true as it once was. Tremere typically have immense love for and loyalty 
  to their clan, largely because many are blood bound to the seven elders of the clan. 
  Tremere come to love the clan because of the love they feel for their masters. Though 
  there are some rebels and anarchs from the Tremere line, it is possible that they are 
  merely adapting a pose for the sake of the clan, as part of their long-term schemes. 
  Disciplines: Auspex, Dominate, Thaumaturgy 
  Clan Advantage: Once they prove themselves to their superiors, lower ranking Tremere 
  can expect training in both Disciplines and rituals. Many elders are paranoid of younger 
  more aggressive Tremere and guard their knowledge jealously. However, most will 
  reward loyal and effective clan members for their accomplishments. While they respect 
  competent and powerful leaders, Tremere are highly competitive and will seize any 
  opportunity to further their personal power as long as it does not jeopardize the clan as a 
  whole. 
  Clan Disadvantage: The head of a chantry holds Blood Trait of each member of that 
  chantry. Further more, the Council of Seven in Vienna has access to another two Blood 
  Traits, taken when the member was introduced as a childe. These Traits are used not only 
  for punishment and control, but to help locate missing clan members, particularly those 
  captured by any of Clan 
  Tremere's many enemies. Upon his presentation, a childe is also fed a Blood Trait 
  from each of the seven elders, bringing him one third of the way to being bound to them. 
  Furthermore, despite periods of internal strife, members of the clan form a tightly-knit 
  group and usually cooperate with frightening efficiency against foes and obstacles.  
  Organization: Tremere are tightly organized and very hierarchical. Young members are 
  expected to obey older ones without question, but that doesn't always happen anymore.  
  Quote: "We must survive Gehenna and establish the tenets of our new world order once 
  the horror is overcome. If we are to succeed, we must control the other clans. No more 
  time can be wasted. If the other Kindred cannot he convinced to aid us, they must be 
  forced to submit." 
  Stereotypes: 
  • Brujah - Chaotic and savage, their disrespect and disunity will be their downfall. 
  • Gangrel - Noble Kindred, in their own way. 
  • Malkavian - So often they seem normal, but all members of their lineage carry their 
  strange curse. 
  • Nosferatu - If they know what is best for them, they had best mind their own 
  business, not ours. 
  • Toreador - Idle hedonists, but nonetheless, a compliment and a kind word go a long 
  
  way towards bringing them under our sway. 
  • Ventrue - Too fractious to be truly effective; nonetheless, they are our chief rivals for 
  control of the Camarilla. 
   
   
  Culture, civilization, sophistication- the Ventrue are proudly dedicated to these tenets. 
  After the Inquisition blazed across the world and scourged Kindred ancient and young, 
  the Ventrue lead the way in uniting the clans of the Camarilla. The Camarilla is a 
  vampiric society dedicated to a civilized, careful and secret existence within the mortal 
  population, and based on the noble Six Traditions, laws that are just as important today as 
  they were five hundred years ago. The Ventrue maintain the traditional structures that 
  allow vampires to ignore the lesser concerns of safety and sustenance. Vampires are thus 
  freed to attend to higher concerns and more sophisticated pursuits. 
  The Ventrue, in their own perspective, serve as the pillars of society through wise 
  leadership and diplomatic politics. They seek to avoid brutish violence, preferring to 
  settle disputes through genteel politics and enlightened debate. It is the clan's hope that by 
  displaying its unity and strength, its courage and resolution, its foresight and knowledge, 
  all vampires may follow its good example and join in a true Utopia. 
  Ventrue consider the Masquerade to be the foundation of vampiric society and hence 
  not to be trifled with. They feel that those who meddle with all that is sacred in the 
  Camarilla should be rooted out and convinced of the sanctity and significance of the 
  Masquerade. However, Ventrue realize that other Kindred should be treated gently, for 
  they lack the clan's social wisdom. They hope that other vampires' transgressions arise 
  
  from weak wills and simple minds, not from base meanness. 
  Ventrue assume (or take) great authority and great power. They feel they are 
  responsible for Kindred society and seek to impose order upon it- their own order, 
  regardless of what others want. As part of this order, young Ventrue are taught to respect 
  their elders. Greater even than superiors, however, are the laws and traditions of vampiric 
  society; all new Ventrue are expected to uphold and defend the Camarilla's laws. As 
  lessors, they should be provided with examples of honorable sophistication. The childe of 
  a Ventrue is the essence of nobility, with eternity as his dynasty. 
  Disciplines: Dominate, Fortitude, Presence 
  Clan Advantage: Clan Ventrue has always been intimately associated with wealth and 
  resources. Whether this is the result of their exacting choice in progeny or by virtue of 
  their bloodline is debatable. In either case, each Ventrue receives a free Finance Influence 
  Trait. While this Trait can be expended or temporarily neutralized, it can not be destroyed 
  or stripped from them. It cannot be permanently traded away, either. 
  Clan Disadvantage: The Ventrue maintain that they are an uncommon if not rarefied 
  breed among the Kindred. It is perhaps quite fitting that their taste for vitae is similarly 
  demanding. Upon Embrace, a Ventrue will instinctively become aware that only one type 
  or source of blood will satisfy her hunger, such as "virgins", "children", "blond men" or 
  "peasants". 
  Organization: Tradition is the greatest king. Ventrue favor age, experience and 
  generation over youth and ability. They believe that the capable rise to the top as soon as 
  they prove themselves. In all matters, the Ventrue embrace caution and debate all sides of 
  a situation before acting. Of course, some situations require swift action, and such 
  situations are usually recognized. 
        Much of Ventrue legislation and consideration occurs at regular weekly, monthly and 
  yearly clan meetings. There the clan follows a firm agenda and rationally proposes new 
  itineraries. In emergency situations, the eldest Ventrue of the city calls for an immediate 
  meeting.  
  Quote: "Every jungle has its lion. It is natural and just that we rise to the top in this 
  urban jungle, for we have been ordained to lead. The scepter of leadership is our 
  birthright." 
  Stereotypes: 
  • Brujah - Mindless brutes who seek to ruin our society It is our responsibility to stop 
  them. 
  • Gangrel - These ferocious Kindred have little concern for the safety of society, but 
  they at least have respect for it. They can be used. 
  
  • Malkavian - Selfish, regressed children who profane the noble with mockery and 
  silliness. Humor them in order to use them. 
  • Nosferatu - Though they do their best, their repugnance prevents any possibility of 
  true sophistication. 
  • Toreador - They are as nighty and capricious as art itself, but still dedicated to our 
  great society. 
  • Tremere - While they too believe in organization and law, they play the game of 
  manipulation with unbridled fanaticism. Beware. 
   
  Generation 
  Age is not the only measure of power among the Kindred. The potency of a Kindred's 
  blood is of primary importance as well. All vampires are descended from Caine, the first 
  and most powerful vampire. As the lifeblood of Caine is passed from sire to childe, the 
  potency of that blood diminishes. Those who are the grandchilder of Caine possess much 
  more potential power than those who are 13 generations removed. 
  Those at the bottom of this dark genealogical tree find themselves to be pale shadows 
  of their distant ancestors. It's no wonder that these thin-blooded progeny often lust after 
  the vitae of their progenitors. Being a few generations away from Caine offers great 
  power, but promises great danger. 
  Your generation indicates how many Attribute Traits you can have and dictates the 
  number of Blood and Willpower Traits you possess. The "Generation Table" in Chapter 
  Two indicates the maximum Attribute Traits, maximum Blood Traits, and starting and 
  maximum Willpower Traits that different generations of vampires have. Starting 
  characters are usually 13th generation, but can be of lower generation if Negative Traits 
  are acquired to lower generation (see "Negative Traits" in Chapter Two). If your starting 
  character is of lower generation, take the number of Blood Traits and Willpower Traits 
  indicated on the chart. Note: Attribute Traits listed indicate the maximum you can have in 
  your primary category- Physical, Social or Mental- starting at seven. 
  It's possible for characters to lower their generation after play begins. This is 
  accomplished through diablerie or other unique means (see "Diablerie" in Chapter Five). 
  If your generation does decrease during the game, your Blood Trait and Willpower Trait 
  maximums are increased (though cur-rent levels do not automatically increase). Look on 
  the chart to see what your new maximums are. Likewise, the maximum number of 
  Attribute Traits (in the primary category). Abilities and Disciplines you may possess 
  increases. However, your actual number of Attribute Traits, Abilities and Disciplines do 
  not rise because you are now of lower generation. Attribute Traits, Abilities and 
  Disciplines must still be acquired through normal life experiences (see "Experience" in 
  Chapter Five). 
  
   
  Nature and Demeanor 
  Humans instinctively roleplay. Each moment of our lives is spent playing a role of 
  some type or another. We are made up of many layers of personalities, some of which we 
  create for the benefit of our peers. 
  Archetypes are a way of defining personalities. They describe the roles that are a 
  collective characteristic of our identities, the personality types all people somehow share. 
  The psychologist Carl Jung invented the idea of archetypes as a way of describing any 
  concept that resides in the collective unconscious of humanity. He believed that such 
  complex symbols couldn't be rigidly categorized, but he did give names to some of the 
  archetypes. Nonetheless, in order to incorporate the concept of archetypes into our 
  system, a modified version of this idea is used to describe personalities (instead of 
  concepts). Remember to take the following guidelines with a grain of salt. 
  Characters do not, in fact, fit into neat and tidy categories. Archetypes are molds for 
  an infinite number of different personalities and should not be seen as absolute standards 
  of personality. An archetype is a basic pattern or template. Each individual varies from 
  that original in many ways. These personality archetypes are examples of the variety of 
  human personalities. They are intended to guide, not restrict. 
  The key to the use of archetypes is the interaction between the character's Nature and 
  Demeanor. Nature is the inner personality, the part the character does not usually reveal 
  to others. Most people do not reveal their true, inner selves; they create a Demeanor 
  instead. The Demeanor is a false front behind which the true self can be hidden. De-
  meanors may be as consistent as the character's eye color, or may change from minute to 
  minute. Extraordinarily open, honest or simple-minded individuals have the same De-
  meanor and Nature. 
  Archetypes have a practical impact on the game, for characters can be manipulated 
  according to their personalities. A character's Nature may be strong enough to pull him 
  out of a frenzy if he is about to do something that goes against it. For example, a Bravo 
  would be allowed a chance to stave off his frenzy if confronted by a lighter held by an 
  anarch he had bullied in the past. 
  Nature also works like a Negative Trait. If you know someone's Nature, you may use 
  it as a Negative Trait in any type of challenge. The Nature should have something to do 
  with the challenge, so you could bid a Martyr Nature when trying to talk someone to 
  going into a burning building to rescue a wounded Kindred. However, you could not use 
  a Child Nature when trying to look at an aura. 
  The following is an in-depth account of the Natures and Demeanors listed in Chapter 
  
  Two. 
   
  Architect 
  You believe in creating something of lasting value. You seek to leave a legacy of 
  some kind for those who will come after you. You are the type of person who will seek to 
  build a town, create a company or found an institution. 
   
  Bravo 
  You are a bully, a ruffian and a tough. You delight in tormenting the weak. You 
  always demand to have things your way and do not tolerate those who cross you. Power 
  and might are all you respect. You heed only those who can prove their power to you. 
  You see nothing wrong with forcing your will upon I others. There is nothing you like 
  better than to persecute, antagonize, heckle and intimidate those for whom you feel 
  contempt. The emotions of kindness and pity are not completely foreign to you, but you 
  do not show them often. While most Bravos despise the weak, others become their 
  protectors. 
   
  Caregiver 
  You always try to help those who are around you, struggling to make a difference in 
  the needs and sorrows of the unfortunate. People around you depend upon your stability 
  and strength to keep them steady and centered. People come to you when they have 
  problems. 
   
  Child 
  You are still immature in personality and temperament. You are a kid who never grew 
  up. Though you can care for yourself, you prefer the security of being cared for by others. 
  You often seek out someone to look out for you as a caretaker of sorts. Some see you as a 
  spoiled brat, while others see you as an innocent cherub unspoiled by the evils of the 
  world. This is a very common archetype for Kindred who were created when they were 
  young. Such Kindred often mature mentally, but not emotionally. 
   
  Conformist 
  You are a follower. Taking charge is simply not your style. It is easy for you to adapt, 
  attune, adjust, comply and reconcile yourself to a new situation in which you find 
  yourself. You are attracted to the brightest star, the person whom you feel is best and will 
  go the farthest. It is both difficult and distasteful for you to go against the flow. You hate 
  
  inconsistency and instability, and know that by supporting a strong leader, you help 
  prevent chaos from occurring. Any stable group needs some kind of Conformist. 
   
  Conniver 
  What is the sense of working hard when you can get something for nothing? Why 
  work when, just by talking, you can get what you want? You are always trying to find the 
  easy way out. You're on the fast 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're just up front about it. Additionally, the swindling and plotting 
  is a game, and you get great pleasure from outwitting someone. Connivers play many 
  roles. You may be a thief, a swindler, a street waif, an entrepreneur, a con man or just a 
  finagler. 
   
  Deviant 
  There are always people who simply do not fit in. You are a miscreant. Your beliefs, 
  motivations and sense of propriety are the complete antithesis of the status quo. You are 
  not so much an aimless rebel as an independent thinker who does not belong to vampiric 
  society. You don't give a damn about other people's morality, but you do adhere to your 
  own strange code of conduct. Deviants are typically irreverent, and some can have truly 
  bizarre tastes and desires. You also dearly love to shock other people by striking out at 
  their pointless codes and ethics. 
   
  Director 
  You despise chaos and disorder and tend to take control and organize things. You like 
  to be in charge, live to organize and habitually strive to make things work smoothly. You 
  trust your own judgment implicitly and tend to think of things in black-and-white terms. 
   
  Fanatic 
  You are consumed by a cause. It is the primary force in your life, for good or ill. You 
  are driven to accomplish the directives of your self-appointed mission. Every ounce of 
  sweat and passion you possess is directed toward it. Indeed, you may feel very guilty 
  about spending time on anything else. You let nothing stand in your way- nothing that 
  you cannot overcome, in any case. You and those around you may suffer, but your cause 
  is everything. Before the game begins, make sure you define your cause and understand 
  how it may affect your behavior. 
   
  Gallant 
  
  You are as flamboyant as you are amoral. Some see you as a rogue, a Don Juan, a 
  rake, a paramour or just a lounge lizard. You see yourself as all these things. You're a 
  consummate actor who loves to make as big a show of things as possible. Nothing 
  attracts your attention more than an appreciative audience. You love people, and you love 
  to impress them even more. Though you may indeed be a superior lover, you enjoy the 
  chase almost as much as the kill. Gallants vary widely in temperament and ambition, 
  holding little more in common than their love of attention. 
   
  Hedonist 
  There is no point to life, no meaning or direction. The best plan is to have as good a 
  time as possible. Rome may burn, but you shall drink wine and sing songs. You are a bon 
  vivant, a sensualist, a sybarite and a party animal. The words austerity, self-denial, self-
  discipline and asceticism have no place in your life. You prefer instant gratification. You 
  don't mind a little hard work, as long as a good time awaits when the work is done. Most 
  Hedonists have little self-control, for they so dearly love going to excess. 
   
  Jester 
  You are the fool, idiot, quipster, clown or comic, forever making fun of both yourself 
  and others. You constantly seek the humor in any situation, and always strive to battle the 
  tides of depression inside yourself. You hate sorrow and pain and constantly try to take 
  other's minds off the dark side of life. Sometimes you will do nearly anything to forget 
  that! pain exists. Your particular brand of humor might not always impress your friends, 
  but it makes you feel better. Some Jesters manage to escape pain and find true happiness, 
  but most never find release. Most just stave off the pain a little longer. 
   
  Judge 
  As a facilitator, moderator, arbitrator, conciliator and peacemaker, you always seek to 
  make things better. You pride yourself on your rationality, judgment and ability to 
  deduce a reasonable explanation when given the facts. You constantly struggle to 
  promote truth, but you understand how difficult it is to ascertain. You respect justice, for 
  justice is the means by which truth can reign. You hate dissension and arguments and shy 
  away from dogmatism. Judges often make good leaders, though a lack of vision can 
  sometimes cause them to adhere to the status quo instead of searching for better options. 
   
  Loner 
  You are always alone, even in a crowd. You are the wanderer, hunter and lone wolf. 
  Others might think of you as, lonely, forsaken, isolated or remote. In truth, you prefer 
  your own company to that of others for many different reasons. Perhaps you do not 
  
  understand people, people dislike you, people like you too much, or you are simply lost 
  in your own thoughts. Your reasons are your own. You prefer to walk alone, and you 
  could care less about what others think or say about you. 
   
  Martyr 
  Many people possess the martyr instinct, but only a few act upon it. Even fewer people 
  live the life of a martyr. You, however, are one of those few. Your desire for self-
  sacrifice may stem from a poor self-image, 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 the worst of times, a Martyr expects sympathy and attention because of his or her 
  suffering, and may even feign or exaggerate pain or deprivation. In the best of times, a 
  Martyr chooses to suffer injury or even Final Death rather than renounce religion, beliefs, 
  principles, causes or friends, 
   
  Rebel 
  You are a malcontent, an iconoclastic and free-thinking creature. You are independent, 
  free-willed and unwilling to join any particular cause or movement. You desire only the 
  freedom to be yourself. You do not make a good follower and are not usually a very good 
  leader. You tend to be deliberately insubordinate to authority, even to the point of 
  stupidity. 
   
  Survivor 
  No matter what, you always manage to survive. You can endure, pull through, recover 
  from, outlast or outlive nearly any circumstance. When the going gets tough, you get 
  going. You never say die and never give up. Nothing angers you as much as a person 
  who does not struggle to make things better or who surrenders to the nameless forces of 
  the universe. You utterly despise quitters. 
   
  Traditionalist 
  You are an orthodox, conservative and extremely traditional individual. What was 
  good enough for you when you were young is good enough for you now. You almost 
  never change. You oppose change for the sake of change. You may be seen by some as a 
  miser, a reactionary or simply as an old fogy. You strive to always preserve the status 
  quo. 
   
  
  Visionary 
  There are very few who look beyond the suffocating embrace of society and mundane 
  thought to see something more. There are very few who are brave, strong or imaginative 
  enough. Society treats such people with both respect and contempt, but it is the Visionary 
  who perverts as well as guides society into the future. 
  You may be a spiritualize, shaman, New Ager, mystic, philosopher or inventor. 
  Whatever you are, you are always looking for something more. You see beyond the 
  bounds of conventional imagination and create new possibilities. Though you might have 
  your head in the clouds and be of an impractical bent, you are filled with new ideas and 
  perceptions. 
   
  Traits 
  Trait (trat) n. A distinctive feature, as of character. 
  - American Heritage Dictionary 
   
  When a writer doesn't have the time or need to demonstrate what a character is like, 
  descriptive words are used. These words must be carefully selected so that they reveal all 
  the important features of the character's persona. These words are nearly always 
  adjectives: "Vandalere was a thin, frail man - weak in body, but diabolically cunning in 
  mind." 
  In The Masquerade, we use these adjectives in much the same way. Indeed, they are 
  the basis of the game system. We call them Traits. 
  Traits have two primary purposes. The first and most important purpose is to enable 
  you to describe your character concretely and thereby empower your roleplaying. The 
  second is to enable you to interact with other characters in terms of the game system. The 
  mechanics of The Masquerade revolve around the Trait system. Every challenge- 
  confrontation between characters- is resolved using them. 
  The premise of this system is that a character who is described by a specific Trait 
  tends to be pretty good at things that involve that Trait, and is certainly better than 
  someone who doesn't have the Trait at all. For example, someone who is Brawny is a 
  better arm wrestler than someone who isn't. Likewise, a marathon runner needs to be 
  Tireless in order to finish a race still standing, and a child who is Persuasive has a good 
  chance of convincing his mom that he didn't break a vase on the living room floor. 
  In theory, a player can choose any adjective and take it as a Trait. However, for a 
  number of reasons, this is not suggested for any but the most expert. Many adjectives are 
  unimportant, extraneous and impractical; there is no need for a Pyorrheal Trait, although 
  it's possible that a vampire might get some form of gum disease. Still, the chances of that 
  Trait being used in a bidding contest- the act of a challenge- are close to nil. 
  
  Anyway, allowing any adjective would play hell with the mechanics of the game. 
  Players would have to carry around pocket dictionaries and flip pages every time some 
  wise-cracker bid "Vigesimal". If there are a set number of standard adjectives used as the 
  Trait pool, everyone can be expected to know the meaning of every adjective and can 
  know when each is applicable. For these reasons, The Masquerade has a list of Traits 
  from which to choose. 
  If you decide to add more Traits to the list, here are some guidelines: keep the number 
  of new Traits low, make sure all players understand them, and make sure that they don't 
  duplicate existing Traits. 
   
  Attributes (Bidding Traits) 
  Creative players can think of ways to use nearly any Trait in nearly any challenge. 
  Though this is most praiseworthy, players can sometimes go too far. To avoid this, the 
  general rule on bidding Traits is very strict: you can only bid Traits from the category that 
  best suits the nature of the challenge (i.e., Traits bid are from the same category- 
  Physical, Mental or Social). Even then, however, not all Physical Traits (or Mental, or 
  Social) are appropriate to all "Physical" (or "Mental", or "Social") challenges. 
  For example, beginners might think they can use all their Physical Traits in combat. 
  This is incorrect. If your character is trying to kick someone, Resilient is not an 
  appropriate Trait to bid as part of the attack. Likewise, if your character is trying to read 
  an opponent's aura, Creative might not be an appropriate Trait. 
  For such an "inappropriate" Trait to be allowed, both parties must agree. When an 
  opponent bids a Trait that you feel is extremely inappropriate, politely tell her that you're 
  not going to allow its use. If she is insistent, reevaluate your grievance. If you still can't 
  agree, appeal to any witnesses of the contest. Then, if there is still deadlock and no one is 
  willing to compromise, seek out a Narrator to make a ruling. Appeals to a Narrator in 
  these situations, however, should occur very, very rarely. Learn to handle confrontations 
  on your own, quickly and socially. 
  To keep things simple, you can ignore the subtleties of Traits and, say, use any 
  Physical Trait in any Physical Challenge. This approach is particularly useful when you 
  have a number of novice players. Eventually you will go beyond this boring convention 
  and only allow players to use Traits that are appropriate to the situation at hand. This 
  method is more complicated, but it can be a lot more fun. Try it out. 
   
  Physical Traits 
  Athletic: You have conditioned your body so that it responds well in full-body 
  movements, especially in competitive events. 
  Use: Sports, duels, running, acrobatics, grappling and Celerity. 
  Brawny: Bulky muscular strength. 
  Use: Punching, kicking, or grappling in combat when your goal is to inflict 
  
  damage. Power lifting. All feats of strength. 
  Brutal: You are capable of taking nearly any action in order to survive. 
  Use: Fighting an obviously superior enemy. 
  Dexterous; General adroitness and skill involving the use of one's hands. 
  Use: Weapon-oriented combat (Melee or Firearms), Pickpocketing, Punching. 
  Enduring: A persistent sturdiness against physical op-position. 
  Use: When your survival is at stake, this is a good Trail to risk as a second, or 
  successive, bid. 
  Energetic: A powerful force of spirit. A strong internal drive propels you and, in 
  physical situations, you can draw on a deep  
  reservoir of enthusiasm and zeal. 
  Use: Combat. Celerity. 
  Ferocious: Possession of brutal intensity and extreme physical determination. 
  Use: Any time that you intend to do serious harm. When in frenzy. 
  Graceful: Control and balance in the motion and use of the entire body. 
  Use: Combat defense. Whenever you might lose your balance (stepping on a 
  banana peel, fighting on four-inch-thick rafters). 
  Lithe: Characterized by flexibility and suppleness. 
  Use: Acrobatics, gymnastics, dodging, dancing and Celerity. 
  Nimble: Light and skillful; able to make agile movements. 
  Use: Dodging, jumping, rolling, acrobatics. Hand-to-hand combat. 
  Quick: This Trait represents your speed and reactions. 
  Use: Defending against a surprise attack. Running, dodging, attacking. Celerity. 
  Resilient: This is strength of health. You are able to recover quickly from bodily 
  harm. 
  Use: Resisting adverse environments. Defending against damage in an attack. 
  Robust: Resistant to physical harm and damage.  
  Use: Defending against damage in an attack. Endurance related actions that could 
  take place over a period of  time. 
  Rugged: You are hardy, rough and brutally healthy. You can shrug off wounds and 
  pain to continue your struggles. 
  Use: When resisting damage, any challenge that you enter while injured. Earth 
  Melding. 
  Stalwart: Physically strong and uncompromising against opposition. 
  Use: Resisting damage, or when standing your ground against overwhelming odds 
  or a superior foe. 
  Steady: More than simply physically dependable, you are controlled, unfaltering and 
  balanced. You have firm control over your efforts. 
  
  Use: Weapon attacks. Fighting in exotic locations. Piloting oil tankers. 
  Tenacious: Physically determined through force of will. You often prolong physical 
  confrontations, even when it might not be wise to do so. 
  Use: Second or subsequent physical challenge.  
  Tireless: You have a runner's stamina - you are less taxed by physical efforts than 
  ordinary people. 
  Use: Any endurance related challenge, second or subsequent physical challenge 
  with the same foe or foes. Celerity.  
  Tough: A harsh, aggressive attitude and a reluctance ever to submit. 
  Use: Whenever you're wounded or winded.  
  Vigorous: This is a combination of energy, power, intensity and resistance to harm. 
  Use: Combat and athletic challenges when you're on the defensive. 
  Wiry: Tight, streamlined, muscular strength.  
  Use: Punching, kicking or grappling in combat. Acrobatic movements. Endurance 
  lifting. 
   
  Negative Physical Traits 
  Clumsy: Lacking physical coordination, balance and grace. You are prone to 
  stumbling and dropping objects. 
  Cowardly: In threatening situations, saving your own neck is all that is important. 
  You might even flee when you have the upper 
  hand, just out of habit. 
  Decrepit: You move and act as if you are old and infirm. You recover from physical 
  damage slowly, are unable to apply full muscular strength, and tire easily. 
  Delicate: Frail and weak in structure; you are easily damaged by physical harm. 
  Docile: The opposite of the Ferocious and Tenacious Traits; you lack physical 
  persistence and tend to submit rather than fight long battles. 
  Flabby: Your muscles are underdeveloped. You cannot apply your strength well 
  against resistance. 
  Lame: You are disabled in one or more limbs. The handicap can be as obvious as a 
  missing leg or as subtle as a dysfunctional arm. 
  Lethargic: Slow and drowsy. You suffer from a serious lack of energy or motivation. 
  Puny: You are weak and inferior in strength. This could mean diminutive size. 
  Sickly: Weak and feeble. Your body responds to physical stress as if it were in the 
  throes of a debilitating illness. 
   
  Social Traits 
  Alluring: You have an attractive and appealing presence that inspires desire in others. 
  Use: Seduction. Convincing others. 
  Beguiling: This Trait represents the skill of deception and illusion. You can twist the 
  
  perceptions of others and lead them to believe what suits you. 
  Use: Tricking others. Lying under duress. 
  Charismatic: This is a talent of inspiration and motivation, the sign of a strong leader. 
  Use: In a situation involving leadership or the achievement of leadership. Awe 
  contests. 
  Charming: Your speech and actions make you appear attractive and appealing to 
  others. 
  Use: Convincing. Persuading. Entrancement Challenges. 
  Commanding: Impressive delivery of orders and suggestions. This implies skill in the 
  control and direction of others. 
  Use: When you are seen as a leader. Presence Challenges. 
  Compassionate: Deep Feelings of care or pity for others. 
  Use: Defending the weak or downtrodden. Defeating major obstacles while 
  pursuing an altruistic end. 
  Dignified: Something about your posture and body carriage appears honorable and 
  aesthetically pleasing.  You carry yourself well. 
  Use: Presence Challenges. Defending against Social Disciplines. 
  Diplomatic: You are tactful, careful and thoughtful in speech and deed. Few are 
  displeased with what you say or do. 
  Use: Very important in intrigue. Leadership situations. 
  Elegant: You have a way about you that suggests refined tastefulness. Even though 
  you don't need money to be elegant, you exude an air of richness and high society. 
  Use: High society or Toreador parties. Might be important in some clans for 
  advancement. Defending against Social Disciplines. 
  Eloquent: This Trait signifies the ability to speak in an interesting and convincing 
  manner. 
  Use: Convincing others. Swaying emotions. Public speaking. 
  Empathetic: You can identify and understand the emotions and moods of people with 
  whom you come into contact. 
  Use: Gauging the feelings of others. Beast Within contests. Not useful in defense 
  against Social Disciplines(might actually make it easier to use them on you). 
  Expressive: The ability to articulate thoughts in interesting, significant, meaningful 
  ways. If you want someone to understand your meaning, this is the Trait to apply. 
  Use: Producing art, acting, performing. 
  Friendly: You fit in with all you meet. Even after a short conversation, most find it 
  difficult to dislike you. 
  
  Use: Entrancement Challenges. Convincing others. 
  Genial: Cordial, kindly, warm and pleasant. You are pleasing to be around. 
  Use: Mingling at parties. Starting an Entrancement Challenge. Generally used in a 
  second or later Social Challenge with someone. 
  Gorgeous: You are beautiful or handsome. You were born with a face and body that 
  is good-looking to most people you meet. 
  Use: Modeling, posing. Beast Within Challenges. Entrancement Challenges. 
  Ingratiating: You know what to do to gain the favor of people who know you. 
  Use: Dealing with elders in social situation. Entrancement Challenges. Defending 
  against Social Disciplines. 
  Intimidating: A frightening or awesome presence that causes others to feel timid. 
  This trait is particularly useful when attempting to cow opponents. 
  Use: Dread Gaze and Majesty Challenges. Inspiring common fear. Ordering others. 
  Magnetic: People feel drawn to you; those around you are interested in your speech 
  and actions. 
  Use: Presence Challenges. Beast Within Challenges. Seduction. 
  Persuasive: Your arguments and requests seem believable, convincing and correct. 
  Very useful when someone else is undecided on an issue. 
  Use: Persuading or convincing others. 
  Seductive: You know how to entice and tempt. You can use your good looks and your 
  body to get what you want from others. 
  Use: Subterfuge, Entrancement, Summoning and Seduction. 
  Witty: Cleverly humorous. Jokes and jests come easily to you, and you are perceived 
  as a funny person when you want to be. 
  Use: At parties. Entertaining someone. Goading or insulting someone. 
   
  Negative Social Traits 
  Bestial: You have started to resemble the Beast of your vampiric nature. Maybe you 
  have claw-like fingernails, heavy body hair or a feral glint in your eyes; however your 
  Beast manifests, you definitely seem inhuman. 
  Callous: You are unfeeling, uncaring and insensitive to the suffering of others. Your 
  heart is a frozen stone. 
  Condescending: You just can't help it; your contempt for others is impossible to hide. 
  Dull: Those with whom you speak usually find you boring and uninteresting. 
  Conversing with you is a chore. You do not present yourself well to others. 
  Naive: You lack the air of worldliness, sophistication or maturity that most carry. 
  
  Obnoxious: You are an nothing or unappealing in speech, action or appearance. 
  Repugnant: Your appearance disgusts everyone around you. Needless to say, you 
  make a terrible first impression with strangers. 
  Shy: You are timid, bashful, reserved and socially hesitant. 
  Tactless: You are unable to do or say things that others find appropriate to the social 
  situation. 
  Untrustworthy: You are rumored or perceived to be untrustworthy and 
  unreliable(whether you are or not). 
   
  Mental Traits 
  Alert: You are mentally prepared for danger and can react quickly when it occurs. 
  Use: Preventing surprise attacks. Defending against Dominate challenges. 
  Attentive: You pay attention to everyday occurrences around you. When something 
  extraordinary happens, you are usually ready for it. 
  Use: Preventing surprise attacks. Seeing through Obfuscate when you don't expect 
  it. Preventing Dominate. 
  Calm: You can withstand an extraordinary level of disturbance without becoming 
  agitated or upset. You are a wellspring of self-control. 
  Use: Resisting frenzy or commands that provoke violence. Whenever a mental 
  attack might upset you. Primarily for defense. 
  Clever: Quick-witted resourcefulness. You think well on your feet. 
  Use: Using a Mental Discipline against another. 
  Creative: Your ideas are original and imaginative. This implies an ability to produce 
  unusual solutions to your difficulties. You can create artistic pieces. A requirement for 
  any true artist. 
  Use: Defending against aura readings. Creating anything. 
  Cunning: Crafty and sly, you possess a great deal of ingenuity. 
  Use: Tricking others. Command Challenges. 
  Dedicated: You give yourself over totally to your beliefs. When one of your causes is 
  at stake, you stop at nothing to succeed. 
  Use: Useful in any Mental Challenge when your beliefs are at stake. Defense 
  against Forgetful Mind. 
  Determined: When it comes to mental endeavors, you are fully committed. Nothing 
  can divert your intentions to succeed once you have made up your mind. 
  Use: Facedowns. Useful in a normal Mental Challenge. 
  Discerning: You are discriminating, and can pick out details, subtleties and 
  
  idiosyncrasies. You have clarity of vision. 
  Use: Auspex-related challenges. 
  Disciplined: Your mind is structured and controlled. This rigidity gives you an edge 
  in battles of will. 
  Use: Thaumaturgy contests. Facedowns. Useful in a Mental Discipline contest. 
  Insightful: The power of looking at a situation and gaining an understanding of it. 
  Use: Investigation(but not defense against it). Reading Auras. Using Heightened 
  Senses. Seeing through Obfuscate when you expect it. 
  Intuitive: Knowledge and understanding somehow come to you without conscious 
  reasoning, as if by instinct. 
  Use: Reading auras. Seeing through Obfuscate. 
  Knowledgeable: You know copious and detailed information about a wide variety of 
  topics. This represents "book-learning". 
  Use: Forgetful Mind contests. Remembering information your character might 
  know. Employing Thaumaturgy. 
  Observant: This Trait signifies depth of vision, the power to look at something and 
  notice the important aspects of it. 
  Use: Heightened Senses. Picking up on subtitles that others might overlook. 
  Patient: You are tolerant, persevering and steadfast. You can wait out extended delays 
  with composure. 
  Use: Facedowns or other mental battles after another Trait has been bid. 
  Rational: You believe in logic, reason, sanity and sobriety. Your ability to reduce 
  concepts to a mathematical level helps you analyze the world. 
  Use: Defending against emotion-oriented mental attacks. Defending against an aura 
  reading. Not used as an initial bid. 
  Reflective: Meditative self-recollection and deep thought. The Trait of the serious 
  thinker, Reflective enables you to consider all  
  aspects of a conundrum. 
  Use: Meditation. Remembering information. Defending against most Mental 
  attacks. 
  Shrewd: You are astute and artful. You keep your wits about you and accomplish 
  mental feats with efficiency and finesse. 
  Use: Defending against a Mental Discipline. 
  Vigilant: Alertly watchful. You have the disposition of a guard dog; your attention 
  misses little. More appropriate for mental defense than for attack. 
  Use: Defending against investigation, Forgetful Mind and Command. Seeing 
  
  through Obfuscate. 
  Wily: You are sly and full of guile. Because you are wily, you can trick and deceive 
  easily. 
  Use: Tricking others. Lying under duress. Confusing mental situations. 
  Wise: This Trait represents an overall understanding of the workings of the world. 
  Use: Giving advice. Dispensing snippets of Zen. Defending against Dominate 
  Challenges. 
   
  Negative Mental Traits 
  Forgetful; You have trouble remembering even important things. 
  Gullible: You are easily deceived, duped or fooled. 
  Ignorant: You are uneducated or misinformed, and never seem to know anything. 
  Impatient: This Trait means you are restless, anxious and generally intolerant of 
  delays. You want everything to go your way 
  immediately. 
  Oblivious: Unaware and unmindful. You'd be lucky if you noticed an airplane flying 
  through your living room. 
  Predictable: Because you lack originality or intelligence, even strangers can easily 
  figure out what you intend to do next. Not a very good Trait for chess players. 
  Shortsighted: You lack foresight. You rarely look beyond the superficial; details of 
  perception are usually lost on you. 
  Submissive: You have no backbone; you relent and surrender at any cost rather than 
  stand up for yourself. 
  Violent: An extreme lack of self-control. You fly into rages at the slightest 
  provocation, and frenzy is always close to the surface. This is a Mental Trait  because it 
  represents mental instability. 
  Witless: You lack the ability to process information  quickly. In all seriousness, you 
  are foolish and slow to act when threatened. 
   
  Abilities 
   
  "I can honestly say that I have learned a great deal from chess: 
  how to be patient, how to bide. my time, how to see the other man's point of 
  view, how to persevere in uncompromising situations, how to learn from my 
  failures." 
  -Fred Reinfeld, "The Complete Chessplayer" 
   
  While many complex actions in Mind's Eye Theatre can be easily and quickly 
  
  executed with simple challenges, this is not always the case. Abilities are the skills, 
  talents and knowledges used by characters. 
  An Ability allows a character to engage in, if not excel in, a particular type of activity. 
  She would not normally be able to attempt the activity without it. Performing such a task 
  often involves risking Traits. If the character is defeated in the challenge, she may choose 
  to temporarily sacrifice a level in the appropriate Ability to call for a retest. While any 
  Traits risked are still lost, it is possible to still win the challenge. An Ability lost in this 
  manner is recovered at the beginning of the next session. If a character loses all her levels 
  in an Ability in this manner, she may not use that Ability until at least one level is 
  recovered. 
  Abilities can be chosen multiple times to represent a high degree of expertise in that 
  skill or a broad number of fields, as is the case with Performance, Science and Linguis-
  tics. 
  Often, the use of Abilities is accompanied by a challenge of one sort or another. Some 
  of these will be performed with a Narrator who will not only assign the relative difficulty 
  of the challenge in Traits, but will actually perform the test with you. A Static Challenge 
  is performed against a difficulty that is set by a Narrator. The Narrator can also interpret 
  the amount of time required to attempt the skill, and may even ask the player to pretend 
  she is performing the skill or drop out of play for the duration of the task. 
  Other Abilities can be used directly against another player, such as Subterfuge or 
  Melee. These rarely need the assistance of a Narrator. 
   
  Animal Ken 
  Vampires are among the most efficient predators in the world. For humans, this is not 
  always apparent, but animals seem instinctively aware of this and actively avoid the 
  undead. A character who possesses Animal Ken, however, has practiced long and hard to 
  regain (or simply never lost) the ability to interact and cooperate with natural animals. 
  Given time and access to an animal, she may train it to perform simple tasks (i.e. fetch, 
  guard, attack, etc.). When the command is given, the animal must make a Mental 
  Challenge to successfully understand and carry out the order. The difficulty of the test 
  will be based on the level of domestication of the animal as well as the complexity of the 
  task required. The character may also attempt to calm an injured, attacking or frightened 
  animal by defeating it in a Social Challenge. 
   
  Brawl 
  You are adept at using your body as a weapon. This includes any form or unarmed 
  
  combat from dirty in-fighting to highly-stylized martial arts. The Brawl Ability may be 
  used in coordination with claws, teeth and other types of such natural weaponry. In this 
  manner, even a character who is stripped bare can still present himself as a formidable 
  foe to an unwary opponent. 
   
  Bureaucracy 
  Each day, the world becomes more and more riddled by a staggering amount of 
  complexity, paperwork and red tape. A Kindred knowledgeable in the ways of 
  bureaucracy has the power to navigate this system and utilize it for her benefit. 
  Bureaucracy can allow the character to appropriate licenses, use contractual agreements 
  to her advantage and recover, alter or destroy files from organizations (in a pseudo-autho-
  rized manner, of course). Such actions can serve to ruin a rival or cover up an 
  embarrassing breach of the Masquerade. Bureaucracy often requires a Mental or Social 
  Challenge, depending on the type of roleplaying the character performs or as a Storyteller 
  sees fit. Difficulty depends on such factors as security, accessibility of the information, or 
  the cooperativeness of the target. 
   
  Computer 
  An information superhighway is being built, with electron asphalt, silicon off-ramps 
  and fiber optic expressways. It's enough to make an elder Kindred's head spin. Some 
  younger and more energetic members of the Damned have learned the secrets of this 
  other world and can use them to their advantage. Kindred with this Ability can infiltrate 
  systems, swap data, steal business and science secrets, and access records. A Mental 
  Challenge is required to accomplish these and other similar acts. The difficulty is a 
  function of system security and accessibility, equipment, time and rarity of information as 
  assigned by a Storyteller. Failure can lead to investigation by natural and sometimes 
  supernatural agencies that operate in the computer sphere. 
   
  Drive 
  The majority of adults have at least some familiarity with modem vehicles. A 
  character with this skill is an adept driver capable of tailing and avoiding tails, avoiding 
  collisions and using her vehicle as a weapon. These actions often require a Physical or 
  Mental Challenge. Factors influencing difficulty could include vehicle type, road 
  conditions and the sort of stunt desired. Furthermore, the Drive Ability can allow the 
  character to move from one game scene to another quickly. A Storyteller can reduce any 
  "out of game" travel time usually assigned for moving from scene to scene if the 
  
  character has this Ability and access to a vehicle. 
   
  Finance 
  Money talks, and you are fluent in its language. You can follow money trails, perform 
  and verify accounting tasks and understand such concepts as investment, buyouts and the 
  like. These actions are a function of a Mental Challenge that depends on any precautions 
  taken by the subject, the amount of money in question and the availability of information. 
  In a chronicle, the level of Finance Ability a character has can determine his income. In 
  general, $250 per level is a good rule of thumb, but this may vary widely from game to 
  game. The final ruing is, of course, up to the Storyteller. 
   
  Firearms 
  Sometime during your existence, you have spent the time to familiarize yourself with 
  a range of guns and similar projectile weapons. The most common use of this Ability is 
  in combat, but a Storyteller can also allow you to attempt a Mental Challenge to perform 
  other functions. You not only to understand how to operate firearms, but you can also 
  care for them, repair them and possibly make minor alterations. A character without this 
  Ability may still use a firearm, but cannot benefit from any other Ability-based 
  advantages. Those without the Firearms Ability may also choose to use Mental Traits 
  instead of Physical Traits during a challenge in which a firearm is involved. 
   
  Investigation 
  You possess the learned skills of a diligent investigator. This sort of attention to detail 
  is most often found among private investigators, police officers, government agents and 
  insurance claims personnel. In any case, you can often pick out or uncover details and 
  clues that less wary individuals would overlook or ignore. With a Mental Challenge, you 
  can tell if a person is carrying a concealed weapon or the like. When dealing with plots, 
  you may also request a Mental Challenge with a Storyteller to see if any clues have been 
  overlooked, piece together clues, or uncover information through formal investigation. 
  Hunters often employ this Ability to track down their Kindred prey. 
   
  Law 
  Any judicial system, whether legal, civil or criminal, is based on layer after layer of 
  confusing tradition, precedence and procedure. Your experiences with it, however, allow 
  you to make the system work for you. You can use the Law Ability to write up binding 
  contracts, defend clients, and know the rights of yourself and others. The difficulty of the 
  Mental Challenges necessary to accomplish these tasks depends on factors like 
  precedence, the severity of the crime, the legal complexity of the subject or the legal 
  action desired. 
  
   
  Leadership 
  You have the gift of influencing and inspiring others. This is a function of confidence, 
  bearing and a profound understanding of what motivates others. You may use this Ability 
  to cause others to perform reasonable tasks for you. They must first be under your 
  command or serving as your subordinates. Examples include: an elder and her clan, an 
  officer and his soldiers, a CEO and his employees or a crime lord and her henchmen. 
  These requests may not endanger the subject or violate the subject's Nature or Demeanor. 
  Also, the subject must first be defeated in a Social Challenge. 
   
  Linguistics 
  You have received tutelage in one or more languages other than your native tongue. In 
  their long lifetimes, some Kindred pick a multitude of languages, some long dead. This 
  can be anything from ancient hieroglyphics to common national languages or complex 
  dialects. The language known must be specified when the Linguistics Ability is chosen 
  and may not be changed. Each level may be an individual language, or it may be assigned 
  to the same language more than once to represent a particular fluency with that single 
  language. This skill allows you and anyone who also knows the language to speak 
  privately. Furthermore, you can translate written text in one of the languages you know. 
  This may or may not require a Mental Challenge, depending upon the clarity of the text. 
   
  Medicine 
  This Ability represents an adeptness at treating the injuries, diseases and various 
  ailments of living creatures. You can allow a living creature to recover a single Health 
  Level per night with rest and a Mental Challenge. Collecting and properly storing blood 
  requires this skill as well as the appropriate equipment. The difficulty of a challenge is 
  influenced by the severity and nature of the damage, equipment at your disposal and any 
  assistance or distractions. Other uses of this Ability include forensic information, 
  diagnosis, pharmaceutical knowledge and determining the health and blood content of 
  living creatures. 
   
  Melee 
  You possess a degree of training or experience with armed combat. Whether you 
  acquired this experience on a medieval battlefield, in an urban slum or from formal 
  training does not matter. You can use any weapon, from beer bottles and battle-axes to 
  katanas and crossbows. A character without this Ability may not use any of the 
  advantages of Abilities in armed combat, including retests. 
   
  
  Occult 
  There exists, on the fringe of mundane society, a wealth of arcane and alternative 
  knowledge. Most of this offers enlightening insight into the nature of our mysterious uni-
  verse. This Ability allows the character to tap and utilize this esoteric information. 
  Examples of these uses include, but are not limited to: identifying the use and nature of 
  visible magicks, rites and rituals; understanding basic fundaments of the occult; or having 
  knowledge of cults, tomes and artifacts. Most uses of the Occult Ability require a Mental 
  Challenge. The difficulty of this challenge can be subject to many factors, such as 
  obscurity, amount of existing data and the character's individual scope of understanding 
  (vampires know more about their own Disciplines, and so on). It is unheard of for 
  members of Clan Tremere not to have least one level in Occult. 
   
  Performance 
  You have the gift to make your own original creations and/or express those creations 
  to your peers. The genius of your creativity or the power with which you convey it is 
  determined by a Social Challenge. A particularly sensitive type can even become 
  entranced by the use of this skill. The Kindred must first he defeated in a Social 
  Challenge. Your specialty should be declared when the skill is taken. Some examples 
  include: painting, poetry, composing music or playing a single type of instrument. While 
  not all Toreador actually create art, those who do tend to be truly gifted in their field. 
   
  Repair 
  You possess a working understanding of what makes things tick. With time, tools and 
  parts you can fix or slightly alter most of the trappings of modern society. This 
  knowledge also allows you to excel at sabotage. The Repair Ability is widespread among 
  inventors, mechanics and handymen. Using this Ability usually calls for a Mental 
  Challenge, the difficulty of which depends on such factors as the item's complexity, tools 
  and parts available, extent of damage and time spent on the repairs. 
   
  Science 
  You have a degree of factual and practical expertise in a single field of the hard 
  sciences. This knowledge will allow you to identify properties of your field, perform 
  experiments, fabricate items, bring about results or access information a player could not 
  normally utilize. A Mental Challenge is necessary for all but the most trivial uses of this 
  skill. The difficulty depends on resources (equipment, data, etc.) available, complexity of 
  the task and time. A field of study must be chosen when the Science Ability is taken. A 
  
  few examples are Physics, Biology, Electronics and Chemistry. Other fields can be 
  allowed at the Storyteller's discretion. 
   
  Scrounge 
  Scrounge allows the character to produce items through connections, wits and 
  ingenuity. Many individuals who lack the wealth to purchase the things they desire or 
  need develop this Ability instead. Many Nosferatu and poorer Brujah possess this Ability. 
  Materials acquired with Scrounge aren't always brand new, are rarely exactly right and 
  often require some time to acquire, but this Ability can sometimes work where finance or 
  outright theft fail. A Mental or Social Challenge is necessary to use Scrounge. Some 
  factors that influence the difficulty of the challenge include rarity and value of the item 
  and local supply and demand. 
   
  Security 
  You have a degree of experience and knowledge of the variety of ways people defend 
  and protect things. Not only can you counter existing security, such as locks, alarms and 
  guards, but you can also determine the best way to secure items and areas. Other uses 
  include breaking and entering, infiltration, safecracking and hot-wiring. Almost all 
  applications of the Security Ability require a Mental Challenge determined by the 
  complexity of the task, the thoroughness of the defenses, your equipment and the length 
  of time required. 
   
  Streetwise 
  With this Ability, you have a feel for the street. You know its secrets, how to survive 
  out there and how to utilize the network of personalities on the street. You can get 
  information on events on the street, deal with gangs and the homeless and survive (if 
  somewhat squalidly) without an apparent income. Some uses of Streetwise require a 
  Social Challenge that is influenced by such things as composition of the local street 
  community and the current environment on the street. A Nosferatu without at least a level 
  of this Ability is an unusual creature, indeed. 
   
  Subterfuge 
  Subterfuge is an art of deception and intrigue that relies on a social backdrop to work. 
  When participating in a social setting or conversation with a subject, you can attempt to 
  draw information out of him through trickery and careful probing. This Ability is a 
  
  favorite of the Kindred, whose taste for intrigue and politics is practically unequaled. 
  Information, such as one's name, nationality. Negative Traits, friends and enemies can 
  be revealed by successfully using Subterfuge. The first requirement is that you get the 
  target to say something dealing with the desired knowledge, such as entering a 
  conversation about foreign culture to find out a character's nationality. If you can 
  accomplish this, then you may propose your true question and initiate a Social Challenge. 
  If you win, your target must forfeit the information. To use the Ability again, you must 
  once again lure him into a conversation. Furthermore, Subterfuge may not reveal more 
  than one Negative Trait per session, and it may be used to defend from others with 
  Subterfuge. You could even slip false information that they would believe to be true if 
  you defeat your opponent in the Social Challenge. 
  Conversely, the Subterfuge Ability may also be used to conceal information or lie 
  without detection. This may not, however, be used to lie while under the influence of 
  Command or other such Disciplines. 
   
  Survival 
  You have the knowledge and training to find food, water and shelter in a variety of 
  wilderness settings. Each Mental or Physical Challenge allows the character to provide 
  the basic necessities for herself or another living creature for one day. This Ability can 
  also be used to track beings in a wilderness setting. The nature and difficulty is usually 
  set by a Storyteller. Important factors in a Survival challenge are abundance or scarcity of 
  resources, time of the year, equipment and the type of wilderness. Many Gangrel 
  possessed this Ability in their days as mortals and find it useful even now when "living" 
  off of the land. 
   
  Disciplines 
  In addition to immortality and regenerative abilities, all Kindred have access to the 
  special gifts known as Disciplines. These powers, while strange and often wonderful, 
  only serve to further alienate the Kindred from their mortal ties. Indeed, many Kindred, 
  especially those with Advanced Disciplines, become drunk with their power and may 
  even consider themselves to be deities when compared to their lessers. 
  According to legend, the earliest Kindred had access to the full spectrum of the 
  following Disciplines, perhaps even more. After successive generations, their blood 
  became thinner and their powers became more specific. It may he that only vampires 
  with this particular quirk survived to our time. Whatever the case may be, the bloodlines 
  or clans of today show a distinct definition in the Disciplines they possess. While any 
  
  Kindred can learn and eventually master almost any Discipline, they will find their 
  intrinsic or clan Disciplines the easiest to master. 
  To reflect this, characters may only begin the chronicle with Disciplines from their 
  clan list (see the section on "Clans" for details). To learn out-of-clan Disciplines, a 
  character must first locate a willing mentor who possesses the desired Discipline. 
  Furthermore, the character must pay an increased experience point cost for these 
  Disciplines (see the section on "Experience" for more details). 
  Kindred who have no clan (the Caitiff) are an exception to this rule. Because of their 
  mixed heritage, they may begin with any three Disciplines, except Thaumaturgy. These 
  Disciplines are considered their "clan" Disciplines from that point forward. Any other 
  Disciplines are then considered out-of-clan and must be acquired and paid for as 
  mentioned above. 
  When purchasing Disciplines, a character must first master the lower levels of a 
  Discipline before moving on to more advanced levels. For example, before learning 
  Rapidity, a character must possess Alacrity and Swiftness. In addition, some Disciplines, 
  such as Thaumaturgy, have special limitations that must also be observed. These are 
  listed along with the Discipline in question. 
  Regardless of the nature of the Discipline, it is suggested that a character actually 
  learns the Discipline between sessions. This prevents the character from instantly gaining 
  the most efficient or effective Discipline during actual play. Also it helps to realistically 
  reflect the time it takes a Kindred to master her newly developing power. 
   
  Animalism 
  This collection of powers serves as a primal link between the Beast that lurks in the 
  souls of all Kindred and the wild spirit of the natural order of things. While some might 
  see the Kindred as unnatural and shunned by the world of the living, in truth, they occupy 
  a very vital niche in the ecology of the World of Darkness. This Discipline represents, 
  especially to the Gangrel, remaining in touch with and understanding the role Kindred 
  play in nature's scheme. 
   
  Basic 
  Beast Within 
  Your affinity with the animalistic side of the Kindred gives you some power over it in 
  others. In particular, you can draw upon a victim's bestial nature and force him to give in 
  to this darker side. 
  This Discipline allows you to activate one of an opponent's Derangements (the victim 
  
  chooses which one) if you can defeat him in a Social Challenge. You need not know any 
  of your target's Derangements, but if you do, you need not risk one of your Social Traits 
  when trying to activate that particular Derangement (knowing his Derangement takes the 
  place of your Social Trait during your initial bid). If you should fail in the attempt to use 
  Beast Within against a target, you may not try to use it again on her that evening. See the 
  section on "Derangements" for the rules concerning active Derangements and recovering 
  from Derangements. 
  The Beckoning 
  You can issue a compelling siren's song to nearby animals. Almost any type of animal 
  that can be found in your current locale may be called, but you must declare what you are 
  calling when you activate the Discipline. 
  Generally it costs one Social Trait to summon an animal, but a Narrator may issue a 
  higher cost for larger, rarer or more unruly animals. As a rule, the summoned animal will 
  arrive in ten to thirty minutes. The animal can be represented by a card that should 
  usually be displayed prominently. Use the animal stats listed in Chapter Ten as a guide. 
  Intermediate 
  Song of Serenity 
  By reaching deep within the soul of an individual, you can tame his bestial nature, or 
  at least quiet it for a while. This is useful not only in calming your allies, but also for 
  robbing a foe of her spirit and energy. 
  The power requires a Social Challenge to successfully execute. If you win the test, 
  Song of Serenity will bring a Kindred or Garou out of frenzy. Furthermore, if used 
  against an individual who is not in frenzy, this Discipline will quench the fire in his soul, 
  making him weak and malleable. In this state, he may not spend Willpower and gains the 
  Negative Mental Traits: Submissive x 2. This use of the Discipline lasts for the remainder 
  of evening or session. The Kindred may not use this Discipline on herself, and its effects 
  are not cumulative. 
  Advanced 
  Embrace the Beast 
  This level of Animalism allows the user to tap the dark and brutal wellspring of power 
  that lies in the souls of the Kindred, transforming her into a ferocious, unrestrained 
  monster. 
  While under the influence of Embrace the Beast, the character is not affected by 
  Dominate, Presence or Beast Within. Furthermore, for the duration of the power, the 
  character gains the Physical Traits: Ferocious and Relentless. The Discipline is not 
  without its drawbacks, however. The character may not initiate any Mental or Social 
  Challenges (except for intimidation). Additionally, the character temporarily gains the 
  Derangement: Crimson Rage. If she already has this Derangement, it becomes very active 
  for the duration of the Discipline's use. It costs one Mental Trait to activate this 
  
  Discipline. The Discipline comes to an end at either the end of the evening or session or 
  upon completion of the character's first physical confrontation. 
   
  Auspex 
  Auspex encompasses the vast array of expanded sensory powers that some Kindred 
  experience and can develop upon the Embrace. Most Kindred who are fortunate enough 
  to possess this power find it exceptionally useful, not only for night-to-night survival, but 
  also in allowing them to appreciate the beauty of their surroundings. The Toreador, in 
  particular, delight in this last aspect. 
   
  Basic 
  Heightened Senses 
  You can vastly enhance one of your senses to provide access to a world of sensory 
  input most people will never enjoy. Heightened Sense can be utilized by the character to 
  spy on conversations, see in inky (but not complete) darkness, read letters by touch, 
  identify an individual's scent or pick up tell-tale tastes. Any sense can be intensified by 
  the Discipline, but only one sense can be magnified at any time. 
  A Storyteller may determine that a Mental Challenge is necessary for particularly 
  difficult tasks. Additionally, if the character is bombarded by a large amount of sensory 
  input while using this Discipline (i.e. loud music, bright light or an overpowering stench), 
  she will totally lose the sense in question for fifteen minutes. 
  Aura Perception 
  Any sentient being possesses a halo of energy that surrounds him and shifts constantly 
  with his mental and emotional state. A Kindred with this Discipline has honed her senses 
  to such a degree that she can actually perceive and interpret these auras. 
  By winning a Static Mental Challenge, with a difficulty equal to number of Mental 
  Traits the target has, you may demand that the target answer one of the following sort of 
  questions honestly: "What is your Demeanor?", "Have you committed diablerie (within 
  the last six months)?", "What is your current emotional state (brief summary) ?", "Was 
  the last thing you just said a lie?", or "What sort of creature are you?" (human, Kindred, 
  Garou, mage, spirit, faerie, mummy, etc.). Additional uses of this Discipline will allow 
  additional questions. 
  Intermediate 
  Spirit's Touch 
  This Discipline allows you to sense the residual energies and impressions that are left 
  on an object when it is handled or touched. Specific information, such as the identity of 
  the individual, her emotional and/or mental state and her perceptions, may be acquired by 
  the use of the Discipline. 
  Various factors, such as brief contact, multiple handlers and the unusual nature of the 
  handler or object, can dramatically affect the use of this Discipline. In some strange 
  
  cases, no impressions may be present at all (at the direction of a Storyteller). Curiously 
  enough, Kindred using Obfuscation powers leave no impressions. If the possessor of the 
  object is nearby, the character may question him and he must answer honestly. Often, 
  however, Spirit's Touch will require a Storyteller's assistance to use. 
  Telepathy 
  You have honed your preternatural senses to such a degree that you can actually 
  receive and transmit thoughts. Be forewarned, though- many of the things buried within 
  the minds of others are best left untouched. With effort, you can even force your way into 
  stubborn minds, but a voluntary subject makes the task less difficult and less unpleasant 
  for both parties. 
  Use of this Discipline upon a voluntary subject allows two (or more) characters to 
  communicate privately. This communication is usually accomplished by note-passing or 
  a quite side conversation that cannot be "overheard", except by Telepathy or similar 
  powers. In order to accomplish this effect, other players are expected to ignore the note-
  passing or conversation. However, other characters with Telepathy will notice something 
  unusual is going on and may attempt to win a Mental Challenge, against either player, to 
  listen in on the conversation. 
  Telepathy can also be used to spy on a subject, access surface thoughts or discern the 
  truth. If the user of the Discipline defeats her subject in a Mental Challenge, she may ask 
  the victim one "yes or no" or short answer question about any subject or conversation the 
  victim is currently engaged in. The subject must answer truthfully. 
  Individuals possessing active Derangements may bid them as Mental Traits when 
  subjected to involuntary Telepathy. Each Derangement bid in this fashion requires the 
  telepath to bid an additional Mental Trait, representing the difficulty of reading such a 
  twisted mind. If the defender did opt to bid one or more other active Derangements 
  against the Telepath and wins the challenge, the aggressor has been infected with her 
  madness. The aggressor must now either spend a Willpower Trait or actively play out one 
  of the Derangements bid for thirty minutes. Unfortunately, the Telepath is now acutely 
  aware of the defender's Derangement and may use it against her in the future. 
  Advanced 
  Psychic Projection 
  With a conscious mental exertion, you can safely sever the bound between your spirit 
  and your body. In this state, your invisible spirit may travel noncorporeally through the 
  physical world. Mundane barriers cannot hold you, hut supernatural ones, such as 
  pentagrams and wards, are another matter entirely. Individuals with highly advanced 
  sensory powers (such as Heightened Senses, Telepathy and the like) may realize 
  something is amiss, but must still win a Mental Challenge to perceive you. 
  
  Exercising Psychic Projection is not without its dangers. Your body is left helpless and 
  inert during your sojourn. Furthermore, your ability to interact with the physical world is 
  greatly diminished. You cannot, for example, stop or interfere with physical actions 
  occurring around you. A Kindred can only use sensory Disciplines, such as Aura 
  Perception, Heightened Senses (sight and sound only) and Telepathy. The only powers 
  that may be used against you are those that affect the spirit or mind, and even then, the 
  attacker must first be able to perceive your presence. If you wish to become visible and 
  communicate with a single individual in the physical world, you may do so at a cost of 
  one Mental Trait for every ten minutes. 
  After the Embrace, many vampires benefit from a variety of amazing physical 
  improvements. One of these is the Discipline of Celerity. This power reflects the 
  Kindred's mastery of her form in the realm of speed and quickness. 
  When employed against a foe with an equivalent degree of Celerity, many of the 
  advantages of this Discipline are negated. For example, an attacker with Swiftness would 
  still get her bonus attack against a foe who also possessed Swiftness (as would the foe), 
  but neither suffers from the Trait penalties. In any case, each combatant using Celerity 
  still gets his total number of attacks. Also, a character using her Celerity to evoke a "Fair 
  Escape" can be intercepted by a foe with an equal or greater degree of Celerity. 
  Basic 
  Alacrity 
  The character possesses a supernatural degree of speed and coordination that outstrips 
  both normal mortals and her fellow Kindred. 
  If the character is aware of an upcoming physical threat, she may spend a Blood Trait 
  to pre-empt the actions with a physical action of her own. Some examples of such threats 
  include: melee attacks, falling objects, gunfire, oncoming cars or thrown objects. 
  Examples of preemptive actions are: 
  drawing a gun of your own, moving out of the path of a falling object, and so on. To 
  pre-empt a foe using Alacrity, the character must have an greater degree of Celerity. 
  A character with Alacrity may utilize the "Fair Escape" rule against foes who do not 
  have at least an equivalent degree of Celerity. This costs one Blood Trait to activate. 
  Swiftness 
  The character can move with a shocking degree of speed. To a character using 
  Swiftness, slower foes and bystanders often appear to be standing still. 
  Swiftness allows the character to make a follow-up attack against a foe in physical 
  combat. To do so, the player must declare she is activating Swiftness (an obvious breach 
  of the Masquerade) before making a bid and expending a Blood Trait. The first challenge 
  
  is then carried out as normal. Afterwards, if she is able, the character using Swiftness 
  may instigate an immediate follow-up challenge. Foes that do not have or have not 
  activated Swiftness may only defend themselves in this challenge. They may not harm 
  the user of the Discipline in any way, nor may they use any Traits that they had bid in the 
  prior challenge(s) in this follow-up challenge, even if they did not lose them. 
  A character with Swiftness may also expend a Blood Trait to cut in-game travel times 
  in half. 
  Intermediate 
  Rapidity 
  With time and experience, you have outstripped the fledging power of Swiftness. 
  What was once merely dazzling speed is now a mind-numbing blur of motion. In a 
  moment's notice, you can burst into a whirlwind of destruction, crippling, if not slaying, a 
  slower opponent. 
     The character may make two extra challenges when employing Rapidity. Otherwise, 
  the power is the same as Swiftness, including cost. 
  If used to cut travel time, the time is reduced to one-fourth. 
  Advanced 
  Fleetness 
  Your feats of speed defy ordinary logic. To the average observer, you almost 
  disappear when your form explodes into motion. The roar of wind in your passing 
  extinguishes small flames and causes loose clothes to whip about. 
  The character may take three extra challenges when employing Fleetness. Otherwise 
  the power is the same as Swiftness, including cost. 
  If used to cut travel time, the time is reduced to one-eighth. 
  Dominate 
  One of the legendary power of vampires is their ability to control the thoughts and 
  actions of others. This Discipline is partly responsible for this legend. Unlike its sister 
  power, Presence, Dominate effects the conscious and sometimes unconscious mental 
  facilities of a target. 
  To Dominate, a character must first establish eye contact with the target. Even so 
  much as a brief meeting of the eyes is enough to fulfill this requirement. Players are 
  expected to exercise a degree of honesty about this requirement. Any orders issued with 
  Dominate must be verbal and clearly understandable by the target. Alternatively, a 
  character using Dominate may issue the commands with Telepathy. 
  One  major limitation of Dominate is that it is totally ineffective against Kindred of a 
  lower generation than the user of the Discipline. 
  Basic 
  Command 
  
  This Discipline is a form of mind control exercised through the use of a piercing gaze 
  and commanding voice. If you can catch the eyes of another player, you can attempt to 
  exert your considerable mental control over her. 
  The character must first defeat her opponent in a Mental Challenge to employ this 
  Discipline. After doing so, the user of the Discipline may issue a single simple command 
  to her subject, such as "sleep", "stop", "freeze", "sit" or "leave". ("Silence!" is also 
  acceptable.) The command cannot be blatantly suicidal or self-destructive, but it may 
  drastically violate the subject's Nature or Demeanor. In any case, the effects of the 
  command cannot last more than ten minutes. 
  Forgetful Mind 
  The character can use her mental powers to warp the conscious and unconscious 
  memories of a victim. After defeating another character in a Mental Challenge, the 
  character can add, alter or eliminate memories concerning a single event. 
  The extent of the information can he as limited as the color of someone's underwear or 
  as encompassing as the entire experiences of a fifteen minute period of the subject's life. 
  Intermediate 
  Mesmerism 
  By staring into someone's eyes, you can insidiously creep into her mind and plant 
  subtle suggestions that will direct and guide her behavior. These mental time bombs are 
  hidden within the target's mind until a trigger event occurs. 
  Using this Discipline requires that you first defeat your subject in a Mental Challenge. 
  Even if a suggestion is planted, your order will be ignored if it poses a clear threat to the 
  target's life. You may only implant one suggestion in a given individual's mind at any one 
  time. Furthermore, both the trigger and the suggestion must he concise and easily under-
  standable. Some examples include: 
  Triggers: 
  • Upon seeing a particular person, item or place 
  • Upon hearing a certain word or sound 
  • At a precise time 
  • After performing a specific action Suggestions: 
  • Behave in a bizarre or inappropriate manner 
  • Deliver a brief spoken message 
  • Experience a single emotion 
  • Suddenly "recall" planted information 
   
  These details are subconsciously retained by the target until the trigger occurs and the 
  suggestion is carried out. The target will not be able to explain why the action was per-
  formed. Once the suggestion is carried out, the Mesmerism is lifted. 
  
  Conditioning 
  Your powers of mental manipulation have reached such a level of prowess that you 
  are now capable of completely reprogramming a target. The process involves a great deal 
  of time and effort, but the results are astounding and practically irreversible. The end 
  product is a fanatically loyal if somewhat dull servant. Your degree of control can even 
  challenge the supposedly infallible power of the Blood Bond. 
  To begin the process, you must have complete access to the victim for the full duration 
  of three consecutive evenings. During this time, you slowly erode the will of the subject, 
  eventually replacing it with your own. To do so, you must defeat the subject in three 
  consecutive Mental Challenges (one per night). Once this is accomplished, you must 
  permanently expend a Mental Trait. If one of the challenges is unsuccessful, the entire 
  process fails. 
  The degree of control that results is intense. Foremost among the effects is a 
  permanent and automatic command, wherein even self-destructive orders will be carried 
  out by the subject. Furthermore, the conditioned victim gains three Willpower Traits for 
  the sole purpose of resisting control and manipulation that would cause her to perform 
  actions that would be counterproductive to her master's wishes. If a previous Blood Bond 
  exists, the Regnant and the Kindred who conditioned the subject must engage in a Mental 
  Challenge (out of character) every time the two issue contradictory orders. 
  On the downside, the subject is little more than a pale automaton lacking free will, 
  imagination and creativity. She is not without hope, however; this selfsame power can be 
  used to restore the subject to normal, albeit at great risk. 
  Over the course of three nights, three Mental Challenges must be won by the 
  reprogrammer. The difficulty of these challenges is variable and is set by a Storyteller, 
  depending on such factors as the length of time and how intensely the subject was 
  controlled. The subject's bonus Willpower Traits will come into play here to resist the 
  would-be savior. If just one of these tests is failed by the reprogrammer, the subject's 
  mind is permanently shattered, leaving her a vegetable. If successful, however, the 
  reprogrammer only needs to expend a Willpower Trait to reaffirm the subject's identity 
  and undo the effects of the Discipline. 
  Advanced 
  Possession 
  This Discipline allows the Kindred to forcibly inject her consciousness into another's 
  body and suppress the existing will and personality. In doing so, the character usurps 
  complete physical control of her host's body. However, the possessor's body is left 
  completely inert and vulnerable while this Discipline is in use. Moreover, while in the 
  
  foreign body, the invader will find herself subject to its physical limitations. The 
  possessor may not use any other physical Disciplines and may not use any of the host's 
  mental or social Disciplines or faculties. 
  To execute Possession, the character must first touch her foe and then defeat her in a 
  Mental Challenge. If successful, the original body falls over, apparently lifeless, and the 
  character's consciousness immediately takes over the victim. The possessor may remain 
  in the host's body until sunrise, when she must return to her own form. If her body has 
  been destroyed, the Kindred will experience the Final Death. During the course of the 
  Possession, the victim is totally unaware of her condition and surrounding. 
  Spiritually empty but physically viable bodies, such as the bodies of those Psychically 
  Projecting or currently Possessing others, may not resist Possession. However, when the 
  Projecting spirit tries to return to its body, the invader must succeed in a Mental 
  Challenge to retain control. 
  Failing the Mental Challenge to possess the body is very disorienting. For a full 
  minute, the character cannot control her body or concentrate. During this time, the 
  character is very vulnerable to all manner of physical and mental attacks. 
  As a game effect, characters possessing the bodies of other characters should adopt the 
  appropriate dress and trappings of the host body. Additionally, a name badge or label 
  could be employed to signify the change. 
   
  Fortitude 
  All Kindred possess an amazing constitution, supplemented by gradual regeneration 
  and an immunity to aging and most diseases. Kindred with Fortitude possess an even 
  greater degree of toughness. Considering the numerous destructive forces a vampire can 
  and probably will encounter in her long life, Fortitude can prove to he a tremendous 
  asset. 
  Basic 
  Endurance 
  This level of Fortitude represents the character's ability to shrug off the effects of 
  damage, including damage caused by fire or sunlight. The character can ignore the side 
  effects of being Wounded or Incapacitated. She is not out of play until she reaches Torpor 
  or Final Death. This Discipline costs nothing to use and is automatically activated when 
  needed. 
  Mettle 
  The Kindred's form has been hardened against the dangers and threats of the world. 
  He gains an additional wound level, which is recorded on the character sheet. This wound 
  
  level can be temporarily lost and healed back just like any other and is used as a second 
  "Healthy". 
  Intermediate 
  Resilience 
  You are highly resistant to harm and injury from all sources, including the traditional 
  banes of your breed- fire and sunlight. While excessive or persistent forces can still bring 
  an end to your immortal existence, this does not come about easily. 
  Whenever the character suffers aggravated wounds, she may try to reduce them to 
  ordinary wounds. This may only be attempted once per wound level taken. The character 
  must spend an appropriate Physical Trait (Stalwart, Resilient, etc.) and win a Simple Test 
  for each wound resisted. Therefore, if three aggravated wounds were suffered at once, the 
  character could attempt to reduce each of them separately to ordinary wounds by 
  spending three appropriate Traits and winning three Simple Tests. 
  Advanced 
  Aegis 
  The Kindred's ability to survive the hostile forces of the world has surpassed mere 
  physical resilience. It takes a truly monumental and unrelenting force to destroy her. In 
  the face of destruction, the character can call upon deep reserves of tenacity, enabling her 
  to shrug off fatal injuries. 
  When the character suffers a result in a challenge that would destroy her, or if she 
  encounters a lethal situation (such as direct exposure to sunlight), the player may 
  permanently expend either three Physical or one Willpower Trait to avoid the character's 
  destruction. In the case of direct exposure to sunlight, the character is unharmed for five 
  minutes. The damage is not inflicted- its results are ignored. Indeed, those witnessing this 
  Discipline often find it hard to believe that any creature could survive. Many will assume 
  the character is destroyed unless given cause to believe otherwise. 
   
  Obfuscate 
  Kindred hide in the midst of teeming hordes of humanity. For those who are truly 
  hideous, the gift of Obfuscation is priceless. Essentially, most of the powers of Obfuscate 
  affect the minds of observers, preventing them from perceiving things as they truly are. 
  As a result, surveillance devices, such as cameras, will still register the character 
  normally. However, if a person employing such a device is relatively near the 
  Obfuscating character, she will still be affected by the power and not be able to perceive 
  the character. For example, a tourist with a video camera would not see a skulking 
  Nosferatu at the base of the Washington monument through the camera's viewpiece. 
  
  However, if he later watched the film at home, he would indeed notice the lurking figure 
  that he somehow missed earlier. 
  Basic 
   
  Unseen Presence 
  This power allows you to remain obscured and unseen, even in crowds. You can walk 
  about without being seen or heard, hovering about while listening to whispered conver-
  sations and escaping from dangerous situations. 
  While this Discipline is activated, other players must pretend not to see you; if you 
  choose to spy upon others, they must continue normally, as if you are not there. To 
  engage this power, you must cross both your arms in front of you, demonstrating your 
  actions to everyone around you. As soon as you touch objects around you (other than 
  walking around), talk to others or otherwise interact with your environment, you instantly 
  become visible to everyone (uncross your arms). 
  If you are moving, a Kindred with Heightened Senses will detect something is amiss, 
  but must defeat you in a Mental Challenge to actually pinpoint your location and see you. 
  In any case, you cannot surprise an individual with Heightened Senses by using Unseen 
  Presence. 
  You may attempt to evoke the "Fair Escape" rule with Unseen Presence by winning a 
  Mental Challenge. If you win, you have slipped away unnoticed (watch out for characters 
  with Heightened Senses, however). You cannot use this method of escape if you are 
  currently involved in a challenge.  
  Mask of a Thousand Faces 
  This Discipline allows you to assume a new visage, a completely different appearance. 
  Essentially, you adopt a very convincing disguise. You may be required to assume new 
  props and clothes, change badges or utilize the appropriate hand sign to indicate your 
  change in appearance. This Discipline is extremely valuable to the hideous Nosferatu. 
  Characters with Heightened Senses can sense something is amiss about your looks, hut 
  they must defeat you in a Mental Challenge to pierce the veil you project. This power 
  affects minds and is useless against remote cameras and photographs (though a nearby 
  viewer will still discount proof if the Obfuscating individual is in sight). 
  You possess one "instinctive" illusory disguise, which you can assume automatically 
  
  while conscious. Other disguises may be temporarily adopted, but each one you use will 
  cost one Mental Trait. While asleep, when in Torpor, or upon Final Death, you will return 
  to your true appearance. 
  Intermediate 
  Cloak the Gathering 
  Not only can you mystically mask you own passing, but others can also benefit from 
  your power. You may place those who you choose (if they are willing) under your mantle 
  of Obfuscation, thereby rendering them invisible. 
  Individuals under the effect of this power must always remain within three paces of 
  you to remain hidden. While Cloaked, you and your allies can still see each other. Each 
  individual hidden by this Discipline must abide by the limitation listed under Unseen 
  Presence or the Cloaked companion will immediately forfeit the Discipline's effect. If one 
  member of the group becomes visible in this manner, the rest are unaffected. 
  Furthermore, the newly revealed subject can no longer see her compatriots. If the user of 
  the Discipline violates the limitations of Unseen Presence, all of the participants become 
  visible. 
  After you disappear, you must expend a Mental Trait for each individual you wish to 
  Cloak. Each individual Cloaked in this manner must cross her arms to indicate the use of 
  Unseen Presence. 
  If a Kindred with Heightened Senses defeats one of the cloaked individuals, only that 
  individual is perceived. However, if a perceptive Kindred challenges and defeats the 
  Kindred projecting the Cloak, all of the subjects are revealed to the challenger. It is 
  usually not readily apparent which Kindred in the gathering is employing this power. 
  Advanced 
  Soul Mask 
  What Mask of a Thousand Faces does to the body, Soul Mask accomplishes for the 
  inner self. Kindred possessing Aura Perception and Telepathy often become smug in their 
  ability to unearth others' deepest secrets and personalities. You, however, have the ability 
  to render those powers impotent. Your true nature is inscrutable. This is not to say that 
  your secrets cannot be fathomed, but it takes a very dedicated and decidedly nosy 
  individual to do so. 
  A single Mental Trait must be expended for each piece of information about yourself 
  you wish to alter. The types of information that can be masked are Nature, Demeanor, 
  recent diablerie, emotional state, surface thoughts, type of creature and Derangements. 
  Each of these "masks" must be recorded when the power is activated. The masks remain 
  until sunrise or until you choose to change them (at additional cost). 
  
   
  Potence 
  Another distinctly physical Discipline that many Kindred benefit from is a 
  supernaturally heightened degree of strength known as Potence. Those employing this 
  gift find themselves able to perform incredible feats and inflict brutal amounts of damage. 
  Unfortunately, like so many of the physical Disciplines, Potence easily marks the user as 
  something more than human. As a result, exercising Vigor or Puissance is consider a 
  breach of the Masquerade by many. 
  Basic 
  Prowess 
  You possess a degree of supernatural strength beyond that of the average Kindred. 
  Even when you should be spent and exhausted, you can call upon the might that is your 
  bloodright. 
  You may expend a single Blood Trait to recover all Physical Traits related to brute 
  strength you have expended or lost this session. Potence may not be used to recover any 
  other type of Physical Traits. Traits representing coordination, grace or speed are 
  unaffected. The following Traits can be restored by Potence: Brawny, Wiry, Ferocious, 
  Stalwart and Tough. 
  Might 
  You can redouble your efforts in any test of strength, often overcoming obstacles that 
  would daunt a weaker or lesser Kindred. 
  If you should lose a challenge involving strength, you may call for a single immediate 
  retest. Any Traits you lost remain lost, although you need not bid another Trait. You do, 
  however, stand to win the object of the challenge should you win the second test. This 
  Discipline can only be used once per challenge and cannot be recalled by an opponent's 
  use of an Ability, but could be overcome by another Kindred using Might. Might may not 
  be used in tests of coordination, grace or speed, only in tests that involve raw strength. 
  Intermediate 
  Vigor 
  Your physical strength has reached truly astonishing proportions.  A display of this 
  Potence immediately marks you as superhuman. In fact, use of Vigor in the company of 
  mortals is considered to be a breach of the Masquerade. As a result, many Kindred refrain 
  from using this level of strength unless in dire straits. 
  In practice, a character with Vigor gains the use of a fourth hand signal, which she 
  may apply in Physical Challenges that are strength related. It cannot be employed in 
  challenges of coordination, speed, grace or the like, although it may be employed in 
  
  many combat challenges. This fourth hand signal is a clenched fist with thumb extended 
  upward. It is called the "Bomb," and it interacts with the other symbols in a manner 
  befitting its name: the Bomb defeats both or Rock and Paper, but in rum is defeated by 
  Scissors (the fuse is cut). You must declare that you are able to use the "Bomb" before 
  you can use it while resolving a test. 
  Advanced 
  Puissance 
  You possess monumental strength. What you consider casual exertion is sufficient 
  force to deform metal and fracture stone. Your full strength will shatter the bones of the 
  toughest mortal, rend plate steel and grind marble blocks into gravel. Even your fellow 
  Kindred cannot survive the type of punishment you can inflict for long. 
  In hand-to-hand combat, you inflict an additional wound against your foes. 
  Furthermore, you win all ties in Physical Challenges involving strength, regardless of 
  who possess the most traits. Of course, if your opponent also has Puissance, the winner is 
  determined normally. 
   
  Presence 
  Presence can be seen as sort of a supernatural magnitude of charisma, personality and 
  appeal. Kindred possessing this Discipline are often seen as being magnetic or having an 
  intangible quality that draws people to them. This perception is particularly common 
  among mortals. While Dominate controls the logical and conscious mind, Presence 
  appeals to the emotions of the subject. 
  Unlike Dominate, Presence can affect Kindred of lower generation. 
  Basic 
  Dread Gaze 
  You are able to project feelings of terror and fear upon others by looking into their 
  eyes. 
  By defeating your target in a Social Challenge, you can cause her to run from you in a 
  panic. The victim is unable to take any action against you or initiate a challenge. He must 
  flee the area and may not stop until he is out of your presence. For the next hour, he will 
  actively avoid you and will leave immediately should you appear. If somehow forced to 
  remain in your presence, the individual will be extremely uncomfortable and must bid an 
  additional Trait in any challenges against you. If you attack the victim, he may defend 
  himself as normal. 
  Entrancement 
  This Discipline describes your ability to attract, sway and control others. Anyone you 
  
  look upon can he ensnared by your seductive glamour. Even those who despise you and 
  wish you harm can be rendered civil, if not docile. 
  You may attempt to Entrance an individual by engaging him in a Social Challenge. If 
  you are successful, the target must speak to you politely and in a civil manner. Further-
  more, he may not attack you while Entranced. The Entrancement is broken if you initiate 
  an act of aggression against the subject or behave in an obviously insulting or crude 
  manner towards them. Otherwise, the power lasts for one hour. If the user breaks the 
  Entrancement by attacking the individual, she may not Entrance that individual again for 
  the remainder of the night. 
  Intermediate 
  Summon 
  You may demand the immediate appearance of a person known to you. You can 
  mentally summon your target to you, even across great distances, and the target cannot 
  easily resist. 
  The standard method of employing this power is to select an out-of-game envoy to 
  carry your summons. This 
  should be someone who doesn't mind or who can take the time out perform this duty. The 
  player utilizing the Summon Discipline declares to the envoy the number of Social Traits 
  she wishes to devote to the power. Each Social Trait beyond the first allows a retest if the 
  subject wins the Social Challenge or resists the power of the call. In the meantime, the 
  summoner must remain in the same place so that the subject can find her if he loses the 
  challenge. Any Social Traits invested in the call are considered lost, even if the subject 
  relents. 
  There will often be quite a time lag when using this power. This is easy to understand 
  when one considers the amount of time it will take to find the subject, engage in a 
  challenge and respond. Players are therefore advised not to use this power frivolously. 
  Advanced 
   
  Majesty 
  You exude an aura of power and insurmountable might. Those around you find it 
  difficult to think about, let alone act out, offenses against your person. You can expect to 
  be treated with great respect, if not awe. 
  The effect of this Discipline extends about ten paces from you and immediately fades 
  
  if you take offensive actions against anyone within range of your power. This effect is 
  always active, at least while you are conscious, and takes no effort on your part. 
  However, when in question, you should signify that you have Majesty by holding your 
  arms out from your sides when you enter a room or other area. 
  Anyone attempting an offensive or aggressive action against you must first defeat you 
  in a Social Challenge. The attacker may only continue if she is successful in the chal-
  lenge. If she fails, she may not continue with the planned action and may not challenge 
  your Majesty again that evening. Furthermore, unlike other powers, the subject may not 
  spend a Willpower Trait to ignore Majesty's initial effects. Though Willpower may not be 
  used to ignore the effects of Majesty, a Willpower Trait may be spent to challenge its 
  effects at a later time. However, at least an hour must pass before the next attempt. 
  This Discipline allows a vampire to transform either her entire body or a part other 
  body into something nonhuman. The vampire can thus grow claws, turn into a bat or even 
  become mist. 
  Basic 
  Wolf Claws 
  At will, you can instantly cause long, razor sharp claws to grow from your fingertips. 
  The claws are obvious and may not easily be hidden. Using this power among mortals is 
  easily a breach of the Masquerade. 
  When used in combat. Wolfs Claws cause aggravated damage. 
  Earth Meld 
  Eerily and effortlessly, you can sink into the protective bosom of the earth. This is an 
  ideal way to flee such threats as fire and the sun, provided you can find and open patch of 
  earth. 
  This can be used as a "Fair Escape". However, a Kindred using Earth Meld during 
  combat as a defensive action will have to relent if he is attacked; he will fade into the 
  ground at the end of the turn. The power will not work on any substance other than soil. 
  Earth Meld leaves no trace of its use and only a few powers may be able to detect the 
  hidden Kindred (Storyteller's discretion). This Discipline costs one Blood Trait to use, 
  but the character may return to the surface at no cost. 
  Intermediate 
  Shadow of the Beast 
  You are capable of transforming into a wolf or hat. The process requires a full ten 
  seconds and one Blood Trait. During this time, you may not engage in any other action, 
  although you may make the transformation instantaneously with the expenditure of three 
  Blood Traits. 
  
  The change only alters your body and normal clothes- weapons and other equipment 
  do not change. Furthermore, certain Disciplines and Abilities may be impossible to use 
  (for instance, bats cannot Drive). A Storyteller should he consulted in any questionable 
  cases. 
  As a bat, you can navigate easily in darkness and utilize flight to escape most foes (as 
  per the "Fair Escape" rules). You also gain the Traits: Quick x 3. However, you must 
  avoid well-lit areas. Obviously, bats are difficult to attack in melee, so you are usually 
  only vulnerable to ranged attacks. 
  As a wolf, you can pass as a normal animal to most individuals. You can communicate 
  with other wolves (although this is different from understanding the Garou Tongue). You 
  can possibly associate with Garou to a degree if they are not too hostile and you don't 
  stink of the Wyrm too much. You gain the Traits: Ferocious, Tenacious and Cunning. 
  Advanced 
  Form of Mist 
  Through rigorous control of your physical form, you can slowly diffuse into a fine 
  mist. This process requires intense concentration and one full minute. In this vaporous 
  state, you can slip through any structure, provided it isn't airtight. You are also immune to 
  physical injuries except for those caused by fire and sunlight. Movement in this form is 
  slow, equivalent to walking, and strong winds will reduce this to a slow walk or even 
  push you in an undesired direction. 
  It costs one Blood Trait to assume Mist Form and one to return to human form. While 
  in Mist Form, the character may not use physical abilities or Disciplines. Obviously, 
  being in such a state will also prevent certain other non-physical powers, like Command, 
  Thaumaturgy, Wolfs Claws, rituals and so on. 
   
  Thaumaturgy 
  Perhaps the rarest of the Disciplines, Thaumaturgy is said to have been created by the 
  Clan Tremere. Since it is almost exclusively found among Kindred of their bloodline, and 
  because they are loathe to teach it to others, there may be a degree of truth to this rumor. 
  While characters may only start with the Path of Blood, it is the fundamental key to 
  learning the other Paths mentioned below. See the section on other Paths for further 
  details. 
  The Path of Blood  
  Basic 
  Blood Mastery 
  In possessing power over a portion of a subject's blood, you can, in turn, exercise 
  power over him. You can declare the use of Blood Mastery before or even during a 
  
  challenge, as long as you do so before a test is performed. To use Blood Mastery, you 
  must possess a Blood Trait from the subject. Activating the Discipline destroys this 
  Blood Trait. However, you automatically win that single test, and no retests allowed. If 
  any Traits were bid by either party, they are not lost. This process often acts as a 
  prerequisite to other Thaumaturgical rituals. 
  Inquisition of Captive Vitae 
  You are able to ascertain certain bits of information by astutely examining the blood 
  of an individual. You must have at least one Blood Trait to use this power, and the blood 
  is destroyed in the process. Some types of information that may be gained are: clan, 
  generation, creature type, diablerie (up to one year) and physical nature. The ritualist 
  must win or tie a Simple Test for each question asked. 
  Intermediate 
  Theft of Vitae 
  Through concentration, you can visibly coax blood from a container or target into your 
  body. The source of the theft will be obvious, and one should expect an immediate attack 
  if this is used on another Kindred. Against a visible receptacle, even one in the possession 
  of another, the power is automatic. If the source of the blood is another creature or a 
  hidden (but known) source, you must first win a Mental Challenge against the target. If 
  you win, you may choose to expend a Mental Trait for each Blood Trait you want to 
  siphon out of your target. Any Blood Traits above your maximum must be spent 
  immediately or they are lost. 
  Once in your body, this blood is considered yours and cannot be used against the 
  original owner in any other use of Thaumaturgy. 
  Potency of the Blood 
  You can manipulate the blood within you, distilling it and making it more potent, 
  effectively lowering your generation. The more dramatic the alteration, the greater the 
  price. Each step from 13th to 10th - One Blood Trait Each step from 10th to 8th - Two 
  Blood Traits Each step from 8th to 6th - Three Blood Traits Each step from 6th to 5th - 
  Four Blood Traits 5th to 4th (maximum reduction) - Five Blood Traits These costs are 
  cumulative. For example, it would take the prodigious sum of ten Blood Traits to lower a 
  10th generation vampire to 6th generation. While few Kindred can contain that much 
  blood, there is nothing to say she couldn't have more blood externally present for the 
  process. Kindred may only be under the effect of a single application of this Discipline at 
  one time, and the effects fade at the next sunrise. 
  Advanced 
  Cauldron of Blood 
  
  With a touch, you can cause the very life-fluid inside a foe to boil and burn within her 
  veins. 
  Unless the victim cannot resist, you must first win a Physical Challenge to establish a 
  firm grip on the victim. Once this has been achieved, you spend a Willpower Trait to 
  activate the Cauldron of Blood. At this point, you may choose to expend a variable 
  number of Mental Traits. Each Mental Trait spent will destroy a single Blood Trait and 
  inflict an ordinary wound. You may not inflict more wounds than the victim has Blood 
  Traits. A human who loses two or more other Blood Traits in this manner will die. 
  Other Paths 
  While the Path of Blood comes instinctively to the Tremere blood line, there are other 
  less-easily mastered Paths available to a Kindred who displays an arcane bent or 
  predisposition. Generally, none of the following Paths may be taken upon character 
  creation. They may only be learned through experience and the instruction of a tutor of 
  arcane text. 
  The first Path a character learns, the Path of Blood, is her primary Path. Subsequent 
  Paths may not be raised above the character's mastery in her primary Path. In addition, 
  the character, or her chantry, must seek out and uncover the knowledge required to study 
  the Path. One method of doing this involves using the Occult Ability; other possibilities 
  may form the basis for stories involving occultists or Clan Tremere in your chronicle. 
  Knowledge must be found before it may be learned. Learning new Paths after the first 
  requires time, patience and experience, just as any other Discipline. 
  Lure of Flame: 
  This Path allows the character to manipulate and create fire. Flames created by this 
  path are unnatural, and they will not ignite objects until they are released by the magus. 
  Basic 
  Hand of Flame 
  The Kindred may instantly call forth a flaming wreath about her hands. If the 
  Thaumaturgist defeats her foe in a Physical Challenge with the flaming appendage, she 
  will inflict an aggravated wound instead of a normal one. Foes or objects hit with the 
  Hand of Flame that are particularly flammable may ignite (Storyteller's discretion). 
  Flamebolt 
  By expending a Mental Trait, the Kindred may summon forth and hurl a fiery brand at 
  range. This functions exactly like a ranged weapon except that the character uses her 
  Occult Ability instead of Firearms. Mental Traits are used for any challenges involved. 
  Other trivial (no test needed) uses of this power include lighting cigarettes and candles at 
  range or destroying light cloth and paper items. More resilient items would require a 
  
  Static Challenge. 
  Intermediate 
  Engulf 
  The Kindred can engulf a foe in a searing column of flames. The character must first 
  win a challenge against the foe. 
  For the Thaumaturgist, this is a Mental Challenge using the Occult Ability (to master the 
  fiery energies and place the flames accurately), while the defender must employ Physical 
  Traits (to avoid the flames). To initiate the challenge, the attacker must expend a 
  Willpower Trait. If the casting is successful, the subject combusts, suffering two 
  aggravated wounds. For each challenge or every full five seconds (whichever is greater) 
  that passes, the victim may attempt to win or tie a Simple Test to extinguish the flames. 
  Failing or engaging in alternative actions results in another aggravated wound and 
  continued burning. Success indicates that the flames are out and no further damage is 
  inflicted. 
  Advanced 
  Firestorm 
  By will alone, the Kindred can summon up a firestorm that encompasses areas and can 
  incinerate multiple foes. 
  To activate this Discipline, the character must expend a Willpower Trait and define the 
  area she wishes to affect. This area may be no more than twenty feet in diameter. 
  Animate targets in this area must win a Static Physical Challenge (difficulty of six Traits) 
  to leap to safety. If there is nowhere for a victim to escape (Narrator's discretion), he fails 
  the test, or if he cannot or will not leave the area, he will suffer one aggravated wound. 
   
  Movement of the Mind:  
  This path allows the character to move objects with the power of his mind. 
  Basic 
  Force Bolt 
  The character can focus her will into a tangible bolt of mental force that can send a foe 
  reeling at range. Casting this effect requires the expenditure of a Willpower Trait. If the 
  Thaumaturgist can defeat her opponent in a challenge (using her Mental Traits against the 
  subject's Physical Traits), the subject is knocked down and stunned for fifteen seconds 
  (counted aloud). During this time, the victim cannot not initiate any physical actions. She 
  may use appropriate stamina-related Traits to avoid damage from further challenges. 
  Opponents with Swiftness are only stunned for ten seconds. Rapidity reduces this to five 
  seconds, and Kindred with Fleetness recover immediately. Treat this Discipline as ranged 
  
  combat. 
  Manipulate 
  The Kindred can perform fine and delicate manipulation of items at range by 
  concentrating intently upon them. Using Abilities in a challenge in this manner is 
  somewhat difficult, however, and the character must risk two Traits instead of one on 
  challenges of this manner. In general, the character may only manipulate objects that 
  could be lifted in one hand by the average human. Furthermore, the speed of objects 
  manipulated is equal to a casual walk. Range cannot exceed 100 feet. 
  Intermediate 
  Flight / Snare 
  The character can crudely lift and move large objects (no more then a few hundred 
  pounds). If the caster uses this on himself, the character can "fly" for short distances and 
  avoid falls. Against an opponent, this Discipline can hold foes at bay by holding them off 
  the ground. This does not prevent the victim from firing a gun, calling for help or using 
  her own Disciplines, however. 
  To successfully snare an opponent, the character must first defeat the subject in a 
  challenge using his Mental Traits versus the subject's Physical Traits. This power is too 
  awkward and clumsy to accurately drop objects on foes or hurl projectiles at an opponent. 
  If used to achieve flight, the power cost one Mental Trait per five minutes of use. 
  Advanced 
  Major Manipulation/Lifting/Control 
  With this power the character can lift great weights (up to an automobile) and 
  immobilize or hurl foes away. 
  When used against an opponent, the character must first defeat him in a challenge 
  (Mental Traits against the foe's Physical Traits). If the character chooses to immobilize 
  her foe, the victim must remain absolutely motionless for as long as the attacker 
  maintains complete concentration on the victim. While maintaining concentration, the 
  attacker can take no other action. 
  Alternatively, after winning the challenge, a character may throw the opponent. The 
  opponent will suffer one wound and must move (as an out-of-game action) to an area 
  within 100 feet as directed by the character. Finally, objects thrown at or dropped on 
  targets cause one (for man-sized objects) or two (for larger objects) wound levels if they 
  hit their target. Once again, a challenge like the one mentioned above is necessary to hit a 
  foe. 
  A Mental Trait must be spent to activate this power. 
   
  
  Weather Control: 
  This path allows the character to manipulate, change and otherwise command the 
  weather. 
  Basic 
  Cloak of Fog 
  The Kindred can call up an obscuring fog that blankets the area. The fog bank can 
  only appear out of doors and can cover an area of up to 100 feet across. 
  The Discipline costs one Mental Trait and fifteen minutes to activate. Within the fog, 
  visibility (and thus ranged actions) are cut to five feet. Furthermore, any tests requiring 
  sight require the character to risk two Traits instead of one, Heightened Senses and the 
  like eliminate these penalties. At the Storyteller's option, fog may reduce the damage a 
  vampire takes from sunlight. 
  Downpour 
  The Thaumaturgist can cause the skies to darken and moisture-laden clouds to bring 
  rain. The rain is very heavy, but only affects a small area (about 100 feet) while surround-
  ing areas are overcast and sullen. 
  This power costs a Mental Trait and fifteen minutes to activate. All those exposed to 
  the torrential downpour must risk two Traits in any challenge dealing with physical 
  actions and ranged actions are reduced to twenty feet. At the Storyteller's option, 
  darkened rainstorm skies may reduce the damage taken by a vampire from sunlight. 
  Intermediate 
  Tempest 
  The vampire can alter the local weather patterns of large areas and call forth a variety 
  of weather effects. By expending a Willpower Trait, the Kindred can summon the chosen 
  type of weather form, The weather last for one hour, plus an additional hour for each 
  Mental Trait the Kindred expends. The Storyteller may assign a higher cost or require a 
  Static Mental Challenge for very unusual or unseasonal weather. Some examples of 
  weather types the Kindred can create are: thunderstorms, hailstorms, blizzards or clear 
  skies. The game effects are similar to that of Cloak of Fog and Downpour, but the 
  Tempest's effects are citywide. 
  Advanced 
  Call Lightning 
  By will alone, the Thaumaturgist bring forth devastating bolts of lightning from the 
  heavens to smite his foes. This power only works out-of-doors in overcast, stormy or 
  raining conditions and costs a Willpower Trait to activate. If the Kindred can defeat her 
  foe in challenge with her Mental Traits and Survival Ability against the foe's Physical 
  
  Traits, the attack succeeds and the victim suffers three aggravated wounds. 
  Rituals 
  Rituals are arcane formulas and incantations that, if properly and skillfully enacted, 
  can bring about powerful magical effects. They are not, however, commonplace or easily 
  mastered. 
  For each level (Basic, Intermediate or Advanced) of mastery in the character's primary 
  Path, she can begin to Study one of the following rituals of the same level. All rituals 
  chosen in this manner are subject to Storyteller approval. Additional rituals may be 
  learned with experience and instruction from a mentor who has mastered the ritual in 
  question. The guidelines for uncovering and learning Paths also apply to rituals. 
   
  Basic 
  A Basic Ritual take 30 minutes to perform, unless an individual ritual description 
  states otherwise. 
  Crimson Sentinel 
  This ritual allows the caster to inscribe a warding rune that will make it difficult or 
  impossible for the subject to enter an area. The rune must be inscribed with one of the 
  subject's Blood Traits and can affect an area up to fifteen paces across (a small room). 
  The caster must also expend a number of Mental Traits when casting the ritual to set the 
  difficulty. Once engaged, any time the subject attempts to enter the warded area, she must 
  win a Static Challenge against this difficulty. If the rune is discovered and destroyed, the 
  ritual is dispelled. 
  Defense of the Sacred Haven 
  This handy ritual can be used by a Kindred to protect a haven or chantry from of the 
  oldest banes of her kind- sunlight. The ritual costs one Blood Trait to cast, but lasts as 
  long as the structure is intact and the Kindred remains within. After it is cast, no sunlight 
  can enter the haven by a window or door (as long as they remain closed). The ritual will 
  affect a structure up to the size of a small house, but a Storyteller may rule that larger 
  structures can be affected at a higher cost. 
  Deflection of the Wooden Doom 
  By performing this ritual within a circle of wood (of any sort), the caster can stave off 
  the threat of staking to herself or another. The ritual costs one Mental Trait to enact, hut it 
  lasts until the character suffers a result that would leave her staked. If this happens, the 
  challenge is lost, the staking implement is destroyed and the enchantment is over. No 
  wounds are inflicted to either party, and no Traits are lost. To represent the presence of 
  this ritual, the player should record it on her character sheet, and a small wooden sliver 
  
  (like a toothpick) should be carried on her person. Only one of these enchantments may 
  be present on a subject at a given time. 
  Devil's Touch 
  The caster can place a temporary magical curse upon a mortal that causes others to 
  view the subject with revulsion and disgust. The subject must bid at least two Traits on 
  all Social Challenges while under of the effects of the ritual. A penny or similar coin 
  must be slipped onto the victim by either skillful roleplaying or the Streetwise or Security 
  Ability. The ritual ends when the coin is found and discarded, or at sunrise, whichever 
  comes first. 
  Purity of Flesh 
  This ritual mystically purges impurities (mundane pollutants, poisons and drugs, but 
  not diseases or magical effects) from a target by concentrating these impurities into the 
  subject's blood. One Blood Trait from the subject is used to enact the ritual. Afterward, 
  the blood is thoroughly putrid and useless. A Storyteller may require a Simple Test or 
  challenge for particularly stubborn substances. 
  Engaging the Vessel of Transference 
  The caster can mystically prepare a vessel to act as a conduit, transferring blood 
  contained within with that of anyone who comes in contact with it. For each Blood Trait 
  placed within the container, it will enact a single transfer. No tests are made to 
  accomplish this, and the victim will only notice a slight shivering sensation. Once all of 
  the original blood has been transferred in this manner, the magic fades, but the blood 
  collected remains. This ritual is often used to get blood samples or Blood Bond a subject. 
  The ritual costs a Mental Trait to perform. 
  Ward Versus Ghouls 
  The caster can create an arcane sigil that will detrimentally affect any creature that 
  contains both mortal and Kindred blood, such as a ghoul. The ward can be placed on an 
  unbroken and immobile circle or loop. If a ghoul approaches the edge of this barrier 
  (from within or without), she will feel very uncomfortable. If she should actually cross 
  the barrier, the ghoul will suffer three aggravated wounds. Alternatively, the ward can be 
  placed on a melee weapon. If this is the case, the weapon will inflict an aggravated 
  wound (in addition to any normal damage) when used against a ghoul. Inscribing and 
  enchanting the area requires a Trait of mortal blood, and the caster must permanently 
  expend a Mental Trait. If the symbol is somehow discovered and destroyed, the ward's 
  magic is destroyed. If the caster wishes, individual ghouls can be excluded from either 
  version of the ward if they are present at the casting and donate a Blood Trait to attune 
  the ward to ignore them. 
  
  Intermediate Rituals 
  Intermediate Rituals take an hour to perform, unless stated otherwise for an individual 
  ritual. 
  Bone of Lies 
  The Thaumaturgist can enchant a mortal bone to ascertain if the holder is telling the 
  truth or not. The hone must be at least 200 years old from a mortal who has never tasted 
  of Kindred blood. This ritual takes one hour to perform, and the bone must be bathed in 
  and absorb ten Blood Traits. Thereafter, each time someone bearing the bone lies, it will 
  visibly darken. The bone may be used ten times before it is rendered useless. 
  Pavis of the Foul Presence 
  It is rumored that this ritual was created by the Tremere primarily to counter the power 
  of their chief rivals in the Camarilla, the Ventrue. Indeed, it is almost never found outside 
  the Tremere Clan. The ritual costs a Mental Trait to cast and lasts until its power is 
  invoked or until sunrise, whichever comes first. When a Presence Discipline is used 
  against the caster, a test is performed as normal, hut if the ritual caster wins, the user of 
  the Presence Discipline is instead affected by the Discipline. If the caster loses, the 
  Presence power has no effect. In either case, the ritual is used and must be recast. Only 
  one of these enchants may be present at one time. To represent the presence of this Disci-
  pline, the player must record it on her character sheet and wear (not necessarily visibly) a 
  blue silken cord about her neck. 
  Ward Versus Lupines 
  This ritual performs exactly like the Ward Versus Ghouls except silver dust, not blood, 
  is used to cast it. The ritual affects Lupines in all their forms. 
  Advanced 
  Advanced Rituals require 90 minutes to perform unless stated otherwise. 
  Night of the Red Heart 
  This ritual is performed in two sessions of one hour each. The first is cast just after 
  sunset, and the other is performed just before sunrise. If enacted successfully, the target 
  dies horribly upon rising of the morning sun. His heart boils and is consumed as if by the 
  burning rays of the sun. The ritual requires three of the victim's Blood Traits and two 
  fellow Thaumaturgists (though only one needs to know the ritual). The target of this 
  ritual becomes immediately aware that she is the target of a ritual after the first part of the 
  ritual is completed, although she may not be aware of the origin of the ritual. The target 
  can only save her life by killing one of the Kindred performing the ritual or otherwise 
  preventing the second ceremony. Both parts of the ritual must be cast in the same place 
  and within the same city as the target. To invoke the final effect of the ritual, each caster 
  
  must permanently expend a Mental Trait. 
  Nectar of the Bitter Rose 
  The mysteries of this ritual are held in strict secrecy by those able to cast it. The 
  ritual's very existence is a threat few in the Camarilla would tolerate. During the course 
  of this three-hour ritual, the life essence of a Kindred is drained and devoured by the 
  participants. The victim must be present and somehow restrained throughout the entire 
  process. The end result is a draught that may be shared by up to five Diabolists. Each 
  drinker may benefit from the generation of the victim, if applicable, though only once per 
  victim and ritual. 
  There are risks, however. Each Diabolists must engage in a Simple Test (no Traits are 
  risked) against the victim. If the Diabolist wins or tie, she lowers her generation. If she 
  should lose, the blood rejects her and she gains nothing from the ritual, nor may she ever 
  benefit from the ritual in the future. At the very least, the victim of the ritual is utterly 
  destroyed. His soul is consumed in the process. See the section on "Diablerie" in Chapter 
  Five for further information. 
  Abandon the Fetters of Blood 
  Through this powerful and taxing arcane ordeal, a target can be freed from the 
  legendary Blood Bond. To perform the ritual, all the blood from the subject and a single 
  Blood Trait from her Regnant must be used to fuel the ritual. At the climax of the ritual, 
  when the last of the target's blood leaves her body, she suffers the permanent loss of a 
  Physical, Mental and Social Trait other choosing as a result of the ordeal. The subject's 
  blood is then returned and the Blood Bond is no more. The Regnant's blood is used 
  during the course of the ritual. 
  Ward Versus Kindred 
  This ritual performs exactly like the Ward Versus Ghouls, except that Kindred blood 
  is used to cast it and it affects vampires of all sorts. 
  Influence 
  Kindred have exerted their control over the mortal masses down through the ages. At 
  first it might have been an easy way to draw vessels to them, make hunting easier and 
  facilitating a more comfortable lifestyle. However, it is actually possible that this practice 
  helped to form the first protocultures, spawning many of humanity's great civilizations. 
  Others would argue just the opposite, that this garnering of power is just another 
  manifestation of the Kindred's legendary hunger. In this instance, they are draining the 
  life out of whole societies with their base and selfish manipulations. In any case, 
  Influence is the mechanism by which Kindred control the daily affairs of the innumerable 
  hordes of kine for their often inscrutable reasons. 
  Influence may take the form of contacts, allies or direct control of a mortal agency. In 
  a practical sense, Influence can make almost any Kindred's life easier. It can be used to 
  protect one's haven, hunting habits or illegal activities, not to mention the power it can 
  
  levy against the foes of the Kindred. Although most of this sort of power has been 
  hoarded by the paranoid ancient ones, there are plenty of opportunities for young and 
  energetic Kindred to scheme and manipulate. 
  Characters may use Influence Traits directly by expending them to accomplish goals 
  in a specific aspect of mortal society. Many Influences can perform similar functions, 
  such as Street and Underworld, but generally one will be more efficient or easier at the 
  function in question. The difficulty of a task is the number of Traits that must be 
  expended to accomplish the task. This number is set by a Storyteller and can be subject to 
  sudden change. The suggested guideline listed along with each area of Influence can 
  change dramatically from chronicle to chronicle or even from session to session. 
  Sometimes a Narrator will require a challenge of some sort-to represent the uncertainty or 
  added difficulty involved when exercising Influence. Some uses of Influence may not 
  actually cost Influence to use, but rather require that the Kindred possesses a certain level 
  of the Influence. 
  To use Influence directly, a player should contact a Narrator and explain what sort 
  effect she wishes to cause. The Narrator will then decide the Trait cost, the time involved 
  (real-time and game-time) and any tests concerning the Influence effect. Influence Traits 
  used this way are considered temporarily expended. They are not recovered until the next 
  session. The effects of using Influence can be brief and instantaneous or permanent and 
  widespread, depending on the nature of the manipulation and the degree of power the 
  character wields. 
  Sometimes players will want to perform actions that do not seem to fall under any 
  single Influence group. Say a Toreador ancilla wants to open a premiere nightclub in the 
  city. Obviously, she will need Finance, but High Society and Media might be useful to 
  stimulate interest and bill the club as something really spectacular. 
  Furthermore, what if the area where she wants to put the club is not zoned for clubs? 
  Bureaucracy could be useful to change this, not to mention in acquiring the proper 
  licenses and permits. Therefore, in certain cases, a Storyteller may decide that two or 
  more types of Influence are necessary to accomplish a goal. Not only is this more 
  realistic, but it also encourages characters to interact to get the Influence they need. 
  Kindred can trade Influences with each other in a sort of undead live-action version of 
  Monopoly. These trades may be permanent or temporary. In the case of permanent trades, 
  the old owner erases the Trait from his sheet and turns over the Influence Card (if your 
  chronicle uses these) to the new owner. The new owner then records her newly acquired 
  Influence Trait on her character sheet. In some cases, a Kindred is merely doing a favor 
  or loaning her Influence to another Kindred. In this case, the owner does not erase the 
  
  Trait, but should make a note that it is no longer in her possession. The holder of the 
  Influence Trait may use it immediately or hold onto to it until she feels she needs it. 
  However, the original owner of the Influence Trait may not regain the Trait until it is 
  expended by the current holder. 
  Obviously, an unwise Kindred can find his Influences tied up in the hands of others 
  for a long time if he is not careful. For this reason, some chronicles may dictate that the 
  Trait reverts to its original owner after a certain time. A good rule of thumb for this is one 
  month. If sessions are scheduled less frequently than once a month, the Storyteller(s) 
  should probably lengthen this time. Any exchange of Influence Traits requires the 
  presence and assistance of a Narrator. 
  Sometimes characters may wish to try to counteract the Influence of other characters. 
  In such cases, it generally costs one Trait per Trait being countered. An example would 
  be if one Kindred was trying to get a story published in the newspaper as another was 
  trying to squelch it. 
  Larger games sometimes require dedicated Narrators devoted solely to Influence. 
  Storytellers running complex chronicles may also consider the advantages of using a 
  system of recording the various expenditures and trading of Traits. In addition to making 
  the use of Influence easier, this sort of system can actually help plotting and intrigue. 
  Between games, Storytellers can use the log of Influence expenditure to see what 
  characters are attempting to accomplish and write plots around these goals. In any game, 
  the actions and manipulations of the various Kindred of a city can form an entire subplot. 
  Many Kindred may wish to use their Influence Traits and other powers to monitor the 
  action of their fellows and better carry out their own intrigues and agendas. 
  In practice, the use of Influence is never instantaneous and rarely expedient. While a 
  character may be able to, say, condemn any building in the city, it will not be torn down 
  that night. For sake of game flow, a Storyteller may allow trivial uses of Influence to only 
  take half an hour. Major manipulations, on the other hand, can become the center of 
  ongoing plots requiring several sessions to bring to fruition. 
  The guidelines below by no means limit to the number of Influence Traits that can he 
  spent at one rime or the degree of change a character may bring about. They are merely 
  an advisory measure to help Storytellers adjudicate the costs of certain actions. 
  Bureaucracy 
  The organizational aspects of the local, state and j even federal government fall within 
  the character's sphere t of control. She can bend and twist the tangle of rules and | 
  regulations that seem necessary to run our society as she sees fit. The character may have 
  contacts or allies among government clerks, supervisors, utility workers, road crews, 
  
  surveyors and numerous other civil servants.  
  Cost           Desired Effect
  1              Trace utility hills* 
  2              Fake a birth certificate or driver's license  
                  Disconnect a small residence's utilities  
                  Close a small road or park  
                  Get public aid ($250) 
  3              Fake a death certificate, passport or green card  
  Close a public school for a single day  
                  Turn a single utility on a block on or off  
                  Shut down a minor business on a violation 
  4              Initiate a phone tap 
                  Initiate a department-wide investigation  
                  Fake land deeds 
  5              Start, stop or alter a city-wide program or policy  
                  Shut down a big business on a violation  
                  Rezone areas  
                  Obliterate records of a person on a city and county level 
  6              Arrange a fixed audit of a person or business 
   
  (*) These effects can generally be accomplished without expending an influence trait. 
   
  Church 
  Even churches are not without politics and intrigue that an opportunistic Kindred may 
  capitalize upon. Church Influence usually only applies to mainstream faiths, such as 
  Christianity, Judaism, Buddhism and the Islamic faith. Sometimes other practices fall 
  under the Occult Influence.. Contacts and allies affected by Church Influence include: 
  ministers, bishops, priests, activists, evangelists, 
  witch-hunters, nuns and various church attendees and assistants. 
  Cost            Desired Effect
  1            Identify most secular members of a given 
                faith in the local area 
                Pass as a minister *                
                Peruse general church records (baptism, 
                marriage, burial, etc.) 
  2            Identify higher church members                
                Track regular congregation members 
                Suspend lay members  
  3            Open or close a single church                
  
                Dip into the collection plate ($250)                
                Find the average church associated hunter                
                Access to private information and archives 
                of church 
  4            Discredit or suspend higher-level members                
                Manipulate regional branches 
  5            Organize major protests 
                Access ancient church lore and knowledge 
  6            Borrow or access church relics or sacred items 
  7            Utilize the resources of a Diocese 
   
  Finance 
  The world is bristling with trappings of money and those who make it. Kindred with 
  the Finance Influence know the language of money and its haunts. They have a degree of 
  access with banks, megacorporations and the truly rich denizens of the world. The 
  character has a wide variety of servants to draw upon, such as CEOs, bankers, corporate 
  yes-men, bank tellers, stock brokers and loan agents. 
  Cost            Desired Effect
  1             Earn money; learn about major transac 
                 tions and financial events 
                 Raise capital ($1,000) 
                 Learn about general economic trends* 
                 Learn real motivations for many financial 
                 actions of others 
  2             Trace an unsecured small account 
                 Raise capital to purchase a small business 
                 (single, small store) 
  3             Purchase a large business (a few small 
                 branches or a single large store or service) 
  4             Manipulate local banking (delay deposits, 
                 some credit rating alterations) 
                 Ruin a small business 
  5             Control an aspect of citywide banking 
                 (shut off ATMs, arrange a bank "holiday") 
                 Ruin a large business 
                 Purchase a major company 
  6             Spark an economic trend 
                 Instigate widespread layoffs 
   
  Health 
  
  In our modem world, a myriad of organizations and resources exist to deal with every 
  mortal ache and ill, at least in theory. The network of health agencies, hospitals, asylums 
  and medical groups is subject to exploitation by a Kindred with Health Influence. Nurses, 
  doctors, specialist, lab workers, therapists, counselors and pharmacists are just a few of 
  the inhabitants of the health field. 
  Cost             Desired Effect
  1              Access a person's health records* 
                  Utilize public functions of health centers 
                  at your leisure 
                  Fake vaccination records and the like 
                  Get a Blood Trait 
  2              Access to some medical research records 
                  Have minor lab work done 
                  Get a copy of coroner's report 
  3              Instigate minor quarantines 
                  Corrupt results of tests or inspections 
                  Alter medical records 
  4              Acquire a body 
                  Completely rewrite medical records 
                  Abuse grants for personal use ($250) 
                  Have minor medical research performed 
                  on a subject 
                  Institute large-scale quarantines 
                  Shut down businesses for "health code 
                  violations" 
  5              Have special research projects performed 
                  Have people institutionalized or released 
   
  Above the head of the common masses exist an elite clique of mortals that by virtue of 
  birth, possessions, talent or quirks of fate hold themselves above the great unwashed 
  masses. High Society allows the character to direct and utilize the energies and actions of 
  this exceptional mass of mortals. Among their ranks one can find dilettantes, the old rich, 
  movie and rock stars, artists of all sorts, wannabes, fashion models and trendsetters.  
  Cost            Desired Effect
  1             Learn what is trendy * 
                 Learn about concerts, shows or plays well 
                 before they are made public * 
                 Obtain "hard to get" tickets for shows 
  2              Track most celebrities and luminaries 
  
                  Be a local voice in the entertainment field 
                  "Borrow" $1,000 as idle cash from rich 
                  friends 
  3              Crush promising careers 
                  Hobnob well above your station * 
  4              Minor celebrity status 
  5              Get a brief appearance on MTV 
                  Ruin a new club, gallery, festival or other 
                  high society gathering 
   
  (*) These effects can generally he accomplished without expending an influence trait. 
   
  The dark world of the Gothic Punk milieu is built by pumping and grinding machinery 
  and the toil of endless laborers. A character with the Industry Influence has her ashen 
  fingers in this field. Industry is composed of union 
  workers, foremen, engineers, contractors, construction workers and manual laborers.  
  Cost            Desired Effect
  1              Learn about industrial projects and move 
                  ments * 
  2             Have minor projects performed 
                 Arrange small accidents or sabotage 
                 Dip into union funds or embezzle petty 
                 cash for $500 
  3             Organize minor strikes 
                 Appropriate machinery for a short time 
  4             Close down a small plant 
                 Revitalize a small plant 
  5             Manipulate large local industry 
  6             Cut off production of a single resource in 
                 a small region 
   
  Legal 
  The Kindred presence is even present in the hallowed halls of justice and the courts, 
  law schools, law firms and justice bureaus within them. Inhabiting these halls are 
  lawyers, judges, bailiffs, clerks, DAs and attorneys. 
  Cost            Desired Effect
  1            Get free representation for small cases 
  2            Avoid bail for some charges 
  
                Have minor charges dropped 
  3            Manipulate legal procedures 
   
   
   
  - small wills 
   
  - minor contracts 
   
  - court dates 
                Access public or court funds for $250 
                Get representation in most court cases 
  4            Issue subpoenas 
                Tie up court cases 
                Have most legal charges dropped 
                Cancel or arrange parole 
  5            Close down all but the most serious inves 
                tigations 
                Have deportation proceedings held against 
                Someone 
   
  Media 
  The media serves as the eyes and ears of the world. While few in this day and age 
  doubt that the news is not corrupted, many would be surprised at who closes these eyes 
  and covers these ears from time to time. The media entity is composed of station 
  directions, editors, reporters, anchormen, camera-men, photographers and radio 
  personalities.  
   Cost          Desired Effect  
  1             Learn about breaking stories early * 
                 Submit small articles (within reason) 
  2             Suppress (but not stop) small articles or 
                 reports 
                 Get hold of investigative reporting infor 
                 mation 
  3             Initiate news investigations and reports 
                 Get project funding and waste it, $250 
                 Access media production resources 
                 Ground stories and projects 
  4             Broadcast fake stories (local only) 
   
  Occult 
  
  Most people are curious about the supernatural world and the various groups and 
  beliefs that make up the Occult world, but few consider it anything but a hoax, a 
  diversion or a curiosity. They could not be farther from the truth. This Influence more 
  than any other hits the Kindred close to home and could very well bring humanity to its 
  senses about just who and what shares this world with them. Among the Occult 
  community are cult leaders, alternative religious groups, charlatans, would-be occultist 
  and New Agers. 
  Cost            Desired Effect
  1             Contact and utilize common occult groups, 
                 practices 
                 Know some of the more visible occult figures * 
  2             Know and contact some of the more ob 
                 scure occult figures * 
                 Access resources for most rituals and rites 
  3             Know the general vicinity of certain super 
                 natural entities and possibly contact them 
                 (Kindred, Garou, mages, mummies, wraiths, etc.) 
                 Can access vital or very rare material components 
                 Milk impressionable wannabes for bucks ($250) 
                 Access occult tomes and writings (part of an 
                 alleged Book of Nod) 
                 Research a Basic Ritual 
  4             Research an Intermediate Ritual 
  5             Access minor magic items 
                 Unearth an Advanced Ritual 
  6             Research to find a new or unheard of ritual 
                 or rite from tomes or mentors 
   
  Police 
  "To defend and serve" is a popular motto among the chosen enforcers of the law of the 
  land. But in these days, even those ignorant to the presence of the Kindred have reason to 
  doubt the ability of the people who put their lives on the line daily on the common man's 
  behalf. Perhaps they should wonder who they defend, who they serve and why. The 
  Police Influence encompasses the likes of beat cops, desk jockeys, prison guards, special 
  divisions (such as SWAT and homicide), detectives and various clerical positions.  
  Cost            Desired Effect
  
  1             Learn about of police procedures * 
                 Police information and rumors 
                 Avoid traffic tickets 
  2             Have license plates checked 
                 Avoid minor violations (first conviction) 
                 Get "inside information" 
  3             Find bureau secrets 
                 Get copies of an investigation report 
                 Have police hassle, detain or harass someone 
  4             Access confiscated weapons or contraband 
                 Start an investigation 
                 Get money, either from evidence room or 
                 as an appropriation ($1,000) 
                 Have some serious charges dropped 
  5              Institute major investigations 
                  Arrange set ups 
                  Instigate bureau investigations 
                  Have officers fired 
  6              Paralyze departments for a time 
                  Have a major investigation closed down 
   
  Blood 
  "Your blood is precious to me, nor would I spill it in vain." 
  - Sinead O'Connor,"You Made Me the Thief of Your Heart"  
  Your Blood Traits can be used in number of ways. The most common way a character 
  can regain Blood Traits is by feeding, but a Kindred can never imbibe more Traits than 
  she has in her Blood Pool. Vampires of lower generation have much larger pools than 
  those of higher generation, which is one of the greatest advantages of generation. 
   
  Using Blood Traits 
  Blood Traits aren't assigned adjectives as other Traits are. Each Blood Trait simply 
  represents a volume of blood. Here is a breakdown of the ways Blood Traits can be used 
  in the game. 
  • One Blood Trait must be expended each night, upon the character's rise from sleep. 
  This is simply the basic amount of nourishment the vampire requires to survive. 
  • Blood Traits can be used to heal Health Levels on a one-for-one basis. The wounds 
  are healed instantly. Note, however, that injuries caused from fire and sunlight 
  
  (aggravated wounds) require three Blood traits and a Willpower Trait to heal. You may 
  also let other vampires drink your blood, thereby healing them. However, if a vampire is 
  in torpor, only the blood of a vampire three generations lower can revive her. 
  • Blood is often used to fuel Disciplines, such as Celerity or the Path of Blood. 
  • Blood may be used to boost your Physical Traits during a physical challenge. Each 
  Blood Trait spent adds one to your total Physical Traits for the duration of a single 
  conflict. 
  Blood Traits used in this manner can be used just as if they were Physical Traits, 
  including the ones used to bid. This lasts for the duration of the conflict, not the 
  challenge. The difference is that a conflict may actually involve several challenges. Traits 
  used may be held on to for up to five minutes after the last challenge in the conflict is 
  completed, at which time all marked Traits are gone. 
  Each Trait used must be marked in some manner (crossed with an X). 
   
  Willpower 
  "Switch off the mind and let the heart decide..." -Thomas Dolby, "Windpower" 
  Within each of us is the ability to do incredible things. In times of catastrophe, 
  ordinary people have been known to perform extraordinary feats. If the circumstances are 
  just right, an average person could lift an automobile to save a pinned pedestrian or run 
  through a burning building to save a trapped child. A determined man can even fight 
  death itself if he truly has the will to live. In The Masquerade, this ability to do the near 
  impossible is governed by a Trait known as Willpower. Willpower gives a character the 
  extra strength necessary to overcome obstacles and succeed where others would give up 
  and fail. 
  Each character begins the game with a number of Willpower Traits. For vampires, the 
  number of Traits depends on the character's generation. These Willpower Traits can be 
  used for almost anything that the player deems important. A few examples of how 
  Willpower can be used by vampires are listed below. 
   
  • Willpower can be used to negate the effects of frenzy (by using a Willpower Trait, 
  the character gains a new tolerance of the  
  situation that would ordinarily throw her into frenzy). 
  • Willpower allows a character to replenish all other lost Traits in any one category: 
  Physical, Social or Mental. 
  • Willpower allows a character to ignore the effects of any wounds, up to and 
  including Incapacitation, for one challenge. 
  
  • A Willpower Trait can be expended to negate the effects of any one Mental or Social 
  Challenge. 
   
  Once a Willpower Trait has been used, it is gone until the end of the story. At this 
  time, the character regains all Willpower used during the course of the story. It is possible 
  that a Narrator may choose to give a character a Willpower Trait during the course of a 
  story as a reward for exceptional roleplaying. Such a reward would be given for playing a 
  Nature appropriately, acting out a Derangement in an appropriate fashion or any other 
  reason the Narrator deems suitable. This should not, however, be a common occurrence. 
  Beast Traits 
  The existence of a vampire is a rollercoaster of ups and downs, Some Kindred, 
  however, live in a far more primitive world than others. These Kindred have succumbed 
  to the bestial side of vampiric nature and often cannot control what they do. Beast Traits 
  are a measure of how much a Kindred has given into her dark side-the Beast. Beast Traits 
  affect several things: 
   
  -How often the Kindred goes into frenzy 
  Each Beast Trait has a description of a type of event that will send that character into a 
  state of frenzy. Unless the character resists by spending a Willpower Trait, the character 
  will automatically frenzy if that situation comes up. (Set the section on "Frenzy" for more 
  details on the effect this has on a character.) 
   
  -Waking up early 
  In games that begin at sunset, a player with Beast Traits may not join play for 15 
  minutes for each Beast Trait her character has. A character with three Beast Traits will 
  have to start play at least 45 minutes after sunset. 
  Finally, upon receiving the fifth Beast Trait, the vampire goes into a state of permanent 
  frenzy. The player has no control over the character and must surrender it to the 
  Storyteller and start anew. The Storyteller may allow the player to continue to play that 
  character. The monster will usually be hunted down and extinguished. 
  Beast Traits come from the categories of Rage, Control and Terror to define the type 
  of frenzy that each Trait causes. There are also two levels of Beast Traits: Subhuman and 
  Monstrous. Subhuman Traits cause frenzies based on fairly uncommon events. Having a 
  Subhuman Trait will tend to make you frenzy occasionally. The only worry you have is if 
  another Kindred figures out what your Beast Trait is. Your weaknesses may then be 
  exploited quite easily. 
  Monstrous Traits are evil. Once you pick up your first Monstrous Trait, be prepared to 
  
  spiral straight down into a vampiric hell. You will barely be in control of yourself and 
  will likely end up viewing the sunrise with only a stake through the heart for company. 
  Princes have no love for crimes performed during a frenzy. 
   
  Rage 
  Subhuman Beast Traits 
  Vigilante - Frenzy whenever you encounter the death of a person (be it Kindred or 
  kine). You are tormented by all the killing that vampires do, so much so that a death will 
  send you into an uncontrollable rage. You will seek out and try to destroy the murderer. If 
  you do not know the murderer, you will blame the nearest person and go after him. 
  Frustrated - Frenzy whenever beaten in a Mental Challenge. You will kill the next 
  person who messes with your mind. If you lost a Static Challenge against a lock or alarm 
  system, that object is history. That person over there looking at you funny is obviously 
  trying to take control of your mind. Get him. 
  Item - Frenzy when encountering a particular item, like a stake. The stake wielder is 
  asking for it. You may end up with some other item besides a stake, which the Storyteller 
  must choose. Were you attacked by a psychotic with a pair of scissors when you were 
  young? Or were you once shot 137 times with an Uzi? 
   
  Monstrous Beast Traits 
  Furious - Frenzy whenever someone crosses you in some way. Someone is not 
  following your orders. Perhaps he has been telling the Harpies all about your little plan 
  and now the word has spread all over town. Or maybe your rival has Blood-Bonded your 
  favorite ghoul to herself. That makes you REALLY angry. 
  Violent - Frenzy whenever witnessing an act of violence. This is what happens to 
  vigilantes who go overboard. If you see two Kindred fighting, you might beat up the one 
  who is attacking (because he's just too violent). Beat up the other one (after all, he let 
  himself be attacked). Attack the spectators (just because you're in the mood). Often this 
  frenzy will continue until someone helps you stop, as you are only causing more violence 
  (although it's really their fault!). 
  Bullied - Frenzy whenever beaten in a Social Challenge. Whoever won the Social 
  Challenge deserves to get beaten up. The worst problem with this frenzy is that you 
  cannot be talked down from a frenzy. (A Kindred will have to beat you in a Social 
  Challenge to talk you down.) Even talking to someone in this frenzy is a sure way to 
  make yourself the next target of their wrath. 
   
  
  Control 
  Subhuman Beast Traits 
  Blood- Frenzy whenever encountering a quantity of spilled blood. The smell of about 
  a pint of blood when it is out in the open drives you wild. Start by lapping up the blood in 
  front of everyone. Once the taste gets into your body, you need more blood until you are 
  full. Even then, you may not stop. 
  Hunger - Frenzy whenever you are down to only a single Blood Trait. The Hunger 
  starts to drive you, and you need the blood. Drink your first victim dry, then leave the dry 
  husk as you pursue more blood. Feeding is all that matters. Covering up your killing is 
  not part of being a "real" vampire. 
  Lust - Frenzy whenever encountering a willing victim to feed from. Feeding is like 
  sex. When you find someone to feed from who is just as enthusiastic as you are, the 
  drinking is more than just taking blood. You tend to get carried away and drink too much. 
  Then you need to find more and more blood to help atone for your sins. 
  Monstrous Beast Traits 
  Blood Smell - Frenzy whenever encountering a crowd of people, animals or Kindred. 
  This is similar to the Subhuman Beast Trait: Blood, but far more crippling. The smell of 
  blood permeates throughout the city. You can smell the delicious blood inside of every 
  human you pass. Here's a cruel trick: kidnap a Kindred with Blood Smell and drop him in 
  a night club. 
  Desire - Frenzy whenever encountering whatever you most want. You want to be 
  Prince? He's standing right over there. Take him out and the position is yours. Infatuated 
  with the beautiful Toreador? Her "guardian" is approaching you now. This is a 
  particularly nasty Trait to have. 
  Diablerie - Frenzy when encountering an incapacitated Kindred. This is not a very 
  common situation, unlike most Monstrous Beast Traits. However, whenever you find a 
  helpless Kindred, you have trouble resisting the easy way to lower your generation. Drink 
  his blood, then his soul. Stock up on Willpower, or the Sheriff will be after you in no 
  time. 
   
  Courage 
  Subhuman Beast Traits 
  Phobia - Frenzy when affected by a phobia. Perhaps you suffered from some phobia 
  in your mortal life that grew into a terrible fear in your immortal life. Flee until you find 
  some protection from whatever ails you. The Storyteller should choose the Phobia, but 
  here are some examples: 
  
  • Claustrophobia - Closed, tight spaces turn your stomach. You can't breathe in 
  constricted areas. (Never mind that you don't breathe.) This is one vampire who does not 
  sleep in a coffin. 
  • Agoraphobia - You stick to the sewers or inside buildings. Things can swoop down 
  on you in open areas. Besides, werewolves hate confined spaces, so you will panic and 
  flee indoors as soon as possible. 
  • Hydrophobia - You are positive that those stories about running water are true. Go 
  into a frenzy when immersed, or even forced to walk across water. 
  Sunlight - Frenzy whenever exposed to sunlight, a sun lamp, or UV radiation. 
  Sunlight kills vampires, and so this is one of the few useful Beast Traits. However, sun 
  lamps and black lights (which normally cause only a mild tingling to the skin) send you 
  into a flight of terror. Avoid tanning salons and scope out your nightclubs carefully. 
  Fire - Frenzy whenever exposed to a quantity of flame. This is another potentially 
  useful Trait, as fire is a great danger to vampires. Most vampires, however, will not freak 
  out when they see a campfire, or when someone lights a cigarette. You will. 
   
  Monstrous Beast Traits 
  Pain - Frenzy whenever you take damage. Pain sends you running away screaming 
  from whatever hurt you. The pain is so intense that you will forget to heal the wound with 
  blood until you are calmed down. However, you will calm down 5-10 minutes after you 
  get away from whatever hurt you. 
  Shame - Frenzy whenever beaten in a Physical Challenge. You are so unsure of 
  yourself that any loss in a Physical Challenge will break your will. You will try to get 
  away from the person who won the Physical Challenge. See what the Harpies say after 
  you have a mental breakdown when failing to knock down a door. 
  Religion - Frenzy when confronted by a religious symbol. You've probably confronted 
  someone with True Faith at some point. He messed with you so well that even a cross (or 
  another appropriate religious artifact) will send you racing away. You can actually stand 
  being around the object, but must enter a frenzy if you touch one, or have it presented 
  before you. 
   
  Receiving Beast Traits 
  Kindred pick up Beast Traits when performing an act of violence or cruelty. It is up to 
  a Narrator or the Storyteller to decide what warrants penalizing the player with a Beast 
  Trait. 
  Generally a Narrator will have the player perform a Simple Test. If the player wins, 
  she will not gain a Beast Trait. If she draws, she will gain a Subhuman Beast Trait. If the 
  
  player loses the Simple Test, she will gain a Monstrous Beast Trait. 
  It also bears mentioning that a Kindred who performs a heinous action while under the 
  effects of a frenzy is by no means exempt from gaining additional Beast Traits as a result 
  other actions- thus the downward spiral begins. 
   
  Here are some examples of particularly antisocial behavior 
  • Committing Diablerie. This will almost always result in the Diabolist receiving a 
  Beast Trait. The Narrator should have the player make two Simple Tests instead of one. 
  Although the character will not receive more than one Beast Trait from this action, the 
  chances of getting one increase drastically. 
  • Bringing about the destruction of another Kindred. 
  • Intentionally murdering a kine. 
  • Lying or scheming in some manner that causes a death. 
  • Torturing someone. 
  • Mass destruction. 
   
  The Storyteller should also choose which Trait to give to the offender. Awarding 
  Beast Traits should not be done lightly, as only five are needed to sink a character. Once 
  gained, a Beast Trait will scar your character permanently, as there is no way to lose 
  them. If your character somehow manages to achieve the exalted state of Golconda, then 
  your Beast Traits will be rendered temporarily ineffective. If you slip from the path, 
  however, they will immediately be back to haunt you. When you fall, you fall hard. 
  A player can also choose to take a second Beast Trait at the start of the game. This is 
  not advisable for beginning players, as the possibility of getting five Beast Traits 
  becomes very real. The second Beast Trait taken in this way counts as two Negative 
  Traits for the purpose of buying additional Traits, Abilities and Disciplines. 
   
   
   
   
  Chapter Four: Rules 
  “My blood is running dry, 
  My skin is, my skin is growing thin 
  For every time you find yourself 
  You lose a little bit of me, from within.” 
  - Indigo Girls 
   
  There are times when a player will want to have her character do something that can’t 
  he accomplished through simple roleplaying, such as attacking another person, picking a 
  
  lock or even searching for a file in a computer system. When this happens, you need 
  rules. 
  Rules are an imperative part of any game: they define what can and cannot he done. 
  Without them, there would be no winners or losers- in effect, there would be no limits. 
  Your limitations and parameters help to define who you are and give you a sense of 
  accomplishment when you manage to triumph over others. 
  Still, the primary focus of this game is to tell a good story. and it’s always best to try to 
  defeat your opponents through roleplaying and manipulation rather than by direct 
  confrontation. When confrontation does occur, rules are necessary to govern those 
  situations. 
   
  Time 
  Time in Mind’s Eye Theatre works as it does in real life. It moves forward 
  inexorably, relentlessly. For the most part, everything is played out in real time, and 
  players are expected to stay in character unless they have a rules question. 
  During the course of a story, it is assumed that a player is always “in character.” A 
  player should only rarely drop character when interacting with other players. Doing so 
  ruins the atmosphere for everyone involved. Challenges may he talked through, hut a 
  player is always considered to he active in the game. If a player needs to take a break, he 
  should inform a Narrator. That player should not interact with any of the other players 
  while out of character. 
  The only other exception is when a Narrator calls for a “time out.’ This may he 
  necessary to resolve a dispute or to change the scene if the story calls for it. When “Time 
  Out!” is called, all players within hearing distance must stop whatever they are doing 
  until the Narrator calls out the word “Resume.” Time outs should be kept to a minimum, 
  since they interrupt the flow of the story. 
   
  Challenges 
  During the course of most stories, there will come a time when two or more players 
  will come into a conflict that cannot he resolved through roleplaying alone. This system 
  allows for conflicts to be resolved simply and quickly, whether they’re firefights or tests 
  of will. This face-off is called a challenge. In most cases, a Narrator does not need to be 
  present when a challenge is played. 
  Roleplaying does not necessarily have to end when a challenge begins. Experienced 
  players can seamlessly integrate a challenge into their roleplaying so that outsiders don’t 
  know that anything unusual is going on. At the player’s option, hand signals can be used 
  to indicate when certain Traits and powers are being employed. 
  Lastly, in order for this system to work, players need to work together. Players need to 
  educate each other on the rules and agree on what Traits can be used in a challenge. 
  Compromise and cooperation are the bywords of the game. 
  The challenge system presented in this chapter is also part of the basic rules for the 
  Mind’s Eye Theater system. By combining The Masquerade with other games in the 
  series, players can have vampires interact with werewolves, wraiths, mortals and other 
  types of characters. 
  Using Traits 
  Before you can begin to learn how challenges work, you must first understand what 
  defines a character’s abilities. A character is created by choosing a number of adjectives 
  that describe and define that person as an individual. These adjectives are called Traits 
  and are fully described in Chapter Three. These Traits are used to declare a challenge 
  against another character or against a static force represented by a Narrator. 
   
  Initial Bid 
  A challenge begins by a player “bidding” one of her Traits against her opponent. At 
  
  the same time, she must declare what the conditions of the challenge are, i.e. firing a gun 
  or attacking with a stake. The defender must then decide how she will respond. She can 
  either relent immediately or bid one of her own Traits in response. 
  When players bid Traits against one another, they may only use Traits that could 
  sensibly he used in that situation, Essentially, this means a player can usually only use 
  Traits from the same category as her opponent’s Traits. Most challenges are categorized 
  as Physical, Social or Mental, and all Traits used in a challenge must he from the same 
  category. Experienced players may offer each other more creative leeway, hut that is 
  strictly by mutual agreement. 
  If the defender relents, she automatically loses the challenge. For example, if she were 
  being attacked, she would suffer a wound. If she matches the challenger’s hid, the two 
  immediately go to a test (described below). Those Traits bid are put at risk, as the loser of 
  the test not only loses the challenge, but the trait she bid as well. 
  For example, Vargoss, a mid-ranking Ventrue, is being attacked by Roxanne, a Brujah 
  anarch. Roxanne begins her attack by bidding Ferocious. (“I Ferociously grab you by the 
  lapels of your suit and headbutt you! This is an appropriate Trait, since she’s trying to 
  gravely injure him.) Vargoss bids the Trait: Quick (“I try to Quickly jump out of the way 
  and run for the door.” He only wishes to escape so that he can warn the Sheriff of the 
  anarch’s attack.) The victory conditions have been established: if Roxanne wins, Vargoss 
  is wounded; if Vargoss wins, he escapes (at least for now). The two now go to the test. 
   
  Testing 
  Once both parties involved in a challenge have bid a Trait, they immediately go to a 
  test. The test itself is not what you may think- the outcome is random, hut no cards or 
  dice are used. The two players face off against one another by playing Rock-Paper-
  Scissors. It may sound a little silly, but it works. 
  If you lose the test, you lose the Trait you used. The Trait is lost for the duration of the 
  story (this usually means the rest of the evening Essentially, you’ve lost some of your 
  self-confidence in tour own capabilities. You can no longer use that Trait effectively, it 
  least until you regain confidence in your Traits. 
  The test works like the moment in poker when the cards ire turned over and the winner 
  is declared. From the test, there may he one of two outcomes: either one player is the 
  victor or the result is a tie. 
  In the case of a tie, the players must then reveal the number of Traits that they possess 
  in the category used (Physical, Social or Mental). The player with the least number of 
  Traits loses the test and therefore loses the challenge. Note that the number of traits 
  you’ve lost in previous challenges, or lost for any other reason, count towards this total. 
  The trick to the declaration is that you may lie about the number of Traits you possess, 
  hut only by declaring less Traits than you actually have- you may never lie and say that 
  you have more Traits than you actually do. This allows you to keep the actual number of 
  Traits you possess a secret, although doing so maybe risky. The challenger is always the 
  first to declare his number of Traits. If both players declare the same number of Traits, 
  then the challenge is a draw and both players lose the Trait(s) they hid. 
  Incidentally, certain advanced powers allow some characters to use gestures other than 
  Rock, Paper and Scissors. Before they can use the gestures in a test, they must explain 
  what they are and how they are used. 
  In continuing the example above, Roxanne and Vargoss now go to a test. They do 
  Rock-Paper-Scissors. They both choose scissors, so they tie. They now compare Traits. 
  Vargoss is a hit outclassed by the Brujah. Roxanne has seven Physical Traits, while 
  Vargoss only has five. Vargoss loses mod takes a wound. He thinks briefly about the 
  ibuprofen in the top drawer of his desk. 
  
  Rock-Paper-Scissors
   
  If you don’t happen to know (or remember) what we mean by Rock-Paper-Scissors, 
  here’s the concept: you and another person face off and, on the count of three, show one 
  of three hand gestures. “Rock” is just a basic fist. “Paper” is just a flat hand, “Scissors” is 
  represented by sticking out two fingers. You then compare the two gestures to determine 
  the winner. Rock crushes Scissors. Scissors cuts Paper. Paper covers Rock. Identical 
  signs indicate a tie. 
   
  Adjudication 
  If you have question or argument about the rules or the conditions of a challenge, you 
  need to find a Narrator to make a judgment. Try to remain in character while looking for 
  a Narrator. Any interruption in the progress of the story should he avoided, so work 
  problems out with other players if at all possible. If you don’t know the exact correct 
  application of a certain rule, it would he best to wing it rather than interrupt the flow of 
  the story. Cooperation is the key to telling a good story. 
   
  Complications 
  There are a number of ways in which a challenge can he complicated. The above rules 
  are enough to resolve most disputes, hut the following rules help to add a few hells and 
  whistles. 
   
  Negative Traits 
  Many characters have Negative Traits: these are Traits that can he used against a 
  character by his opponent. During the initial bid of any challenge, after you have each bid 
  one Trait, you can call out a Negative Trait that you believe your opponent possesses. If 
  he does indeed possess the Negative Trait, your opponent is forced to bid an additional 
  Trait, although you must still risk your one Trait as usual. If he does not possess that 
  Negative Trait, you must risk an additional Trait. (Blood Traits cannot be used to 
  substitute for Physical Traits in this instance.) You may integrate as many Negative Traits 
  as you wish one by one during the initial bid phase of a challenge, as long as you can pay 
  the price if you’re wrong. 
  If your opponent does not have additional Traits to hid, then your Trait is not at risk 
  during the challenge. Additionally if you guess more than one Negative Trait that your 
  opponent cannot match, you gain that many additional Traits in the case of a tie or an 
  overbid. The same works in reverse, favoring your opponent if you do not have additional 
  Traits remaining to match incorrect Negative Trait guesses. 
  It can he risky to hid Negative Traits, hut if you’re sure about what you’re doing, you 
  can raise the stakes for your opponent, possibly even to the point where she relents rather 
  than risking additional Traits. Just make sure that your sources of information are 
  dependable. 
  
  For example, Lora is trying to seduce Sir James with Entrancement. She begins by 
  bidding her Social Trait: Seductive. (“I Seductively demonstrate the aesthetics of my 
  latest designer dress.”) Sir James is far too Dignified to allow himself be taken in by Lora 
  on a whim. (“I am Dignified, and care little for such frivolous things as fashion.”) 
  However, Lora suspects that Sir James is actually quite Shy and is unused to receiving 
  such attention from a lady. (“Have you been too Shy to develop an appreciation for such 
  things?”) She is correct (Shy is one of Sir James’ Negative Social Traits). Lora has just 
  upped the stakes. If Sir James still wishes to resist her he must risk an additional Social 
  Trait. However, things being what they are, Sir James decides that being Entranced by 
  Lora might not be such a had thing alter all. He relents and receives some rather 
  intriguing instruction from Lora. 
   
  Overbidding 
  Overbidding is the system by which elder vampires (who often have considerably 
  more Traits than younger opponents) may prevail in a challenge, even if they lose the 
  initial test. An elder vampire with 18 Social Traits should be able to crush a neonate with 
  five. This system is designed to make that possible. 
  Once the test has been made, the loser has the option of calling for an “overbid.” In 
  order to call an overbid, you must also risk a new Trait; the original one has already been 
  lost. At this point, the two players must reveal the number of Traits they possess, starting 
  with the player who called for an overbid. If you have double the number of Traits as 
  your opponent in the appropriate category, you may attempt another test. As with a tie, 
  you may state a number of Traits less than the actual number you have and keep your true 
  power secret. This can he dangerous, though, unless you are completely confident in your 
  estimation of your opponent’s abilities. 
  For example, Francisco is trying to Dominate Renauld into wearing a newspaper hat. 
  They begin as usual with Francisco bidding Determined (“I am Determined to make you 
  wear my mind control helmet!”) and Renauld countering with Disciplined (“I am 
  Disciplined at resisting obnoxious Malkavians.”). They do a test- Francisco throws Paper 
  and Renauld throws Scissors. Renauld wins. However, Francisco believes he can overbid 
  this foolish Brujah. Francisco bids a second Mental Trait: Dedicated. (“I am a Dedicated 
  researcher who must sacrifice your brain to the demon in my paper hat!”) They now 
  compare Traits. Francisco has 12 Mental Traits, while Renauld has only six. Another Test 
  is performed. Francisco throws Scissors and Renauld throws rock. Francisco loses his 
  second Trait as well as the challenge. Renauld puts on Francisco’s rather fetching 
  newspaper hat, 
  Static Challenges 
  Sometimes you may have to undergo a challenge against a Narrator rather than against 
  another player, such as when you are trying to pick a lock or summon an animal. In such 
  circumstances, you merely hid the Trait that would he appropriate, then immediately 
  perform a test against the Narrator. Before the test is made, the Narrator decides the 
  difficulty of the task that you are attempting. The test proceeds exactly as it would if you 
  were testing against another character. Of course, you may overbid in a static action, but 
  beware, because the Narrator can overbid as well. 
  Sometimes Narrators may leave notes on objects, such as books and doors. These 
  notes indicate the type of challenge that must he won for something to occur (such as 
  understanding a book, opening a door or identifying an artifact). With experience, you 
  may learn how difficult it is to open a locked door. However, difficulty ratings can be as 
  different as lock types. 
   
  Simple Tests 
  Simple Tests are used to determine if you can do something successfully when there is 
  no real opposition Simple Tests are used often used when determining the extent of a 
  
  Discipline’s effect. Most Simple Tests do not require you to risk or hid Traits, although 
  some may. 
  When a Simple Test is called, a test (rock-paper-scissors) is done against the Narrator. 
  In most cases, the player succeeds on a win or a tie, although in some cases, it may he 
  necessary for him to win. 
   
  Health 
  A character in The Masquerade has five Health Levels; these represent the amount of 
  injury the character has suffered. These levels are Healthy, Bruised, Wounded, Inca-
  pacitated and Torpor. If a Healthy character loses a combat challenge, she becomes 
  Bruised. If she loses two, she becomes Wounded, and so on. 
  • Bruised When a character is Bruised, she is only slightly injured, having perhaps 
  suffered a few scrapes and bruises, hut little more until she is healed. In order to enter a 
  new challenge, she must risk an additional Trait. Thus, to even have a chance in a 
  challenge, a Bruised character must bid at least two Traits. 
  • Wounded When a character is Wounded, she is badly hurt. She might he bleeding 
  freely from open wounds, and may even have broken hones. She must hid two Traits to 
  have a chance in a challenge. In addition, she will always lose during a test on a tie, even 
  if she has more Traits than her opponent. If she has less Traits, her opponent gets a free 
  additional test. 
  • Incapacitated When a character is Incapacitated She is completely out of play for 
  at least ten minutes. After ten minutes has passed, the character is still immobile and may 
  not enter into challenges until she has healed at least one Health Level. She is at the 
  mercy of other characters. She is only capable of whispering and is barely aware of her 
  surroundings while incapacitated. 
  • Torpor When a character is in Torpor, she is in a deathlike state. She is effectively 
  out of play until revived by another character. She is completely at the mercy of other 
  characters and the environment around her. Vampires who are in Torpor can only he 
  revived by the blood of another Vampire at least three generations lower than herself. 
  The Storyteller may, of course, allow other exceptional circumstances to rouse a vampire 
  from this state. 
   
  Healing 
  Vampires require blood in order to heal wounds. Blood Traits must he expended to 
  restore Health Levels on a one-for-one basis. More information on Blood Traits can be 
  found in Chapter Three. 
   
  Aggravated Wounds 
  Vampires cannot heal aggravated wounds with blood alone. Aggravated wounds are 
  caused by exposure to sunlight, fire and the claws or teeth of a vampire or werewolf. 
  Such wounds require the expenditure of three Blood Traits and a Willpower Trait to heal. 
  Additionally, only one such wound may he healed per night. This represents the gradual 
  regenerative properties a vampire possesses. Extreme injuries, such as broken or severed 
  limbs, can he healed completely, but they require blood and time to heal. 
   
  The Mob Scene 
  During the course of many stories, you are inevitably going to he drawn into a 
  challenge in which several people want to he involved. Multi-party challenges can be 
  confusing, but if you follow these simple guidelines, you shouldn’t have much difficulty. 
  These rules are most useful in combat challenges, hut they can he used with nearly any 
  sort of group challenge. 
  The first thing you need to do is decide who is challenging whom. This is usually 
  obvious, hut when it’s not, you need a quick way to work things out. Simply have 
  
  everyone involved count to three at the same time. On three, each player points at the 
  individual he is challenging. 
  The first challenge that must he resolved involves the person who has the most people 
  pointing at him. Determine what the appropriate category of Traits would be- Physical, 
  Social or Mental. Each player pointing at the defender must hid one appropriate Trait. 
  This group must also choose a leader. The attacking group cannot exceed five people- 
  there is a limit to the number of individuals who can attack a single person at one time. 
  The defender must then bid as many Traits as there are people opposing him. If he does 
  not have enough Traits to do so, he automatically loses the challenge. If he does have 
  enough Traits, a test is performed between the defender and the chosen leader of the 
  attackers. The rest of the challenge continues as normal, although any comparison of 
  Traits or overbidding may only be done by the group leader. 
  If the defender wins the test, he is unharmed, hut he can choose to affect only one 
  member of the attacking group. Usually, as in the case of a combat, this would mean 
  inflicting one wound. Additionally, all Traits hid by the attackers are lost. If the attackers 
  win, they may inflict one wound, and the defender loses all the Traits he had risked. 
  After the first challenge is concluded, go on to the next one. Continue the process until 
  each character who has declared an action has been the target of a challenge or has 
  donated Traits. 
   
  Order of Challenges 
  Some people question exactly what a player can respond with when he has been 
  challenged. Typically, if someone initiates a Physical Challenge, the defender can only 
  respond with Physical Traits, unless he possesses a Discipline or sonic other ability that is 
  considered to he always active. He cannot respond with the use of a Discipline or another 
  ability until after the first challenge has been completed. Some Disciplines are the 
  exception to this rule. Such Disciplines will specify this contingency in their description. 
  Social and Mental Challenges work the same way. 
   
   
   
  Chapter Five: Systems 
  “Garlic Pills — The advantages of garlic without the embarrassing side effects!” 
  —Radio Advertisement 
   
   
  This chapter discusses some of the additional rules and complications that sometimes 
  come into play in The Masquerade. It also describes a multitude of different systems for 
  resolving character interactions. However, this chapter is more a set of permutations than 
  a set of rules. There is nothing contained in the next several pages that you need to know, 
  only things that you might want to know. These complications can add more depth and 
  detail to your game. 
   
  Combat 
   
  The basic challenge system used in The Masquerade has already been presented in 
  Chapter Four. This section contains a few basic modifications to the combat system and 
  elaboration on it. 
   
  Combat is the usual intent behind Physical Challenges. Essentially, combat involves 
  two characters in physical conflict. The players agree what the outcome of the challenge 
  will he, each player bids an appropriate Trait, and a test is resolved, determining the 
  victor. The following rules allow for variances to those basic rules, such as situations 
  using surprise or weapons. 
  
   
  The agreed outcome of a Physical Challenge usually involves the loser being injured. 
  This is not, however, the only result possible. For instance, you could say that you want 
  to wrest a weapon from your opponent’s hands or that you’re trying to trip him. The 
  result can he nearly anything the two parties agree upon, whether that’s simply raking 
  someone with claws or dramatically throwing someone through a window. The results of 
  a combat challenge may also he different for both participants. (For example, a frenzied 
  Brujah may wish to attack a Toreador who affronted her, while the Toreador may simply 
  want to escape). 
   
  Surprise 
   
  If a player does not respond within three seconds of the declaration of a Physical 
  Challenge, the player is considered surprised: he is not fully prepared for what’s coming. 
  Sometimes a player is busy with another activity, doesn’t hear a challenge or is playing a 
  character who just isn’t prepared for the attack (such as when the character is led into an 
  ambush). It is considered highly improper to sneak around whispering challenges to try to 
  get an element of surprise. 
   
  Surprise simply means that the outcome of the first challenge in a fight can only 
  harm the surprised defender, not the challenger. For instance, if the defender did not 
  respond in time to an attack, hut still won the challenge, the challenger would not be 
  injured. Furthermore, if the challenger loses the test by risking another Trait, she may call 
  for a second challenge since she was operating from the benefit of surprise. With the 
  second challenge, play continues as usual and winners and losers of a challenge are 
  determined as normal. 
   
  Surprise is only in effect for the first challenge of a conflict; all further challenges are 
  resolved normally, as explained below. 
   
  Weapons 
   
  No real weapons are ever allowed in Mind’s Eye Theatre games, for obvious reasons. 
  Even nonfunctional props are forbidden if they can be mistaken for weapons. This system 
  does not use props of any kind, nor are players required (or allowed) to strike one 
  another. Weapons are purely an abstraction in this game. Weapon cards, which display 
  the facts and statistics of a particular weapon, can he used instead. The damage a weapon 
  inflicts is limited only by mutual agreement, although it is generally assumed that an 
  injury incurred from a blow reduces the target by a Health Level. 
   
  A weapon gives its wielder extra Traits. Sometimes this advantage is offset by a 
  disadvantage in terms of a Negative Trait. Each weapon has one to three extra Traits; 
  these may he used in any challenge in which the weapon is employed. These Traits 
  cannot he used in place of your Traits when placing your initial hid. Instead, they add to 
  your total when comparing Traits, such as in case of a tie during a test or an overbid. In 
  addition, some weapons have special abilities that can he employed. 
   
  Disadvantages are weaknesses inherent to the weapon. These can be used by the 
  wielder’s opponent in precisely the same way as Negative Traits. The weapon’s Negative 
  Traits can only he used against the wielder of that weapon. Negative Traits for a weapon 
  must he appropriate to the situation. For instance, if you are firing a gun and your 
  opponent wants to apply the gun’s Negative Trait: Loud against you, that Negative Trait 
  could he ignored if you have taken the time to find some means of silencing the weapon. 
   
  If a Negative Trait of your weapon is named by your opponent, and that Trait applies 
  to the situation, you suffer a one Trait penalty (i.e., you are required to risk an additional 
  Trait). If your opponent calls out a Negative Trait of your weapon that doesn’t apply to 
  the situation, your opponent suffers a one Trait penalty in the challenge. 
  Statistics for weapons are written on cards and carried along with your character card. 
  Weapon cards specify the capacities of each weapon. Weapon cards allow other players 
  to see that you actually possess a weapon- when you have a weapon card in your hand, 
  you are considered to be holding the weapon. Each weapon has a concealability rating. If 
  
  the weapon is not concealable, you must have that card on display at all times. You 
  cannot, for example, pull a rifle out of your pocket. Instead, you would must carry that 
  card in hand at all times or, optionally, you could pin the card to your shirt, indicating 
  that the rifle is slung over your shoulder. 
  Some weapons have special abilities, such as causing extra wound levels of damage or 
  affecting more than one target. 
   
  Bidding Traits with Weapons 
   
  During a normal hand-to-hand fight, you hid your Physical Traits against your 
  opponents Physical Traits. However, if you’re using the Firearms Ability, you can use 
  Mental Traits instead. If your opponent is also using a Firearm, he will hid Mental Traits 
  as well. If your opponent is not using a Firearm and is merely trying to dodge, then the 
  attacker uses Mental Traits to attack, while the defender uses her Physical Traits to 
  dodge. This is one of the few instances when Traits from different attributes will be used 
  against one another. 
   
  Weapon Examples 
   • Knife This easily-concealed weapon is very common.  
     
  Bonus Traits: 2 
     
  Negative Traits: Short 
     
  Concealability: 
  Pocket 
    
   • Club This can be anything from a chair leg to a tree limb. Bonus Traits: 2 
     
  Negative Traits: Clumsy 
     
  Concealability: 
  Jacket 
   
   • Wooden Stake — Though not the most powerful weapon, if it transfixes a vampire’s 
  heart, the victim is immobilized (see  
     
  below). 
     
  Bonus Traits: 2 
     
  Negative Traits: Clumsy 
     
  Concealability: 
  Jacket 
   
   •Broken Bottle A good example of a weapon made from scratch. 
     
  Bonus Traits: 1 
     
  Negative Traits: Fragile 
   
   • Sword This long-edged blade is nearly impossible to conceal. 
     
  Bonus Traits: 3 
     
  Negative Traits: Heavy 
     
  Concealability: 
  Trench Coat 
   
   • Pistol This covers nearly any sort of handgun.  
     
  Bonus Traits: 2 
     
  Negative Traits: Loud 
     
  Concealability: 
  Pocket 
   
   • Rifle — Impossible to conceal. 
     
  Bonus Traits: 3 
     
  Negative Traits: Loud 
     
  Concealability: 
  None 
   
  
  • Shotgun This powerful weapon fires a spray of pellets, making targets easy to hit and 
  ballistics checks nearly impossible. 
     
  Bonus Traits: 3 
     
  Negative Traits: Loud 
     
  Concealability: 
  Trench Coat 
     
  Special Ability: A shotgun may affect up to three targets if :hey are standing 
  immediately next to each other and are further than ten feet from the person firing the 
  shotgun. This is resolved with a single challenge against a group. The Traits ire risked 
  against the entire group. Up to three separate tests are performed (one test for each 
  target). In this fashion, it is possible to simultaneously wound up to three opponents in a 
  single challenge. The Trait risked by the attacker is used against all three opponents. If 
  any of the three opponents gin, the attacker loses that Trait. However, that Trait still  
  applies to all three tests within that group challenge. Thus, a character can challenge up to 
  three opponents while only risking one Trait with this weapon. Also, a shotgun can cause 
  two wound levels to a single target standing within five feet. 
   
   • Submachine Gun — Though difficult to conceal, this weapon is very powerful. 
     
  Bonus Traits: 3 
     
  Negative Traits: Loud 
     
  Concealability: Jacket 
     
  Special Ability: a submachine gun may affect tip to five targets if they’re standing 
  immediately next to each other and are further than ten feet from the person firing the 
  submachine gun. This is resolved with a single challenge against a group (as described 
  under the section on shotguns). 
   
  Stake through the Heart 
   
  The bane of all vampires is the dreaded wooden stake. Although all Kindred must 
  live in fear of this threat, placing a stake into the heart of a conscious opponent is a 
  difficult task at best. 
   
  A stake through the heart will completely immobilize a vampire. However, in order 
  to do this, a character must first win a Physical Challenge against the vampire. He must 
  then win two Simple Tests in order to successfully impale the vampire’s heart. Even if 
  one or both of the Simple Tests fail, the vampire only suffers a wound from the stake, yet 
  is not immobilized. 
   
  Ranged Combat 
   
  Many weapons allow you to stand at a distance from a target and engage him in 
  combat. In such situations, you still go over to the target (after shouting “Bang!”) and 
  engage in a challenge. 
   
  If you have surprised your opponent, even if you lose the first test, you have the 
  option of calling for a second test. Once the second challenge is called, play continues as 
  normal. Your target is considered surprised for the first attack, and if he has no ranged 
  weapon with which to return fire, he is considered “surprised” for as long as you can 
  attack him without facing resistance (that is, if he wins on a challenge, you don’t take 
  damage). 
   
  If your target is aware of you before you make your initial ranged attack and has a 
  ranged weapon of his own, he is not considered surprised for your first attack. He may 
  shoot back right away, and your challenges are resolved as stated below. 
  After your first shot is fired (the first challenge is resolved), your target may attempt to 
  return fire (assuming he is armed). The loser of a firefight challenge loses a Health Level. 
   
  If the defender is unarmed, he may declare his victory condition as escape (providing 
  he is not cornered). If the defender wins the challenge, the attacker is still unharmed, hut 
  his target, the defender, has escaped from view and must he searched out if the attacker 
  
  decides to press the attack. In instances such as this, a new challenge cannot he made for 
  at least five minutes. 
   
  Cover 
   
  Fighting with hand-to-hand weapons—clubs, knives or swords— requires that 
  combatants he within reach of each other. Fighting with ranged weapons allows 
  combatants to stand apart; participants can therefore “dive for cover.” When you resolve 
  each ranged combat challenge, you can present one Trait of cover to add to your total 
  number of Traits. These cover Traits may not be used for bidding, hut they do add to your 
  total if Traits are compared. This cover can take the form of whatever obstacles are 
  around and within reach of you (you don’t actually dive for them). A Narrator might be 
  required to tell you what cover is around, hut if combatants know the area, they can agree 
  upon what cover is available. In some instances, there may be no cover around, leaving a 
  combatant in the open with only his own defensive Traits. 
   
  If cover is extensive— a brick wall, perhaps— it may be worth more than one Trait 
  for one challenger. The number of Traits available for cover is left for challengers to 
  agree upon, or for a Narrator to decree. Hiding behind a car, for example, might he worth 
  two cover Traits, while hiding behind a thin wall might only count as one. If one 
  combatant goes completely under cover— he cannot he seen at all and is thoroughly 
  protected— he is considered impossible to hit. The attacker must change his position to 
  get another clear shot. 
   
  Frenzy 
   
  Vampires, like mortals, are creatures of instinct. However, the instincts of a vampire 
  are those of a hunter, not a gatherer. Vampires are the ultimate predators. They stand at 
  the apex of the food chain. They are highly developed killing machines— the harbingers 
  of death. 
   
  The predator nature of vampires is called the Beast by the Kindred. Even the most 
  sedate and civilized vampire can turn into a ravaging, mindless animal with enough 
  provocation. While in this frenzy of emotion, a vampire can often not tell friend from foe, 
  control his desire for blood, or preserve the Masquerade. 
   
  Most Kindred struggle against the Beast. Those who give into its seduction of 
  emotion eventually end up breaking the rules of vampiric society. Often they become 
  outcasts if their crimes are nor terrible enough; otherwise, they are sometimes hunted 
  down and destroyed. Once a vampire has given herself to the Beast, it becomes easier and 
  easier to he lured into a frenzy. The state of frenzy begins an almost inevitable downward 
  spiral towards constantly raging bestiality. 
   
  The state of frenzy is handled in a The Masquerade through Beast Traits. Each 
  Beast Trait has a description of a situation or situations that cause a vampire to enter a 
  frenzy. The rule is simple: when that event happens, the character frenzies. The only way 
  to avoid going into frenzy is by spending a Willpower Trait. Using a Willpower Trait will 
  stave off the frenzy for about 10 minutes. During that time, the character should try to get 
  away from whatever is calling out to the Beast within her. 
   
  While in a frenzy, a vampire is capable of nearly anything. However, the general 
  trend of behavior of a frenzy is described by the type of Beast Trait that caused it. There 
  are three types of frenzies: 
   
  Rage Frenzy— Such a frenzy causes the vampire to go into a terribly destructive 
  rant. The Kindred will often try to destroy everything nearby. He will start with whatever 
  sent him into the frenzy, followed by everything else in the immediate vicinity. His anger 
  is swift and impossible to control. 
   
  Control Frenzy— These types of frenzies are usually associated with feeding. the 
  Kindred will often begin to drink blood in huge quantities, going from victim to victim 
  with no subtlety or attempt to maintain the Masquerade. The Kindred will tear through 
  
  walls and even her friends to get at more blood until completely sated. Even then, she 
  may still try to drink. 
   
  Terror Frenzy— These frenzies are caused by the few things that vampires fear. Fire 
  or sunlight are two examples of stimuli that will cause a vampire to frantically run away 
  from a source of fear. The vampire will be dangerous to approach until she is completely 
  away from the flame or sunlight after a few minutes of calming down. Many well-
  intentioned Kindred have met their demise by trying to stop a vampire in a frenzy. 
   
  Frenzies do have one advantage, While in this state of blind emotion, you can ignore 
  all damage, until your Health Level reduces you to Torpor or Final Death. Unfortunately, 
  you may not heal yourself with blood while you are in a frenzy. While frenzied, you may 
  not attempt any Social Challenges, and he need not risk any Social Traits if anyone tries 
  to conduct a Social Challenge against him. Reasoning with someone who is screaming 
  for blood can he somewhat awkward, to say the least. 
   
  When roleplaying a frenzy, remember not to do anything dangerous. Don’t actually 
  run during a Terror Frenzy or physically attack someone during a Rage Frenzy. . This 
  may sound like a silly warning, hut this is one of the times where you are most likely to 
  forget this prime rule of live roleplaying. Here are some ideas for roleplaying the 
  different frenzies without freaking out people who aren’t in the game. 
   
  When in a Rage Frenzy, narrow your eyes and walk slowly hut purposefully. growl 
  when you speak, hut not to the point of screaming. Breathe heavily and snort a hit. Stride 
  toward your object, and challenge anything or anyone who crosses your path in combat. 
  When something stops moving, change the object of your rage. 
   
  When under the influence of a Control Frenzy, lock your eyes on what you desire and 
  never remove them. Lick your lips and completely ignore anything else. If anything tries 
  to stop you, hash it (using a Physical Challenge, of course), or convince it to go away. 
  Use a stream of words like “I want,” “Mine!” or “I will have him!” 
   
  Rules Summary for Frenzy 
  Action
  Rule
  Starting a 
  Frenzy 
  None. Event in a Beast Trait happens 
  Stopping a 
  Frenzy 
  Spend a Willpower Trait before the frenzy OR Spend Willpower Trait and win 
  a Static Mental Challenge against four Traits  OR go against Nature and win 
  Static Mental Challenge against four Traits  OR burn out 10 minutes after the 
  problem goes away  OR have someone talk you down by winning a Social 
  Challenge against twice the number of  
  Beast Traits you possess 
  Special 
  While in a frenzy, you are not affected by Social Challenges You may ignore 
  all damage until torpor. 
   
   
  When you have become the victim of a Terror Frenzy, widen your eyes, making sure 
  to look at the object of your terror. Stutter. Back away from the object of your fear. Listen 
  to people only when they stand between you and IT. 
   
  Ending a Frenzy 
   
  Before entering a frenzy, you may stave it off for 10 minutes by spending a Willpower 
  Trait. If you are already in a frenzy, you can try to end the frenzy at any time by spending 
  a Willpower Trait You must then win a Static Mental Challenge against a difficulty of 
  four Traits. The Willpower Trait is lost even if you fail the test. If the frenzy is about to 
  cause you to do something which is completely against your Nature, you may try ONCE 
  to end the frenzy without needing to spend a Willpower Trait. You must still win the 
  Static Challenge, however. 
  
   
  You also get a free Static Challenge after whatever has caused you to frenzy goes 
  away. Otherwise, the frenzy will bum itself out 5-10 minutes after the cause of the frenzy 
  goes away. For a Rage or Terror Frenzy, this is when you are away from the object. For a 
  Control Frenzy, this is when you have fed fully from a target, or have sated yourself. 
   
  You can also try to talk someone out of a frenzy by winning a Social Challenge 
  against her. This is considered to be a Static Challenge with a difficulty equal to twice the 
  number of Beast Traits the frenzied character possesses. (For instance, four Social Traits 
  must he risked to calm down someone with two Beast Traits.) Remember that when 
  trying to perform a Social Challenge against a frenzied vampire, she does not risk any 
  Social Traits. That applies here as well you are trying to reason with her Bestial nature. 
  Failing the Social Challenge often draws the frenzied vampire’s attention to you. It is 
  hardly surprising that Kindred do not always trust each other. 
  Diablerie 
   
  Some vampires seek to become more powerful by draining the very essence of their 
  elders. A particularly voracious Kindred can quickly come to rival the power of a 
  Methuselah if he can pursue this dangerous course of Diablerie for very long. Their goal, 
  however, is made exceedingly difficult by the elders, who have made the drinking of 
  another Kindred’s essence the most heinous crime one of the Damned can commit. 
   
  Diablerie is also very easy to follow, as the Kindred’s aura will be marked. In 
  Masquerade, a Diabolist’s aura is tainted by black threads that remain for three months 
  after the diablerie was committed. Any vampire who uses the Discipline of Aura 
  Perception will recognize these bands and know the transgression of the Diabolist. 
  Someone who kills his elders is almost sure to end his existence as the target of a Blood 
  Hunt. If the prince declares a Blood Hunt on a criminal, any recognized Kindred may 
  hunt the criminal down and destroy him. Doing so will immediately gain the favor of the 
  prince. 
  The advantages of committing diablerie, however, are enough to tempt many Kindred 
  into preying upon their own kind. Upon successfully draining a Kindred of lower genera-
  tion, the Kindred gains some of the power of that extinguished vampire. The Diabolist 
  lowers her generation by one, bringing her closer to Caine, increasing her resistance to 
  control from more powerful Kindred, and increasing her Blood Pool. The Diabolist also 
  gains two experience points if she can survive to the end of the evening on top of any 
  which would normally he gained. The Diabolist also immediately receives a Beast Trait 
  for the callous act. (See the section on “Frenzy” for a full list of Beast Traits.) 
   
  The actual process of Diablerie is called Amaranth by the elders. The Amaranth is a 
  legendary undying flower, a treasure beyond price. According to legend, one was usually 
  sent to an elder a week before such an attack. 
   
  Rules Summary for Diablerie 
  Action 
  Challenge 
  Stage 1: Drain Blood 
  Automatic one Trait/action 
  Stage 2: Drain Health 
  Physical Challenge against victim; Diabolist cannot defend 
  Physically 
  Stage 3: Drinking Soul 
  Physical Challenge against victim (who has three additional 
  Traits) 
  Stop drinking after Stage 
  2 
  Mental Static Challenge against difficulty of three Traits 
   
   
  For players choosing to risk Amaranth, additional rules follow. First, the target must 
  he somehow incapacitated through combat or Disciplines. He must then be drained of 
  Blood Traits at a rate of one Trait per action. Once the target of Diablerie is drained of 
  Blood Traits, a lone vampire must drain her of Health Levels until the victim is in Torpor. 
  
  Each Health Level drained in this way requires a separate Physical Test. The victim of 
  diablerie may bid any remaining appropriate stamina-related Physical Traits to defend 
  herself. However, if she wins a test, the Diabolist is not harmed, hut merely delayed 
  another round. Once the Kindred has begun to drain Health Levels, he is incapable of any 
  other physical action. If another Kindred attacks him or tries to pull him away from his 
  feeding, the Diabolist may not hid any Physical Traits to the challenge. His attention is 
  fully consumed by the act of Amaranth. Thus, he will lose automatically unless some if 
  his friends are standing nearby to aid him. 
   
  ‘When the second part of Amaranth begins, both the Diabolist and the target collapse 
  and are completely unaware of the world outside them. No Mental or Social Challenges 
  may be directed against either of them. 
   
  The final part of Amaranth requires one last test for the Diabolist to free his target’s 
  essence from her body. This is a Physical Challenge. The target begins the challenge 
  three Traits up on the Diabolist, so there will always, be a test. The Diabolist may keep 
  trying to finish the Amaranth until he can no longer match the three Physical Traits. If he 
  can no longer challenge, he will lose a Health Level (from exhaustion) and drop away 
  from the target. 
   
  No vampire may assist the Diabolist. However, one Kindred may drain away the 
  Blood and Health Levels of someone to allow another to complete the final stage of 
  Amaranth. The seduction of the last feeding, however, is very strong. To stop before fully 
  extinguishing a vampire, a Kindred must spend a Willpower Trait and win a Mental 
  Static Challenge against a difficulty of three Traits. 
   
  Golconda 
   
  One theme of The Masquerade is the Hero’s Journey. Often a character will seek to 
  explore the darkness in herself and the world around her in an attempt to overcome the 
  curse she must endure. There is an elusive, mythical state many Kindred seek, one in 
  which the horrors of the Beast are defeated and humanity is restored. The goal of this 
  quest is known to many as Golconda. 
   
  There are several beliefs concerning what happens when a character approaches the 
  end of this quest. Some believe that a Kindred who has attained Golconda may become 
  mortal once again. Others say that such enlightened Kindred will attain a state in which 
  she will no longer feel the urge to frenzy, the lust to feed or the desire to sin. 
   
  Golconda is a state of being wherein the character has managed to control her frenzies 
  and can restrain the Beast. This blessed state is not easy to attain, but for many vampires, 
  it is the only goal worth having. It must not be misunderstood, for it is not a reconnection 
  to one’s mortality. In fact, it’s quite the opposite. Golconda is an acceptance and mastery 
  of one’s Bestial nature, It is the final acceptance of one’s curse and the subsequent 
  gaining of power over it. 
   
  Basic to Golconda is the act of remorse. This is not necessarily any sort of religious 
  repentance, but rather personal and immediate realization of the sins one has committed. 
  The character must repeatedly perform acts of penance, such as donating to charities, 
  aiding those in need, or, in some cases, even punishing herself. The worse the sin, the 
  greater the act of atonement. 
   
  The Storyteller should allow characters to reach Golconda very rarely. This is usually 
  only if the character undergoes a truly impressive process of trying to make things right 
  and experiences profound remorse for what she is and what she has become. As the 
  Storyteller, ask yourself whether a character truly feels remorse-whether she feels 
  compassion or not. The player must also demonstrate truly exceptional roleplaying. How 
  well has the player roleplayed through the whole process of grief and regret? Golconda 
  should never be easily found. In most cases, it should occur only at the end of a 
  chronicle. A new chronicle could begin later on with the same character, but with an 
  entirely different concept and motif. 
  
   
  It should take many game sessions to complete the process. More than one character 
  can attempt to reach Golconda, but it is normally something only a few can attain. 
  In some ways, Golconda can be seen as a movement among the Kindred, but if it is a 
  movement, it does not have much organization. Some who have reached Golconda are 
  very evangelistic and seek to encourage others to follow the same path. They wish to 
  teach all Kindred of the peace that Golconda brings. Some of them even travel from city 
  to city speaking about Golconda, encouraging those who are interested to learn more. 
  They do not reveal the secrets of Golconda, however, for each supplicant must learn of it 
  on own. Hints are sometimes available, but understanding must come from the 
  supplicant. 
  There is said to be an Antediluvian who has reached Golconda and supports those who 
  spread word of it. This ancient’s role in the Jyhad is supposedly to thwart those who 
  would destroy all Kindred. Only the Inconnu would know anything of this creature. Of 
  course, critics of the Golconda movement decry the whole thing as a min or intrigue in 
  the greater Jyhad. Perhaps the truth will never be known. 
   
  Quest 
   
  There aren’t absolute rules for determining when a character reaches Golconda, for 
  this is something that must come about as a part of roleplaying. Golconda is a very 
  elusive state of being— it is subtle and intangible. Thus, it is the Storyteller’s 
  responsibility to set the conditions under which the change can occur. 
   
  Golconda is a quest, not so much a “scavenger hunt” as a spiritual and mental journey 
  into one’s self. The quest fur Golconda can take one to the astral plane or into the chaos 
  of one’s own mind. The roleplaying involved can become extremely powerful and should 
  only be attempted after the character has been developed over a number of stories. The 
  player must have a firm grasp of who and what the character is. Golconda is about the 
  transformation of a personality; the character must have a complete and detailed 
  personality for the process to he memorable. 
  The quest for Golconda often begins with the character’s search for the nature of 
  vampiric existence. In the first chapters of your story, you need to build a desire for 
  Golconda and increase it’s allure. Characters should slowly realize what it is all about. 
   
  The second stage of the story is the search for an elder who can tell the character 
  more about Golconda. This being could only be one of the enigmatic members of the 
  Inconnu, a group of ancient vampires (usually of the fourth or fifth generation). The 
  mentor would have to he convinced to aid a character who wished to reach Golconda. 
  The mentor may require that the supplicant completes different “tasks” to prove her 
  dedication. 
   
  The character must prove that she does indeed feel remorse for past actions. Tasks 
  demanded of her are likely to require her to make up for past actions, to right past 
  wrongs, or even to go back to families of past victims and aid them. The roleplaying 
  involved dredges up everything that has happened throughout the chronicle, making the 
  player relive it. Hopefully, this catharsis will bring the player into even greater contact 
  with her character. 
   
  When the mentor is finally convinced that the character has proven himself, he 
  initiates the final stage of the quest— the ritual. This expansive ceremony can last several 
  weeks or several months and involves many quests into the dreams of the supplicant. The 
  dreams are said to be provoked by draughts of blood from one’s closest companions, who 
  travel with the supplicant through the world of dreams. 
   
  The mentor must oversee the ritual, and it often takes place at his or her haven. No 
  one truly knows what occurs in this ritual, for only those who have successfully attained 
  Golconda have lived through it... and they aren’t talking. 
   
  Benefits 
  
   
  A vampire who reaches Golconda is at peace with himself. He no longer exists in a 
  life filled with horror and self-pity. He has finally mastered the Beast Within by 
  accepting that the Beast is a part of him. 
   
  There is only one major benefit to attaining Golconda in Masquerade. A vampire who 
  reaches Golconda will no longer frenzy. He is no longer at the mercy of the Beast. 
   
  A lesser benefit of this is the fact that the character does not need to drink blood as 
  often. The character only loses one Blood Trait per week, rather than one Blood Trait per 
  day. Even if the vampire has reached the age where the need for even more potent blood 
  arises, the desire is more subdued. 
   
   
  Blood Bond 
   
  It is possible to create a Blood Bond with another vampire, thereby making him your 
  servant, and in some ways, your lover. Instilling the Blood Bond is referred to as having 
  “Regnancy” over another. The one who holds it over the Bound vampire is known as the 
  Regnant. The one who is held in Regnancy is commonly known as the Thrall. It’s usually 
  the elders who are Regnants and neonates who are Thralls, hut not always. An essential 
  strategy of the Jyhad is to hold many in Blood Bond, for it gives you retainers whom you 
  can trust. Many Kindred are suspicious of each other, for they can never he sure which 
  Kindred are really the Thralls of ancients. 
   
  Creation of the Bond 
   
  The Blood Bond is created by the exchange of blood between two vampires. The 
  Thrall must drink the Regnant’s blood three different times on three different occasions 
  (on different nights). It can he any amount of blood, hut this can he a sip, or even a taste 
  if the Regnant is of ancient blood. Unlike the limitations of the many Disciplines, it is 
  possible for weaker blood to hold Regnancy over more potent blood. Thus, a 10th-
  generation vampire can hold Regnancy over a ninth-generation vampire. 
   
  As more blood is consumed, the Bond is reinforced. Most Regnants have their 
  Thralls drink of their blood several times a year just to make sure the Bond remains 
  potent. Many Regnants are fearful that if the Bond is broken, the Thrall will seek 
  vengeance. This is perhaps why so many Thralls are treated fairly well by their Regnant 
  after all, any Bond can fail. Hate can weaken the power of the Bond. 
   
  Once a vampire has been Blood Bound, he cannot he Bound again by another. He is 
  thus “safe” from other Blood Bonds if he is already Bound. However, he can be Bound to 
  a number of different vampires if he drinks of their blood at the same time, such as if it is 
  mixed in a chalice before it is consumed. In fact, one of the most severe punishments of 
  the Camarilla is to be forced to drink the blood of all the Kindred attending a Conclave. 
  Usually the feelings produced by such widespread Bonding are more diffuse than normal, 
  hut they are no less powerful. The attachment is for the group and not any one individual. 
  For instance, this diffusion of attachment is desired by the Tremere of their neonates, and 
  this is why the clan often Bonds them to the seven elders. 
   
  All characters are already on their way to being Blood Bound, for their sires have 
  already given them at least one taste of blood. Thus, if a character partakes of her sire’s 
  blood two more times, she is held in Regnancy. In some cases, the character may already 
  he held in Regnancy by the sire. 
   
  Power of the Bond 
   
  Blood Bond is primarily an emotional power. Thralls view the vampires to whom 
  they are Bound as central figures in their unlives. They are invariably obsessed with 
  them. Though a Thrall may despise his Regnant, he will do nearly anything to aid him. 
  The Thrall will do nothing to harm his Regnant and will even attempt to protect him 
  
  against enemies. Although the Thrall usually understands on an intellectual level what is 
  happening to him, he is unable to do anything about it. 
   
  Experiencing the Blood Bond is like falling in love. Once it happens, a vampire is 
  caught in its grip until he somehow breaks free. He may know he is in love, and hate 
  what it makes him do, but that understanding does not stop him from being in love, nor 
  does it prevent him from doing the stupid things that people in love sometimes do. When 
  roleplaying Blood Bond, use the “love” metaphor to understand just how deeply and 
  completely your character is obsessed with his Regnant. A compassionate Regnant may, 
  to some measure, feel this “love” in return. 
   
  Blood Bonds sometimes (hut not always) give the Regnant insight into the moods 
  and feelings of the Thrall. A Regnant may even know his Thrall’s location from moment 
  to moment if the bond has been maintained long enough. Sometimes the Regnant can 
  intuitively find the Thrall simply by following his hunches. 
   
  Just because the Thrall is tinder the Regnant’s influence does not mean the Thrall is 
  helpless. Willpower Traits may he expended to resist the power of the Blood Bond. 
  Depend. ing on the circumstances, a single Willpower Trait eliminates the effects of the 
  Bond for a single scene or conversation. However, if the Thrall wants to actively attack 
  his Regnant, one Willpower Trait must he spent per challenge. 
   
  If a character’s Regnant asks him to do a “favor,” he does so if it is at all possible. 
  However, if it requires him to risk his life, he does not need to do it. Requests in line with 
  the Thrall’s Nature and Demeanor are almost always fulfilled, while ones outside Nature 
  and Demeanor are at least considered. If there is an emergency and the Regnant is 
  attacked, the Thrall’s first instinct is to go to aid her. Self-sacrifice is not unknown, 
  especially if the Bond has been reinforced over the years. If the Thrall is treated well, the 
  Bond is reinforced and grows stronger. If the Thrall is humiliated and degraded, the hate 
  that develops diminishes the Bond’s influence. 
   
  It is possible to break a Blood Bond, but it can be difficult. It requires not only a 
  massive expenditure of Willpower over a long period time, but also necessitates that the 
  character completely avoid his Regnant. If a Thrall does not see his Regnant for some 
  time, the Bond may eventually die (after many decades or centuries). Some types of 
  Natures, such as Child and Fanatic, may never escape the Blood Bond, while others, such 
  as Conniver and Loner, may do so more easily. The breaking of a character’s Blood Bond 
  cannot be achieved through experience points or successful challenges. It must be 
  roleplayed. 
   
  It is whispered that the vampires of the Sabbat know of ways to break the Bond, hut it 
  is said one must pledge fealty to them before they will teach it. Those who fiercely resent 
  their bondage and retain some freedom to act independently may flee to the Sabbat. 
   
   
  Status 
   
  Status is the central focus of many Kindred’s existence, It represents the amount of 
  power and social prestige a character has within vampire society. Those of lower status 
  are expected to give respect to those of higher status. As one’s status increases, one is 
  granted more rights and powers within the hierarchy of the Camarilla. Within a city, the 
  prince typically (though not always) has the most status. Neonates generally have little 
  status, while anarchs and most Caitiff have no status. In-between are the power-hungry 
  ancillæ and elders who continually jockey for position in hopes of increasing their status. 
   
  One may wonder why vampires harbor so much concern over social standing. The 
  answer is complicated, hut beyond all other reasons, strict codes of status are essential to 
  the survival of vampiric society. Kindred society is very similar to the feudal system of 
  the Middle Ages: a prince rules over a group of elders, who in turn preside over a larger 
  group of vampires. When a childe is sired, she is taught to show respect for her elders. 
  She is also expected to learn the Six Traditions. (These are, grossly simplified: preserving 
  the masquerade, respecting domain, obtaining permission before siring childer, being 
  
  responsible for one’s childer, receiving acceptance from a prince and not destroying other 
  Kindred.) Without this respect, vampiric society would soon degenerate into a chaotic 
  skirmish of position for domain, and the Masquerade would he broken. Thus, it is the 
  sire’s responsibility to teach her childe respect before presenting her to the prince. 
   
  There are several positions or stations Kindred may hold that give the holder great 
  sway over the status of other Kindred. These posts are greatly sought and jealously 
  guarded by those who hold them. Many of these positions are only attainable by powerful 
  elders, but a few may he held by ancillæ or possibly even a precocious neonate. 
   
  Gaining and Losing Status 
   
  Once “accepted” by the prince, a neonate acquires a single Status Trait. This initial 
  Trait is usually “Acknowledged”. During the course of a chronicle, the character may 
  gain or lose Status. In small games, the Storyteller is generally the one responsible for 
  awarding or taking away Status. However, larger games will usually allow the Status 
  system of Camarilla society to blossom fully. As such, Status gains and losses are 
  governed by other Kindred in the game and only monitored (and occasionally arbitrated) 
  by the Storyteller. 
   
  Status may he gained by helping to preserve the Masquerade, doing favors for the 
  prince or an elder or saving an elder’s unlife. It may also he gained by overthrowing the 
  holder of a station and assuming her mantle, granting it in return for a boon, or defeating 
  a Sabbat menace in the city. The possibilities are endless; the point is to get your fellow 
  Kindred to view you as more than just another Lick. Note that you may never gain more 
  that one Trait of Status per story. There are only two exceptions to this rule: if the prince 
  awards or sanctions an additional Trait, or if the Status Trait(s) are conferred when a 
  Kindred assumes a station within Kindred society. 
   
  Status can be lost for a multitude of reasons, such as making an enemy of one who is 
  your elder, ignoring a boon owed to another Kindred, or refusing to recognize another 
  Kindred’s Status. It can also be lost as a result of breaking the Masquerade, committing 
  diablerie or breaking any of the Six Traditions. Obviously, if you plan to commit such 
  acts, it would he best to ensure that no one is around to report your actions. 
  Using Status 
   
  A player usually starts out with one Status Trait. This represents the fact that he has 
  been presented to the prince and accepted by the Kindred of the city. 
   
  There are essentially two types of Status: permanent and temporary. Permanent Status 
  is recorded on your character sheet. It is your actual standing in Kindred society. No 
  matter how much Temporary Status is lost, it has no effect on Permanent Status. Both 
  Temporary and Permanent Status may be lost over the course of a story, although 
  Temporary Status is usually lost more often. A Permanent Status loss or gain is 
  permanently added or removed from your character sheet. Temporary Status losses or 
  gains are added or removed for the duration of the story. Temporary Status Traits may be 
  represented by Status Cards to easily keep track of them. 
   
  Status Traits may be used in any applicable Social Challenge and may be added to 
  your Social Traits in a Social Challenge (if Traits must he compared). A character may 
  choose to ignore the Status Traits of another character. By doing so, this character risks 
  losing one or more of her own Status Traits permanently if word of the offense spreads to 
  the Harpies. In a situation in which less influential people are offended, Status loss may 
  only be temporary, or may not occur at all. 
  It would seem that anarchs and Caitiff have an advantage in this case, seeing as they have 
  no Status to lose. (Some anarch groups, however, have their own form of Status.) 
  However, having no Status usually hurts more than it helps. Anarchs are almost never 
  granted favors by elders (they are untrustworthy and have no Status to back their deals). 
  Anarchs are rarely given the benefit of the doubt, and are much more likely to be victims 
  of an elder’s wrath (it is much easier to pick on characters who have no political 
  
  backing). Also, by not having Status, anarchs and Caitiff are considered outside of the 
  Camarilla’s protection and are thus extremely vulnerable in times of crisis. 
   Although paying “lip service” to your elders has its price, the benefits are almost 
  always worthwhile— receiving protection, gaining the benefit of the doubt and getting 
  favors granted. Therefore, as a general rule, it is considered prudent to possess and 
  preserve at least one Status Trait. 
   
  The following are some examples of the uses of Status: 
   • Temporary Status may he used to add to your Social Traits during an applicable 
  Social Challenge. 
   • As a measure of a character’s credibility. In any situation where there is an open 
  debate between Kindred (one Kindred’s word against the other),Status is used as the 
  determining factor. The same is true in the case of accusing another of a crime in which 
  there is no concrete evidence. In all such cases, the character with the most Status is the 
  one whose word is accepted. 
   • Temporary Status may be given to another to show your favor, though the individual 
  to which you give the Status must return it immediately upon the asking. However, his 
  Trait may he expended as a Temporary Trait by the barer and is then gone for the 
  duration of the story. This is he only way a character’s Temporary Status can raise above 
  her Permanent Status rating. Loaned Status can be used exactly as your own. Only one 
  Trait of Status may he given to any one person in this fashion. 
   • You must posses at least one Trait of Status (your own or one borrowed from 
  someone else) in order to petition the prince for any reason, such as when gaining feeding 
  grounds or accusing someone of a crime. 
   • Anyone of higher Status may remove Permanent Status from those lower than 
  themselves at a cost of one Permanent Status Trait per Trait removed. Temporary Status 
  may he removed in the same fashion. 
   • You may grant Permanent Status to another of your own clan if they have less than 
  half of your permanent Status. The cost for such a boon is one Temporary Status Trait, 
  and he boon must be made publicly, such as during a meeting of the primogen or another 
  such gathering. 
   • A clan may remove one Status Trait from its elder by expending a group total of 
  Permanent Status Traits equal to he elder’s Permanent Status. The Primogen may also 
  lower he prince’s Permanent Status in the same fashion. 
  • Remember, you may only gain one Status Trait per story, but may lose more than one 
  Trait. Again, there are two exceptions to this: Status granted or sanctioned by the face, 
  and Status received for assuming a station, 
  Stations 
  There are seven stations which may be held by a Kindred. Each grants Status within a 
  city. Of course, there may be more than this, hut these are some of the most common, 
  found in cities throughout the world. Certain responsibilities and powers are inherent to 
  each of these stations. Kindred who hold these positions tend to guard them jealously for 
  the powers they convey. All powers conferred by a station are lost if a character is 
  removed from a station or relinquishes it. 
   
  The following is list of these seven stations and an outline of their powers and 
  responsibilities: 
   
   
  The Prince-- This is generally, although not always, the most powerful elder of a 
  city. He is above all other Kindred in the city. 
   
   • The prince of a city automatically gains three additional Status Traits: Exalted, 
  Well-Known and Famous. These Traits  
   
   may never he lost permanently while the character remains prince. 
    • The prince may remove one Permanent Status Trait from someone at a cost of one 
  Temporary Status Trait per Trait  
  
    removed. 
    • The prince may grant Permanent Status Traits to any Kindred at a cost of one 
  Temporary Trait for each trait awarded. The  
   prince may also break the rule of only gaining one Status trait per story, allowing a 
  character to gain more than one Trait. If a  
   Prince wishes to confer more than three Permanent Status Traits upon another 
  Kindred (in a single session), the fourth and  
   subsequent Status Traits will cost the Prince Permanent Status instead of 
  Temporary Traits. Note that it does not cost the  
    prince Temporary Status to award a Kindred the first Status Trait when she is first 
  Presented. The Trait: Acknowledged is  
   automatically conferred as long as the prince chooses to recognize the neonate. 
   
   Seneschal-- The Seneschal stands in for the prince whenever he is busy elsewhere, as 
  well as serving as an advisor to the prince.  
   This position has become increasingly rare. Few princes are willing to place that 
  much trust in any one individual. 
   
   • The Seneschal gains the following two additional Status Traits: Cherished and 
  Esteemed. These Traits cannot he  
   
   permanently lost while the character remains Seneschal. 
    • The Seneschal may act in the prince’s stead when the prince is out of the city. He 
  is therefore entitled to all of the powers of  
    the prince, though they may he reversed or revoked at any time by the Prince. 
   
  Primogen-- Primogen members generally act as advisors to the prince, as well as 
  representing their clan’s interests. There is  
   generally one primogen representative for each clan represented in the city. Some 
  cities are even run by the primogen rather than  
   a single prince. 
    • Primogen members each receive the additional Social Trait: Revered when they 
  join the primogen. This Trait cannot he  
    permanently lost for as long as then character remains on the primogen. 
   
   • A primogen member may grant or remove Permanent Status Traits to or from any 
  member of their clan at a cost of one  
   
   Temporary Status for each Trait granted or removed. 
   
   Harpies— The Harpies are the rumormongers of the Kindred. The leader of the 
  Harpies is selected by a majority vote of the  
   primogen. This group serves primarily as the arbitrators of disputes involving boons 
  and scandals. The office may be revoked by  
   a majority vote of the Primogen at any time. 
    • The leader of the Harpies receives the additional Social Trait: Influential upon 
  attaining the position. This Trait cannot he  
    permanently lost as long as the character remains the leader. 
   
   • The Harpy automatically gets one Temporary Status Trait from each member of 
  the primogen. These Traits may he used  
    however the Harpy desires, even used against the owner. These Status Traits are 
  given over to show the primogen’s support of  
    the Harpy. 
   
   • The Harpy may remove one Permanent Status Trait from a Kindred who has 
  backed out of a boon or is part of a major  
   
   scandal. There is no cost for this, although there must be a grain of truth to the 
  scandal. 
  
   
   Evidence of some sort must he presented at a gathering of Kindred, at which time 
  the Status Trait is removed. 
   
   • The Harpy may restore Status he has removed at a cost of one Temporary Trait 
  per Trait restored. 
   • The leader of the Harpies may sponsor lesser Harpies by giving another Kindred a 
  Status trait of his own. Lesser Harpies  
   may remove Temporary Status just as the head Harpy removes Permanent Status, 
  although their leader may choose to make  
   such loss permanent. 
   
   
  Whips-- Whips are the servants of the primogen. Each primogen member has the 
  option of choosing at least one Whip. They act  
   
  as intermediaries between the primogen member and the rest of the clan. They are 
  also responsible for organizing a clan’s  
   
  Status. 
   
  • Whips have the same powers as the Primogen, although they do not gain an 
  additional Status Trait. 
   
   
  Sheriff— The Sheriff is the enforcer of the prince and the primogen. He ensures that 
  the Traditions are followed as well as  
   
  enforcing any edicts of the prince. 
   
  • The Sheriff gains the additional Social Trait: Feared when he attains the position. 
  This Trait cannot be permanently lost while  
   
  he remains Sheriff. 
   
  • The Sheriff may demand that any Kindred within the city accompany him for 
  questioning or judgment. Failure to do so  
   
  causes the offender to lose one Permanent Status Trait. 
   
  • The Sheriff is immune to the powers of the Keeper of Elysium. 
   
   
  Keeper of Elysium—The Keeper of Elysium is responsible for ensuring that peace is 
  maintained within the Elysium. He is also  
   
  responsible for punishing those who have broken the Masquerade. The Keeper often 
  works closely with the Sheriff in the  
   
  performance of his duties, although at times, the two can he rivals. 
   
  • The Keeper of Elysium gains the additional Status Trait: Honorable upon attaining 
  the office. This Trait may not he  
   
  permanently lost as long as the character remains the Keeper. 
   
  • The Keeper may immediately remove one Permanent Status Trait from any Kindred 
  he catches breaking the Masquerade. If  
   
  he does not witness it himself, sufficient evidence must be brought forth. This 
  removal is at no cost to the Keeper. 
   
  Prestation 
   
  Prestation is the art of cutting a deal. It is an invaluable resource for those who know 
  how to use it. Consequently, those ignorant of its applications should beware. Shady 
  deals and clandestine agreements between Kindred are at the core of vampiric politics. A 
  vampire inevitably finds herself ma compromising situation and looks to her peers or 
  elders for help. The object of Prestation is to arrange to have as many Kindred as possible 
  indebted to you while simultaneously ensuring’ that they get no opportunity to repay you 
  (otherwise, you would have no leverage). After all, when another Kindred owes you, you 
  have power over her. 
   
  When striking a deal with another Kindred, it should be made clear who’s doing the 
  favor and who’s receiving it. Except in cases of mutual favors, there should always be a 
  bestower and a receiver. The receiver is considered to owe a boon to her bestower. This 
  
  boon must he categorized as a trivial, minor, major, blood or life boon. The boon is then 
  assigned an appropriate amount of Status Traits that the receiver must give to the 
  bestower. It is possible that other arrangements may be made as well, such as giving 
  Influence rather than Status. The agreement must be amenable to all Kindred involved in 
  the deal. The bestower may continue to use the Boon Traits just as he would any other 
  loaned Status Traits. However, the loss of Boon Traits is only temporary. The bestower’s 
  Boon Traits are restored at the beginning of the next story. At that rime, the Boon Traits 
  may he used again as usual. The primary difference between Boon Traits and usual 
  loaned Traits is that the original owner of the Train may not request their return, as is 
  usual with such Traits. They may only he returned once the boon has been settled. 
  The only way for a receiver to rid herself permanently of a boon is to repay or ignore the 
  favor. However, by ignoring a favor, the receiver not only certainly costs the Kindred 
  Status, but also risks the sire of the bestower. If the bestower is a minor Kindred, a Status 
  Trait may only he temporarily lost by the receiver who ignores a boon (the Status Trait 
  returns with the next story). However, if the bestower has considerable social influence, 
  word may spread of the receiver’s offense, causing the permanent loss of a Status Trait, 
  especially if word gets to the Harpies. Furthermore, when a major, blood or life boon is 
  disregarded by the receiver (regardless of the bestower’s standing), the receiver will lose 
  Status. Breaking boons is considered a major social fauxpas among vampires. The 
  receiver who does so often finds herself on the wrong end of a stake. 
   
  When a deal is cut (a favor is arranged), both parties should agree on the nature of the 
  favor, the number of Traits assigned to it, and any other stipulations or additions. There is 
  usually one stipulation often required by a Kindred who bestows a boon: “You may not 
  take any physical action against him for the duration of this boon.” In terms of the story, 
  the receiver may seek to eliminate the bestower rather than repay the favor, hut the 
  bestower can use the legal terms of their agreement as protection from harm. 
   
  It is usually a good idea to clarify agreements in writing and to have both parties sign 
  the document to assure its validity. As a convenient means to keep track of prestation, we 
  have printed cards upon which you can record your boons. 
   
  Paying back a favor— getting yourself out of debt— is usually an event arranged 
  through roleplaying. You may make your services available to a person to whom you’re 
  indebted, may conveniently “he around” when your bestower is in trouble, or can set your 
  bestower up, tricking him into a situation where your help is required. Essentially, a boon 
  can be eliminated by returning an equivalent favor. However, if a bestower is ever in 
  sufficient trouble, you might pay off your debt by returning only a small favor. 
  Everything depends on your skill at bartering. To set some standard, a favor is as 
  valuable as the Traits associated with it. Thus, a minor boon (two Traits) and a major 
  boon (three Traits) are fair compensation for a life boon (five Traits). 
   
  Trivial boons are one-time favors, such is providing protection for someone for the 
  evening, using one of your Disciplines to aid another, or supporting another’s political 
  move. 
   
  Minor boons can last more than one evening and usually entail the bestower going 
  out of her way to do something for the receiver, such as allowing safe passage through a 
  hostile city, revealing crucial information to the receiver, or disposing of some threat to 
  the receiver. 
   
  Major boons usually entail a great expenditure of time or resources on the bestower’s 
  part. The effects of the favor usually last for many game sessions. An example of such a 
  boon would he teaching the receiver a new Discipline or ritual or purchasing a nightclub 
  to serve as the receiver’s haven. 
  Blood boons occur when the bestower places herself in a potentially life—threatening 
  situation in order to help the receiver (thus the name “blood boon”). The bestower is 
  willing to shed her blood for the receiver. 
   
  Life boons involve the bestower actively risking her immortal life for the receiver so 
  that the receiver may live. 
  
   
  Experience 
   
  Humans learn from experience. As sentient beings, we collate the information that is 
  presented to us in our daily lives and hopefully become better people for our experience. 
  Some of us do, while some of us ignore our lessons and must repeat the same mistakes 
  again. During our life, we learn from the mistakes of yesterday and prepare for the 
  challenges of tomorrow. 
  Experience in The Masquerade is represented by giving each character one to three 
  experience points at the end of each story. The number of points awarded is based on 
  how well the character performed during the course of the story and how active the 
  player was in the game. The Narrator will decide how many points each player receives 
  upon completion of the game. Most players will receive one point-- this is standard. 
  Exceptional roleplayers, those who played an exceptionally memorable part, will receive 
  two. Three points will be awarded to those characters who portrayed acts of incredible 
  insight and courage, making the game more memorable for the Narrator and other 
  players. On a normal night, each player will receive one experience point. 
  Some basic guidelines for awarding experience follow. If you are a Narrator, you might 
  want to adjust awards to suit your needs, hut he careful. Awarding too many experience 
  points can make the characters in the game too powerful and make your task as Narrator 
  very difficult in future chronicles. It can also “spoil” the players and make them 
  overconfident, which can make them difficult to deal with. 
  Awarding Experience 
  Awarding experience points requires a delicate balance between satisfying the players 
  and maintaining the balance of the game. If you follow the guidelines below, you 
  probably won’t get into too much trouble, but feel free to experiment. 
   
  • Automatic Each character receives one experience point per game. This represents 
  the acquisition of Common everyday knowledge. 
   
  • Roleplaying Narrators should encourage roleplaying. The best way to do this is by 
  rewarding it. This point should he automatically awarded to players who have all of their 
  Traits left at the end of the night. These players obviously roleplayed well, and didn't 
  have to spend any Traits in challenges. The best roleplayer in the cast usually receives 
  this bonus. 
   
  • Leadership You should award one point to players who played a major part in the 
  story. They got involved, and their efforts propelled the plot. The player who was the 
  most involved in advancing the plot usually receives this award. It should he noted that if 
  more than one of the players were integral in the progression of the story, then each of the 
  players who showed such leadership could he awarded this point. 
   
  Using Experience 
   After experience points have been awarded, they may be spent to purchase new 
  Abilities, Traits and Disciplines, improving upon the character and giving the player a 
  sense of satisfaction as he watches his character grow and improve. The following chart 
  list the cost of improving Traits, Abilities and Disciplines 
   • New Attribute Trait— One experience point per trait, 
   • New Ability— One experience point per Ability trait. 
   • New Discipline— Three experience points for Basic Disciplines, six for Intermediate 
  Disciplines, and nine for Advanced  
     
  Disciplines. It costs an additional point to learn a Discipline outside of your clan. 
   •New Willpower— Three experience per Trait. 
   •Buy off Negative Trait— Two experience points per Trait. 
   
  Only one Ability, Trait or Discipline should he gained per session. 
   
  
   
   
  Chapter Six: Story Staging 
   
  I’ll show you my home town, and it’s down. Yeah, so close you can tell by the smell, so 
  close you can hear them yell, they throw the best damn parties at the rim of hell. 
  -D.A.D., “Rim of Hell” 
   
  Swirling lights. Vibrant sounds. Cold shadows in the corners. A tattered diary. A vial of 
  vitæ. Strange markings on the wall. The experience of it all. 
  Storytelling is more than simply voice and action. The effects that create your playing 
  environment also make your story come to life. When you’re running a story, you don’t 
  rant your players to merely imagine they’re playing in a Gothic-Punk setting. You want 
  them to feel they’re there. 
  Setting the stage is, thankfully, relatively simple. It requires some effort and 
  imagination, hut with a little practice, you’ll he whipping up Methuselah dens in no time. 
  To help you get started, we’ve provided some hints and ideas. Ultimately, though, 
  creating an environment is limited only by your imagination. Take the advice we provide 
  and run with it. 
   
  Setting and 
  Environment 
  More than anything else, the setting of a story has impact on a story’s feel. Setting 
  should therefore he taken into careful consideration when deciding on your story’s mood 
  (which is discussed later). The location you choose must lit the needs of your game as 
  well as the atmosphere you have in mind. 
   
  Finding Locations 
  “Ray, you’re scaring the straights.” 
  —Bill Murray, “Ghostbusters II” 
   
  The first practical step in planning a game is finding a good place to play. Where you 
  play the game is influenced by the specific needs of your story. Factors like the number 
  of players involved, theme, mood and nature of the plot all have an influence on the type 
  of location you choose. 
  The scale of the game is your first consideration. Make certain you have enough 
  room for all the players to move about. Multiple rooms or areas are helpful. The best 
  layout usually involves a central meeting room that all the players can congregate in and 
  multiple smaller sites for secret meetings. 
  Although we assume you will he using your home as the location of your games, this 
  may not be the case. If you are highly selective and cautious and your players are very 
  experienced, there are a number of other sites you can use. Possibilities include college 
  campuses, dorm lounges, museums, night clubs, coffee houses, conventions, parks, 
  shopping malls, office buildings or warehouses. 
  Obviously, extreme care must be taken when using these sites. You must ensure that 
  all of the players are courteous and unobtrusive when playing in a public place. No 
  “mundanes” should ever realize a game is being played, and players need to understand 
  that the session is over if anyone finds out about the game and is disturbed by what 
  you’re doing. 
  Some sites are more conducive to a certain types of stories. You may find a particular 
  location is your favorite, hut even then, you should keep your mind open to change. A 
  change of locale, even if for only one scene, can help revive a dying Chronicle. 
  
  Most locations (or “sets”) can he decorated to convey a specific mood. You must 
  seek out sites that cater to the style of your game and nature of its plot. For best results, 
  the setting should have a basis in reality. In other words, if it’s a high energy social 
  atmosphere you seek, stage your story in a nightclub. If you’re looking for a calm and 
  intellectual setting, perhaps a museum or art gallery is appropriate. When choosing a 
  location, look for an area that establishes the mood and atmosphere you’re after: 
  • Party Raves, nightclubs, fraternity parties or anyplace where loud noises blend into 
  the background. 
  • Anarchy Raves, warehouses, parking lots; places that draw as little attention as 
  possible. 
  • Political Intrigue Hotels, coffee houses, conference halls, museums, shopping 
  malls or your home. This style of game can he played just about anywhere, as it’s 
  typically low-key. 
  Don’t even try to play The Masquerade outside your home if you don’t think you 
  can stay on top of everything. If things get out of hand, you have only yourself to blame. 
  The responsibility for safety is always yours. If you have even one immature or 
  uninhibited player, you should not try using new sites at all. 
   
  Set Dressing 
  With many of the above setting suggestions, you are unable to do much, if any, 
  decorating. However, many of the locales (such as nightclubs, museums and amusement 
  parks) that you cannot decorate already have the proper feel for your story. Other places, 
  specifically your own home, probably need special modifications to create the proper 
  mood and feel. 
  Decorating your home can he a simple process. Dark drapes (or sheets over the 
  windows), indirect lighting and certain standing props can help turn your home into a 
  nightclub or the audience chamber of a prince. When decorating your home or apartment, 
  consider the type of story you’re telling. Mood and feel are essential. They must be 
  conveyed to the best of your ability. A dark tablecloth and candelabra can change a 
  dining room into the prince's office. Avoid going with all black— it absorbs light. Dark 
  red and violet mixed with black give the illusion of a dark setting without the problems 
  that total darkness can create. 
  Talk with your friends. They may have access to a variety of unusual items to help 
  decorate your home. Try to keep a central area open to allow players some freedom of 
  movement. Clutter should he avoided (unless it’s a specific component of the story). 
  When decorating small meeting areas, try to contrast them to the main area. If the main 
  area (say, your basement) is a nightclub and a secondary area (your dining room) is the 
  prince’s chambers, you probably want a contrast between the way the two are decorated. 
  Even if players are only going up a flight of stairs, they should feel as though they’re 
  stepping into a different world (and many times, they will he). 
   
  Changing Scenes 
  Sometimes it’s necessary to use one area for different settings within the same story. 
  For example, let’s say that for the first portion of the story, you're using your living room 
  as the den of an anarch gang. Later in the story, the same room is used as a Tremere 
  altar. You need to prepare for and execute a scene change without interrupting the story. 
  First of all, you need to arrange the decorations for the second scene ahead of time. 
  You may even want to rearrange existing furniture for the second scene. All props and 
  deco. rations for the second scene should he ready to go, discreetly tucked away before 
  the game begins. These secondary “set dressings” can he place in an unused room off to 
  the side, or put in a corner with a dark cloth draped over them. Any place that is easily 
  accessible and inconspicuous is best. 
  Next, you should plan when a scene change occurs and why. In the above situation, the 
  cue for a scene change occurs’ when the anarch characters (for whatever reason) decide 
  
  to leave their hangout and travel to the Tremere altar (perhaps that’s where a friend is 
  being held prisoner). “Travel time” is the best way to justify a pause in the game while 
  you make the scene change. A second location, which could represent a car or some other 
  type of vehicle, should he ready ahead of time to represent the journey 
   
  The actual set change should he performed quickly and efficiently. Lengthy set 
  changes leave players bored. When your scene is changed, give it a last once-over, 
  making sure everything is in place. A scene change should he just that. When the players 
  enter the room again, they should have the distinct feeling that they’re entering a new 
  place. Your new decorations don’t even need to be overly complicated. A quick shift of 
  the couch or table, switching or removing a throw rug, draping a love seat, and moving or 
  removing chairs all help to change the feel of a room without necessitating major 
  alterations. Changing the lighting and music can also make a big difference in a set’s feel. 
   
  Ambiance and Mood 
  “It’s show time!" 
   
  -Beetlejuice 
   
  Establishing the right feel for a scene is governed by setting and environment. 
  However, ambiance and mood are established and maintained by effects that are imposed 
  upon the environment. Effects like music and lighting are often the finishing touches for 
  completing a scene. 
   
  Music 
  Music can he an integral part of establishing the mood of a story. It lends a hand in 
  creating drama and, when appropriate, tension. When planning your story be certain to 
  select music that complements your intended mood. Also make sure you have a variety of 
  music on hand in case the mood changes. Here are some examples of mood and appro-
  priate music. You can doubtlessly think of many others: 
  • Dance Club high energy music / techno 
   
  • Punk rock / progressive music / classic punk 
   
  • Exclusive, Sophisticated — classical music / jazz 
   
  • Mysterious New Age music / tribal music 
   
  How you play your music is almost as important as what you choose to play. Your 
  music should never he obtrusive or overpowering. You want to avoid forcing your 
  players to overcome the music in order to interact with each other. Subtlety is lost that 
  way. If possible, hide your speakers (unless they’re a part of the scene). The best quality 
  sound comes from small speakers positioned above the ground. You may also want to 
  keep your stereo control off limits to players. Ultimately, your music should be heard, not 
  “seen.” 
   
  Audio Effects 
  Above and beyond music, certain sounds and effects can enhance an evening. Horror 
  and sound effect CDs, found in any music store, are a good place to start. A good FX CD 
  can provide a variety of sound effects to simulate many different events, like tires 
  screeching, gunshots or harking dogs. Proper timing of these sounds is critical. If you’re 
  able to pre-mix a tape of effects, you can play them at appropriate moments in the story. 
  Preparation is the key. Have your effects cued up ahead of rune so that, with the mere 
  
  touch of a button, the scream of a Lupine’s victim can he heard by all. Preparation snakes 
  for more drama than having to delay the game while you set up the right sound. 
   
  Lighting FX 
  What good tale of vampires would he complete without appropriately eerie lighting? 
  Unlike music, lighting doesn’t merely lend a hand toward setting the mood, it establishes 
  it. Players walking into a room immediately notice dim lights and the flickering shadows 
  they cast. Furthermore, there are many tricks you can pull with “common household 
  items” to create the illusion of darkness without making a room pitch black. 
  When using light to create effect, start by setting up the room. Get your scene 
  arranged the way you want it. Now you need to find the right level of light. Avoid high 
  wattages and white light. Multicolored light bulbs have the broadest effect. By arranging 
  multicolored light bulbs in different parts of the room, you can create shadowy areas and 
  still have well-lit “white light” areas where the colors intersect. If you have track lighting, 
  recessed multi-colored bulbs work very well. If you can’t get multicolored bulbs, cloth 
  draped over lights work just as well (hut avoid putting cloth in direct contact with hot 
  bulbs). The key is contrast from low wattage bulbs. Keeping enough low lights to 
  contrast with one another results in plenty of light to see by and plenty of shadows to hide 
  in. Play around with different combinations to determine what works best for your mood 
  and scene. 
  Regular lamps aren’t the only things you can use to illuminate a room. If you’re doing a 
  club scene, a strobe light works well. Believe it or not, blinking Christmas tree lights 
   
  also help to create a nightclub atmosphere. Candles, electric or real, also help with certain 
  scenes. However, we recommend that you avoid using real candles if you plan to have a 
  lot of players. If you do use real candles, keep a fire extinguisher handy in case of 
  accidents. If you have a fireplace, it can be helpful in creating certain moods. If you don’t 
  want to build an actual fire, a small recessed lamp behind some wood can provide a soft, 
  permeating glow. 
  If you keep your wattage low, avoid direct white light, and experiment with your 
  color schemes, you should he able to find the right combination to create the proper 
  atmosphere for your story. 
   
  Props 
  “Where does he get those wonderful toys?” 
  —The Joker, Batman 
   
  After you’ve got a story, players, a place to play and even selected a cool soundtrack 
  to accompany the game, something else is still needed to bring the story to life. This is 
  the point at which props come in. Props for a story don’t need to he grandiose or 
  expensive. Most props can he found in your own home or your grandparents’ attic. 
  In most forms of theatre, props play an extensive role. In fact, in modem movies, 
  props can at times overwhelm the viewer, sometimes detracting from the film. In this 
  game, props should he kept relatively simple and should not attract more attention than 
  the story itself. Only a few touches are needed to help a player’s imagination fill in the 
  blanks. Since this is a storytelling game, imagination is of the utmost importance. This is 
  not to say that you should he sparing with props. If you have the available materials, go 
  wild. Just make sure that the props are not the focus of the story. The spotlight should 
  always remain on the characters, not on what surrounds them. 
   
  General Props 
  General props are items that can help you further a story by giving players something 
  that they can physically examine. The Storyteller should he wary of how often physical 
  
  props are used and what impact they have on the story. If they are allowed to dominate a 
  story, players may begin to rely on them rather than interacting with one another. Be sure 
  to inform players when props will he used in a story. Otherwise, they are likely to 
  disregard an important clue, considering it just another feature of the place you re playing 
  in. 
  Many items can he used as general props to help enhance your story. Books, Jewelry, 
  documents and pieces of artwork are a few examples. These props can he used to actually 
  give information, or they can merely give insight into the character of the person 
  possessing the prop. Sometimes an item has to he represented by an item card, as in the 
  case of weapons. Also, a card may he discreetly attached to an item, giving more infor-
  mation to a player who inspects the item. 
  Different props can have different applications. A ring might merely he a character’s 
  memento, a reminder of days past, hut those past events might he important to the story 
  and the ring can serve as a clue to that importance. Alternatively, the ring could belong to 
  a murder victim, perhaps dropped or misplaced. Someone examining the ring with the 
  Discipline of Spirit Touch could learn much from the prop. Books can be used to indicate 
  the owner’s interests, or can conceal hidden documents or letters. A vial of blood can 
  even he concealed somewhere in the playing area, perhaps somewhere as obvious as the 
  refrigerator. The container, containing some sort of red liquid (not real blood), can have a 
  note attached to it revealing what the contents are and exactly how much is present. (This 
  is particularly important when representing the number of Blood Traits in the vial). 
  Some props that add ambiance to a story are a little more obvious than the ones 
  discussed above. A letter of invitation to a party or other event, giving players some hint 
  of what is to come, advances the story and makes events seem real. Serving players red 
  liquids can add a nice touch. Tomato juice works well. 
  Creative and effective usage of general props can make a story more interesting for 
  everyone. The important thing is to stay focused and avoid overloading yourself with 
  them. If you come up with an idea for a prop, hut are unable to implement it, don’t 
  panic— your story can stand on its own. After all, people, not things, make a story. 
   
  Personal Props 
  Personal props, like costumes, are used by players to help distinguish them as their 
  characters. These props can he particularly useful for Narrator characters, especially 
  when Narrators must often change from character to character. 
  Many different items can he used to help portray a character. Cloaks, jackets, scarves, 
  hats, canes and Jewelry are only a few of the accessories that can give a character a 
  distinctive look. You may want to provide certain items to players to aid them in this 
  manner, especially if players are uncertain of the characters they are playing. For 
  example, if you plan a story involving an anarch gang, you may supply players with 
  match. ing bandanas to identify them as gang members. 
  Many personal props can he found right in your own home, Searching through the 
  attics of relatives can reveal old clothing and Jewelry. Costume Jewelry works best; real 
  jewels can be far too valuable to lend out for a game. Should all else fail, second. hand 
  stores can he great places to pick up a few last-minute props at an affordable price. All 
  manner of clothing, including hats, canes and costume jewelry, can he acquired at such 
  emporiums. 
  In many stories, not much is needed by way of personal props. Sometimes, only a cane or 
  piece of Jewelry can make a character. The most important thing to remember is to have 
  fun with props, avoiding dangerous ones. 
   
  Safety 
  Safety is an important consideration. The Masquerade’s code of conduct should he 
  reviewed at the start of every story, no matter how experienced players are. It should he 
  enforced with draconian vigilance. 
  
  Some props can he potentially dangerous and cannot he allowed. For instance, all 
  weapons must he represented by item cards. The use of real or artificial weapons in 
  Mind’s Eye Theatre is simply too dangerous. 
  Besides weapons, other props can he potential hazards. Lit candles should only he used 
  with extreme care. Remember that there are a fair number of people moving about the 
  area, so candles are best placed in inaccessible, or at least out of the way, places, where 
  it’s unlikely that anyone will come in contact with them. 
  Finally, if the area chosen for your story is unfamiliar to you, it’s best that you 
  examine it thoroughly for any potential hazards. If you come across a potential hazard, 
  declare that area off-limits for the game, rope it off or choose another game site. 
   
  Make-Up 
  “Just paint your face and shadows smile, Slipping me away from you.” 
   
  — The Cure, “Burn” 
   
  After you’ve assembled the props for a character, only a few final touches are needed 
  to complete the masquerade. make-up can help to complete the transformation from 
  human to vampire. You needn’t he a professional make-up artist to apply it. Make-up 
  supplies arc available year round at theatre supply and costume shops. 
  To give yourself pale vampiric complexion, a very light base of clown white should he 
  sufficient. Be sparing; only a slight amount is needed to significantly lighten your 
  features. You should powder your face immediately after applying the rake-up to keep it 
  from smearing. If make-up is unavailable, an application of powder alone can suffice in a 
  pinch. 
  For a Nosferatu character, liquid latex can he used to create hideous features. Though 
  not as readily available as white grease paint, it is still available at most theatre supply 
  shops. Liquid latex takes a little more skill to apply properly, but with a little care and 
  patience, great results can be obtained. For instructions on application, hooks on make-up 
  artistry can he found at your local book store or library. You may also discover other 
  ideas for creating a vampiric look while perusing such books, 
  No vampire is complete without fangs. Fangs of all different varieties can he found at 
  costume shops. The only 
  problem with fangs is that they tend to impair speaking, which a fundamental part of the 
  game. The types that work hat, if you intend to wear them hr the entire story, are fitted 
  caps that slide directly over incisors. These are attached with a temporary adhesive. 
  Makeshift fangs can even he created with drinking straws. One end of the straw is 
  clipped off to allow it to fit snugly over the tooth, while the other end is cut in a V shape 
  that hangs down over the incisor. 
   
  Cheap Tricks 
   
  These are tricks you can use in lying props to make the story a little more interesting 
  for players and help progress the plot. Cheap tricks with props can draw players further 
  into the story while making the experience more “real”. 
  If the story is a murder mystery, spots of blood can he placed on the floor, perhaps 
  showing how the body was moved after the murder. The spots can he made of pieces of 
  cut red felt laid on the floor. If one of the players notices them, they can serve as a 
  valuable clue, or you can simply use a lot of them for special effects. 
  A jacket can he provided to one of the players as a personal prop for his character. 
  Unbeknownst to him, you have placed an item card in the inner pocket of the jacket. If he 
  thinks to look there, the item is his to use. This item could be any number of things: a vial 
  of blood, a weapon or perhaps an important clue. Whatever the item, it should be some-
  thing that would reasonably he in that character’s possession. 
  
  If a computer is available at the game site, computer disks can be used as props, with 
  important information stored on them. If you have the talent, actually write a program 
  with a puzzle in it that players must crack before getting any information. Of course, the 
  same thing can he accomplished by resolving a Simple Test using a character’s Computer 
  Ability, hut presenting players with a puzzle is much more fun. Audio tape can he used in 
  a similar fashion, such as when a cryptic message is left on an answering machine. In 
  addition, a book can have a post-it note on the inside cover (“See Narrator for 
  information.”). The lucky player may discover that the copy of Macbeth she was perusing 
  is actually a hook of ancient Tremere rituals, or maybe the private memoirs of a 
  Methuselah. 
   
  Staying Focused 
   
  At times your story may drift away from its original plot, or players may become lost. 
  They may become too wrapped up in their own subplots or maybe unable to unravel a 
  puzzle. When this happens, you need something to bring the story back on course. 
  Having a few extra props available can he helpful when the story goes off on a tangent. 
  Many of the prop ideas already suggested can he used to reorient players. For example, 
  an answering machine audio tape with an important message can renew characters’ 
  interest in their original goal. Documents containing important information are another 
  option, allowing characters a new avenue in pursuit of their original goal. 
   
   
  Chapter Seven: Scripting 
   
  “Let me show you the World in my eyes I’ll take you to the highest mountain To 
  the depths of the deepest sea We won’t need a map, believe me.” 
  -Depeche Mode, “World in My Eyes” 
   
   
  This chapter provides information intended to help guide you in preparing your own 
  stories. A story is not something that can simply he thrown together. It is a series of 
  events that are linked by several common factors, such as theme, mood and plot. For a 
  story to succeed, it must he thoroughly planned, carefully laid out and skillfully executed. 
   
  Creating Stories 
  Story creation can he as simple or as detailed as you want. The more effort you put 
  into preparing a story, the smoother it runs when its executed. There is no small amount 
  of satisfaction to he gained from writing a successful and appreciated story. 
   
  Inspiration 
  “I used to travel in the shadows and I never found the nerve to try to walk up to you.” 
   
  -The Smithereens, “A Girl Like You” 
   
  Finding the right combination of stimuli to ignite creative thought can he difficult. For 
  some of us, creativity comes naturally. For others, it’s more difficult to bring creative 
  aspects of personality to the fore. However, this is exactly what you must do in order to 
  create a good story. Creativity is not generally taught in school. In fact, it’s often 
  discouraged. Rediscovering your childhood enthusiasm is one way to find a wellspring of 
  imagination. 
   
  
   
  Inspiration can come from any source. Magazines, movies, Books, theatre, television, 
  friends, family…you get the picture. The challenge is to take what you see and change it 
  into something all your own. Inspiration can be, quite literally, any stimulus that ignites 
  the process of creative thought. Hence, inspiration is very often as dependent on what’s 
  without as on what’s within. What sends one person’s mind racing may bore someone 
  else. You must find the things that inspire you (if you don’t already know) and associate 
  with them in order to ignite your creative fires. 
   
  Theme 
  “I’ll show you a place 
  High on a desert plane 
  Where the streets have no name.” 
   
  -U2, “Where the Streets Have No Name” 
   
  The theme of a story often conveys an idea or emotion. Every story needs a theme- 
  it’s what holds all the parts together. By choosing a theme, you define the heart and soul 
  of your story. However, a theme is more than the simple moral of an Aesop’s fable. It’s 
  the tangible embodiment of the story’s purpose and meaning. Theme helps to lay the 
  groundwork for all the portions of the story. Without theme, a story’s mood, plot and 
  elements are mere window dressing. 
  A story’s theme is never something you announce to players. It’s something you 
  leave buried in the story to he discovered later. The best themes are subtle rather than 
  overt and poetic rather than analytical. A theme should never have the feel of a 
  prepackaged lesson. 
  From an intellectual standpoint, the purpose of a story is the exploration of a theme. 
  The things we learn from a story are usually aspects of its theme. Not all stories have 
  relevant themes, hut stories that are more than Just “adventures” do. A theme is simply a 
  tool to help you create a story with more depth, pathos and poignancy. If you don’t place 
  a great burden on the theme, it will usually work for you. 
  When you are trying to create a theme for a story, ask yourself what the story is really 
  about. What lesson does it teach? What’s the point? Theme is usually expressed as a 
  question that is never actually answered (at least not directly), but asked over and over in 
  many different ways. Players are expected to find their own answers. A theme can he 
  practically anything from "What is evil ?” to “Why do we want what we can’t have ?”  
  The f following are some common topics for  themes: 
  • Revenge Revenge usually seems to lead to tragedy. Why does revenge not always 
  work? What compels us to even the score? What happens after we get revenge? 
  • Romance-Why do we love? Why should we love? Who should we love? Is love 
  weakness, or is it strength? What does love provide? How are love and lust different? Do 
  we need love? 
  • Chaos- Why do things always fall apart? Is there any such thing as true security? 
  Can you trust in anything? What are the constants in life? Does tranquillity really exist? 
  What is reality? 
  • Betrayal - Who can you trust? Why do you need to trust anyone? What happens if 
  you trust no one and nothing? Can you trust too much? Why do we betray friends? Does 
  greed lead to betrayal, or is it envy? 
   
  
  • Rebellion - Does the dynamic always win over the static? Is established order 
  always doomed to fall? Does revolt ever lead to real change? Is society always in 
  rebellion? 
  • Morality - Are ethics useful or necessary? Why be “good”? Why not he “bad”? 
  What is conventional morality? How can it be improved? Is perfect morality possible? 
  Are there any absolute and immutable rules? 
  A story begins to take form from themes like these. A story does not he limited to a 
  single theme. It is far more challenging and enjoyable for players to have several differ-
  ent themes to contend with. You should choose and place your themes with care, because 
  a story is only as good as the themes that fuel it. 
   
  Mood 
  “How much more black could it be? And the answer is none. None more black.” 
  -Derrick Smalls, “This is Spinal Tap” 
   
  Mood is perhaps the most elusive part of a story’s creation. The feelings engendered 
  by mood help make The Masquerade so unique. Mood places players in the right frame 
  of mind from the very beginning. It’s what projects Gothic-Punk flavor. Mood should 
  permeate every aspect of the story, giving each hallway and every shadowy corner the 
  same distinctive feel and taste. 
  The moods of a story can vary widely. In fact, given the many subtleties of human 
  emotion, a story’s mood can have a nearly infinite number of permutations. Moods can 
  range from angry to festive, from brooding to hopeful, or anywhere in between or 
  beyond. In short, you can draw the mood of your story from anything in the wide range 
  of human emotions. 
  The mood of a story is not something to be advertised. It should he felt. Players 
  should sense the mood in a story’s title. They should feel the mood in their backgrounds. 
  They should experience the mood in the ambiance of the game site. They should 
  recognize the mood in the unfolding plots. It should never he blatant or announced. You 
  should never have to tell the players the mood you intend; it should be sensed and not 
  considered. If players seem to he straying from your mood, let them, as long as they’re 
  having a good time. Always remember that the story exists for the players’ enjoyment. 
  The following are some examples of different moods: 
  • Anger - Everything and everyone in the story is angry. Tensions run high and 
  Kindred are ready to lash out. The anger can have a source, or you can make it more 
  ephemeral (and thus more suspenseful). 
  • Celebration Everyone is in a positive frame of mind; it’s time to party. Excitement 
  is in the air and players should feel ready to kick back and have fun. No one should feel 
  like they have to watch what they do; there should be no penalties for taking chances. 
  • Brooding - The mood is dark and ominous. You want to make players feel 
  reflective and a little pensive. You can bring past actions back to haunt characters. This is 
  a very difficult mood to capture, hut can lead to intense interactions between characters if 
  used properly. 
  • Hope - Characters have the opportunity to turn things around. This opportunity 
  should not he a guarantee, only a chance. 
  • Apprehension - Something bad is on the horizon and everyone is worried. It should 
  not he an immediate threat, more an unknown factor. The situation should be mysterious 
  enough to pique the characters’ curiosity, making them uneasy and concerned. 
   
  Plot 
  “I’m only hangin’ on, to watch you go down. 
  My love.” 
  -U2, “You’re So Cruel” 
  
   
  A story’s plot is its progression of events. Plot not only involves the machinations of 
  the powers that be, but the machinations of the characters as they pursue their own goals 
  in the story. Plots are essential to the successful progression of the story. They serve as a 
  beginning to, and a guide during, the story. 
  A story can have any number of plots (see “Story Style”, below, for more details on 
  this). These plots should all he wound together with skill and care before the actual game 
  begins. The trick is to have all the pieces of a plot already written in the characters’ 
  briefings so they can read about their own respective parts of the overall plot at the 
  game’s beginning. Together, the characters’ backgrounds compose the main plot, and by 
  pursuing their own pa of the plot, characters progress the plot as a whole. 
  For example, Kassandra is a Gangrel playing in a story. The theme for one of 
  Kassandra’s subplots is revenge. Years ago, one of the progeny was brutally slain by an 
  older vampire. Kassandra was not powerful enough to seek retribution at the time, but 
  now, years later, she has the opportunity to do so. The player’s background on Kassandra 
  and her list of contacts should explain who this older vampire is and should explain the 
  general circumstances (as Kassandra would know them) concerning her progeny’s 
  demise. This information contains all the necessary details the player needs to develop 
  and explore this subplot. Kassandra knows who the older vampire is, what he did, why 
  she is angry about the murder, and maybe something about the older Kindred’s 
  weaknesses or enemies. It’s up to Kassandra to decide exactly how she goes about 
  seeking revenge, but you have set the wheels in 
  motion. 
   
  When Kassandra’s plot coincides with goals that other characters are pursuing, an 
  overall plot evolves. With a degree of skill, this can help build the main plot and theme of 
  a story. 
   
  
  During a story, it’s often helpful to keep a schedule of events. This is a pre-planned 
  sequence of events (usually initiated by outside forces) that’s going to occur regardless 
  of the characters’ actions. Typically, characters played by Narrators keep the schedule on 
  track. It is also helpful to integrate occasional Narrator characters into the story to assist 
  the progression of the plot (or plots). These tactics should he used sparingly; otherwise 
  players may grow dependent upon interaction with Narrators instead of with each other. 
  However, occasional Narrator intervention can add a new level of unpredictability and 
  excitement to a story. 
   
  Elements of a Story 
  “I got the ways and means to New Orleans. 
  I’m going down by the river where it’s warm and green. 
  I’m gonna have a drink, and walk around. I’ve got a lot to think about...” 
   
  -Concrete Blond, “Bloodletting” 
   
  The elements of a story are best defined by its components or stages. It is often 
  helpful to think of plot elements in terms of tense (past, present and future). In terms 
  of story structure, these elements are the addressed in the opening, climax and 
  resolution. At the beginning of the story, characters reflect on events of their past that 
  have brought them to the story. The story’s climax is where the story’s plot (or plots) are 
  exposed and dealt with by some or all of the characters. Finally, there’s the resolution, 
  where the story comes to a close and story hooks for future stories can he laid. 
   
  Opening 
  The opening can be any point from which you choose to begin your story. It can he a 
  gradual, gentle start (the characters awake, each in their separate havens) or a dramatic 
  one (the prince calls a Blood Hunt). 
  At the beginning of a story, each character should have a written synopsis of recent 
  events that are common knowledge. Each player should also have a background of recent 
  personal events. Players should begin with a list of contacts (other characters in the game 
  and how they know them). 
  The synopses of common knowledge and recent personal events should he brief 
  explanations of the situation at hand. They should he precise and intriguing. These 
  synopses should he the first media through which players get a feel for the story’s mood. 
  The synopses should also hint at the story’s main theme. You may even wish to 
  foreshadow the plot, hut that depends on your personal style. 
   
  Climax 
  When the main plot is on the verge of conclusion, the story is considered at its 
  climax. This usually happens when characters have discovered all they need to know to 
  solve whatever problem faces them and are on the verge of resolving the story. The 
  tension is usually at its highest point at this time. If the opening was staged carefully, and 
  the players are cooperative and imaginative, the climax can he reached with little 
  additional effort on the part of Narrators. However, even the best of plans can he mislaid, 
  or perhaps the Storyteller and Narrators prefer to take a more active role in the 
  progression of your story’s plot. Either way, theme are times when a Narrator’s 
  intervention is warranted. The climax should he the high point of the story, something the 
  players should always anticipate and work toward. However, this element should never 
  he rushed. It’s a matter of timing. 
   
  Resolution 
  The story’s resolution is where all (or most) of the pieces come together. The 
  resolution should be used as a means of winding the excitement down while cultivating 
  
  an interest in future stories. Players should always end a story feeling as though they have 
  accomplished something. They do not have to uncover the big picture; merely knowing 
  they’ve found another piece of the puzzle is often enough. In Mind’s Eye Theatre, 
  players often enjoy gathering for a group wrap-up session after a game. Unlike 
  roleplaying games, players of The Masquerade rarely see all of the action that takes 
  place- they get wrapped up in their own ends, not the groups. During wrap-up sessions, 
  many players look forward to learning more about “the big picture.” At the wrap-up, 
  players share their version of the story and, in so doing, give other players an opportunity 
  to see more of the game they Just took part in. 
   
   
  Story 
  Considerations 
  There are several factors that must he taken into consideration before you can begin 
  scripting a story. The scale, number of players and general character types are all impor-
  tant elements that must he kept in mind. If you have a great idea for a plot involving the 
  primogen of a city, it wont work if the players are set on playing anarchs. Likewise, a plot 
  involving a whole gang might not he easy if you only have a few players. These problems 
  can easily he overcome by making slight alterations to your original story idea. For 
  example, suppose your original story involved the murder of a member of the primogen, 
  with the players as the elders of the city trying to determine who the murderer was, If 
  your players are set on playing anarchs, the story can easily he changed to involve an 
  anarch gang whose leader has just been murdered, with the players as gang members. 
  You would still have the same basic concepts, hut the setting would he changed. 
   
  
  Scale 
  The first consideration you have in writing a story is the number of players 
  participating in it. Though the number of players does not usually limit you to the type of 
  story you tell, it does dictate the approach you take. Although we have written these rules 
  for groups of five to 15 players, you can easily run games with many more. In fact, one of 
  our playtest sessions at a convention had more than 300 players. 
  Adding players is easy; you simply set them in opposition to each other. You make 
  them antagonists to each other. With a few players, the story revolves around a single 
  coterie of characters (the players). The Storyteller and the Narrators fill in as all the other 
  characters involved. 
  Different-sized games each have their own needs and problems. Narrator characters 
  tend to play a larger role in stories with a small number of players, filling in the gaps. 
  Games with larger groups of players can be more complex in terms of scale. Having a lot 
  of Cast Members enables you to tell a story involving more than one faction. Players can 
  play both anarch and loyal Camarilla characters, or perhaps even members of the Sabbat. 
  Fewer Narrator characters are needed in a large game, as trusted players can be assigned 
  antagonist roles. However, such large-scale games carry a greater risk for open conflict, 
  often degenerating the story into a slugfest. The larger the game is, the more is required 
  to keep players in line. 
  Enforcement of the Masquerade can be a very useful Narrator tool if events get out of 
  hand. Make one of the players the prince and let her keep everyone else in line. The 
  ultimate burden, however, is on you. Remember, the number of players does not really 
  limit the story you can tell, only the way you tell it. 
   
  Scope 
  The scope of your story is a very important consideration. Whether the story involves 
  a massive plot to awaken the Antediluvians or a scheme to befriend a reclusive Nosferatu 
  is a matter of scope. Scope boils down to what’s won or lost. Scope can he limited by the 
  number of players in the game. You shouldn’t always have stories with huge scope; 
  players grow bored with always “saving the world.” Likewise, you should not keep the 
  Cast from getting involved in potentially earth-shattering stories. Balance is the key. 
   
  Cast 
  Another factor to take into consideration is the type of characters Cast Members 
  portray. The best way to determine this is to ask them. A story usually works best if 
  players are enacting characters they are comfortable with, although it can occasionally be 
  interesting to cast players in roles different from what they’re used to playing. This 
  variation in casting should only be done if you think it would be enjoyable for all the 
  players. 
   
  
  An important consideration is whether you are giving players pre-made characters, 
  with complete backgrounds, Attributes and Disciplines, or if players are allowed to make 
  their own characters. Sometimes the guidelines lie somewhere in-between. Obviously, 
  the easiest of these options is to use pre-made characters. This allows you to customize 
  your story to the characters, tying them to one another to make for a more intriguing plot. 
  The problem with this is that Cast Members are sometimes disappointed with the 
  characters they get. This can detract from everyone’s enjoyment. 
  There are several compromises that can be made if using pregenerated characters. 
  You can ask Cast Members exactly what type of characters they want to play. The 
  characters can then be made to suit the players and tailored to work into your story. If you 
  must hand out “pre-gen” characters, you might allow some alteration of those characters. 
  For example, you can let players choose their own Attribute Traits and Disciplines. 
  Perhaps some minor alterations can even be made to the characters’ backgrounds, 
  assuming changes do not affect the overall course of the game. 
  If you are running a chronicle, and not just a single story, it’s suggested that players 
  be allowed to create their own characters. You can still lay some general guidelines, 
  stipulating that characters must be anarchs or loyal members of the Camarilla, or you can 
  request certain character concepts (see “Character Concepts”, below). You may also 
  choose to restrict certain clans or even Disciplines, depending on the nature of your story 
  or chronicle. Weaving such player-devised characters into an already written story can he 
  difficult, hut not impossible. The easiest way to do so is to closely monitor the creation of 
  characters, guiding players in their effort, seeing that characters fit story and chronicle 
  parameters. If this is not possible, alterations to the story or chronicle may he necessary. 
   
   
  Story Style 
  Style is the method you use in constructing your story. It describes how the subplots 
  tie in with the main plot and how characters interact with the environment you have 
  chosen. Style is the thread from which your story is woven. Without style, a story has no 
  cohesive form and might become boring for players. You need to develop and hone your 
  style so as to be able to craft a finely tuned story, with many layers and intricacies for 
  players to explore. 
   
  Main Plot 
  The main plot is the root of a story, and any other lesser plots will grow from the 
  main plot. The main plot is what brings characters together, unifying their attention. The 
  main plot of a story should he all-encompassing, in that all characters should he affected 
  by it in at least a minor fashion. The main plot should illuminate every other aspect of the 
  story. Not all of them need he touched by it directly, hut each character should he aware 
  of the main plot at least on some peripheral level. 
  
  The main plot is often the most obvious part of the story. It should have a rather 
  blatant goal that characters seek to obtain. They might he attempting to reach this goal as 
  a group or compete against one another. An example of such competition is the election 
  of a new prince. There are probably several different candidates for the position, with 
  other characters backing the one they deem the most worthy. This is an example of both 
  cooperation and competition. However, all characters are certainly involved in the 
  resulting power struggle. 
   
  Subplots 
  In most novels and movies, subplots are just filler material. They are essential to 
  Mind’s Eye Theatre. Subplots keep characters busy and carry them from moment to 
  moment. They are the stories that are woven around the characters. A story gives players 
  ample opportunities to explore subplots, and due to the unique nature of this sort of game, 
  subplots can be taken as far as the players want to take them. 
  Each character should he involved in as many subplots as possible. A subplot can he 
  any personal goal a character is trying to accomplish. Subplots should be crafted so as to 
  intermingle with one another, so that characters become embroiled in a web of intrigue. 
  The possibilities for subplots are nearly endless. Some examples are a Malkavian 
  wanting to get a ring hack from an old lover, a Brujah needing cash to pay off a 
  blackmailer, or a traitor who is being hunted. More than one character should be tied into 
  the same subplot; you need interaction to make it work. Subplots should he linked as 
  often as possible. The blackmailer may he the traitor, and he may he the one with the 
  Malkavian’s ring. 
  The more layers of intrigue in a story, the more players enjoy untangling them. 
  Indeed, if your setting is intricate enough, you may find players developing subplots of 
  their own, adding to the confusion. This should he encouraged, because it helps the story 
  grow and gives it a life of its own. 
  A subplot can sometimes he almost as large in scope as the main plot, the difference 
  being that it is not necessary for everyone to he involved. However, you should take 
  care that the subplot does not override the main plot. 
   
  Character Relations 
  Hans plays with Lotte, Lotte plays with Jane 
  Jane plays with Willie, Willie is happy again 
  Sukie plays with Leo, Sacha plays with Britt 
  Adolf builds a bonfire, Enrico plays with it 
   
  -Peter Gabriel, “Games Without Frontiers” 
   
  Character interaction is a part of every story and every :chronicle. Intricate character 
  interaction is essential to a story. That is not to say that all characters will get along 
  harmoniously- character strife is usually much more interesting. However, making sure 
  that characters relate to one another requires a hit of planning on your part. Here are three 
  ways to keep players interacting with one another. 
   
  Rumors 
  “I love the fact that the tricks themselves are a rip-off, a lie within a lie within a lie.” 
   
  -Penn Jillette, “Penn & Teller’s Cruel Tricks for Dear Friends” 
   
   
  Each character should know a few rumors. Rumors can often he tied to different 
  subplots, initiating those subplots. For example, a character may have a goal of achieving 
  Galconda. If he hears a rumor that an elder (another player) in the city has recently 
  achieved that state, the two characters are tied together- some sort of interaction is 
  assured. Players may also develop their own goals and subplots through rumors that you 
  
  introduce. Rumors help stimulate player interaction as players try to find out the tidbits of 
  knowledge others possess. Rumors can lead to a great deal of interaction as characters 
  barter for knowledge. 
   
  Secrets 
  “It’s no secret that a friend is someone who lets you help It’s no secret that a liar won’t 
  believe anyone else 
  They say a secret is something you tell another person So I’m telling you.., child.” 
  -U2, “The Fly” 
   
  Everybody has secrets. Some are minor, while others, if made known, could change a 
  character’s life. The point is, everyone has something they want to hide. The more a 
  character has to hide, the more he has to lose. Optimally, everyone should have 
  something he or she needs to hide from other characters. Conversely, each character 
  should he able to offer a few hints and clues as to what other characters are hiding. Try 
  giving different characters insights to others puzzles. Such partial knowledge gives 
  players impetus to interact among themselves. Characters are encouraged to trade others’ 
  secrets while desperately guarding their own. This type of interaction can he quite lively 
  and usually leads to small clusters of players engaged in hushed whispers. 
   
  Connections 
  “I got a name and I got a number, 
  I got a line on you.” 
   
  -Genesis, “Just a Job to Do” 
   
  It is often helpful for players to have a few established ties between their characters 
  and others in the game, even before the game begins. Contacts can he allies, enemies or 
  simply acquaintances. These links between characters are referred to as “connections”, 
  and they may or may not tie into characters’ Influence and Status traits. 
  A connection can exist between any two characters and can vary in importance from 
  minor to all-encompassing. For example, two characters can begin the game already 
  Blood Bound to one another, or they might he feuding elders capable of destroying the 
  city. Connections are a good way to give players a sense of involvement right from the 
  start. Connections provide players with people they can interact with right away. 
  Connections also give Narrators a means by which to anticipate the direction a story 
  might take. Setting two characters up as old friends and giving each of them a piece of 
  the same puzzle ensures that the puzzle gets solved quickly. On the other hand, giving the 
  same information to two characters who are enemies can make for some complex 
  interaction before the puzzle is solved. How you set things up depends on how quickly 
  you want the problem resolved. 
   
  Multiple Goals 
  “I came here to do two things: kick ass and chew bubble gum... and I’m all out of 
  bubblegum.” 
   
  -Roddy Piper, They Live 
   
  Each possesses a multitude of goals and ambitions. Many of them conflict, and we 
  have to choose between them. For instance, you might want to go to the movies on the 
  same day you want to visit a friend. Multiple goals complicate matters, and while in real 
  life that can he bothersome, in this game it only adds to the excitement. The more 
  complicated you can make things, the better. 
  Complications such as multiple goals give characters depth and keep players busy. A 
  
  player with several goals is usually occupied throughout the course of a story and is 
  rarely bored. Indeed, if players with multiple goals achieve even one of those goals, they 
  probably leave the story with a sense of accomplishment. 
  We’re don’t suggest that you overwhelm players with a staggering amount of goals. 
  You should establish a balance. It may take a few stories before you discover the right 
  balance. Don’t worry, it’s like fine tuning the reception on your stereo. Just he patient, 
  keep trying and you’ll eventually get it right. 
   
   
  Story Archetypes 
  “A long time ago, in a galaxy far, faraway.. 
   
  -Star Wars 
   
  Just as a character has a Nature and Demeanor (called archetypes) that define who he 
  is, a story can also have an archetype, which helps define it. A story’s archetype is the 
  framework, or skeleton, of the story. Story archetypes are classic story molds that have 
  been used since the dawn of storytelling that continue to he used today. Story archetypes 
  can he inspiration for the events of a plot, and inspiration for theme and mood as well. 
  The following list of story archetypes is by no means complete, but it provides 
  examples that will hopefully kick your imagination into gear. The best stories have one 
  main archetype but contain elements of others. Such a combination makes for a more 
  complex and well-rounded story. 
   
  Auction 
  “Master of the house Keeper of the zoo 
  Ready to relieve ‘em of a soul, or two.” 
   
  -Thenardmer, “Les Miserables” 
   
  One of the Kindred in the city, or perhaps even a mortal, has something of value to 
  auction. This could he anything: 
  a rare artifact, a scroll, turf, influence, a ritual, a nightclub or perhaps a secure haven. An 
  auction of this nature might not be for money, but it could perhaps be for favors, 
  promises of information, blood or another item of equal value. A fair number of Kindred 
  in the city may compete in the auction, each trying to outbid the others. 
  The setting for this type of story is most likely the residence of the auctioneer. This 
  adapts easily to a Mind’s Eye setting, as it can he reproduced in the living room of your 
  own home. You should make several other rooms available to allow bidders the 
  opportunity to discuss matters alone, thus creating more opportunities for intrigue. 
  Each of the characters can come to the auction armed with a number of different 
  things to offer. Some may have their own nefarious plans and choose to blackmail the 
  auctioneer or otherwise intimidate her. Some may decide to pool their resources, to make 
  the best hid. Others may choose the route of eliminating the competition. 
  There is plenty of opportunity for intrigue in an auction story as each of the characters 
  maneuvers to get a better position than the others. The course that such a story takes 
  depends on whether the story takes place as a one-shot, or as part of an ongoing 
  chronicle. If it is part of a chronicle, players are much less likely to take drastic measures, 
  such as out-and-out murder. Blackmail and intimidation may still he prevalent, though, 
  depending on the nature of the group. 
  One important consideration in an auction story is who plays the role of auctioneer. Is 
  it one of the players, or is it a Narrator? Again, this usually depends on whether the game 
  is a one-shot or part of a chronicle. If it is a one-shot, a player best fills the role. This 
  makes for a greater level of intrigue since players are able to interact with one another in 
  
  a more direct fashion. In such a story, Narrators may he able to sit back and watch the 
  action unfold, only intervening if there is a rule dispute or some other trivial matter. Or a 
  Narrator may wish to intrude, playing a non-Cast character to add a twist to the story. 
  Perhaps the character is a late arrival to the bidding war. 
  If an auction story occurs in an ongoing chronicle, the role of the auctioneer may 
  behest played by a Narrator. If one of the players is interested in playing a different 
  character for an evening, however, the auctioneer makes a good rotating character. In 
  either case, the auctioneer assumes an air of mystery. The players cannot he certain of her 
  motives. 
   
  Conspiracy 
  “If things are done that the enemy would be ashamed to do, there is an advantage.” 
   
  -The Book of Lord Shang 
   
  In a story of conspiracy, characters are embroiled in a plot to overthrow or at least 
  undermine a figure or organization in power. The classic example is a plot to overthrow 
  the prince. Cast Members can be involved in the story from either side, although it’s best 
  if they’re in a battle of wits against each another. 
  A conspiracy often starts as a subplot. Even if you intend a conspiracy to be the main 
  plot, it works best if at first it doesn’t appear to he. For example, the story may at first 
  seem to involve a simple power struggle. The prince of the city is gone, for whatever 
  reason, leaving a vacuum. Several capable Kindred rise to the challenge and declare 
  themselves prince. The primogen of the city decree that they will choose the new Prince. 
  All of the candidates agree, and so the decision is up to the vote of the primogen. No one 
  is aware that one of the candidates is actually a plant of the anarch characters. Once in 
  power, the plant intends to wreak havoc in the city, bringing it under the control of the 
  characters. Now it’s up to the characters to discredit the other candidates. This could be 
  further complicated to deepen the conspiracy. The anarch prince, could, in fact, not he an 
  anarch at all, but an Archon, long undercover. Once elected to prince, he plans to lead the 
  anarchs into an elaborate trap to destroy them, ridding the city of its anarchs once and for 
  all. 
   
  Power Struggle 
  “There can be only one!” 
  -Highlander 
   
  In this type of story, a position of power within Kindred society has become available 
  and everyone is vying for it. The players are members of the different power groups, each 
  trying to get their representative into the position of authority. One or more of the players 
  can even play the individuals vying for power. 
  There are many possibilities for this type of story. The contested position could he 
  anything from a justicar to prince of a city to an anarch gang leader. The reason behind 
  the position’s opening can help set the mood for the story. Has the prince been 
  assassinated? Is the Justicar retiring in midterm for mysterious reasons? Has the anarch 
  leader switched sides and joined the Camarilla, or, worse still, the Sabbat? 
  Contenders may have to pass certain tests or qualifications before they are eligible for 
  the position. These tests can be very different depending on the nature of the position. 
  An anarch gang probably has physical requirements, whereas the Camarilla probably 
  tests the social skills of a contestant. For example, someone contesting for leadership of 
  an anarch gang might have to perform some extraordinary physical feat, 
  such as winning a fight single-handedly against several opposing gang members, or 
  escaping from a burning building. The final test may even involve facing off against a 
  rival contestant. By contrast, the Camarilla counterpart may face Social Challenges. 
  
  Leaders within the Camarilla, with the exception of prince, are often chosen by vote. This 
  requires a contender to convince others that he is right for the position. 
  Those who support a contender have very important roles as well, for without 
  supporters, a contender stands no chance of victory. Sometimes the victor in a 
  confrontation is decided by sheer weight of supporters. Supporters wage the war in the 
  streets, trying to convert another to their cause. This may be achieved through open 
  violence, more subtle means of blackmail or other treachery. 
  Each contestant in a power struggle should have a fatal flaw that can be used to bring 
  him down. There may be rumors floating around about a contestant, hut none may he 
  based on truth. Many of these secrets and ruin ms can be damaging, however, and enough 
  discrediting evidence fabricated or uncovered could spell doom for a contestant. A 
  contestant’s secrets should he carefully buried in the character’s background, and should 
  have to he pieced together before the whole picture is developed. 
  An interesting twist on a power struggle, if you have enough players, involves a 
  mortal election for mayor, governor or even President. In this type of story, different 
  Kindred factions attempt to influence the outcome. Due to dealing in such close 
  proximity with mortals, great care has to he taken to maintain the Masquerade. Physical 
  violence is out of the question, although political intrigue and deceit are rampant. 
   
  Golconda 
  “I can only say, there we have been: 
  but I cannot say where. 
  And I cannot say, how long, for that is to place it in time.” 
   
  -T.S. Eliot, “Burnt Norton” 
   
  Usually an individual seeks Golconda, but it’s conceivable that a small group of 
  Kindred can band together for the same purpose. Such a story revolves around the 
  tragedy of being a vampire. Perhaps characters are searching to regain their humanity. 
  Quests for Golconda require heavy Narrator intervention, and as such, probably work 
  best as goals pursued over several stories in a chronicle. Characters have to he very close 
  to have such a unified, personal goal. Characters may he neonates who knew each other 
  as mortals and have decided upon this united path. They may have chosen to travel 
  together because they know their journey will he a long and arduous one, a quest that 
  some may not complete. They hope, however, that their friendship can hold them 
  together. 
   
  The quest for Golconda should never offer an easy path. This ‘is not a story you 
  should force upon characters; they should choose it for themselves. The greatest 
  challenge of a Golconda quest is facing and overcoming the Beast Within. This dilemma 
  can be staged by confronting characters with various moral questions, forcing them to 
  make choices. In the end, most characters probably fail, although perhaps one of them 
  might succeed. Success should arise only after some extraordinary soul-searching, 
  searching that should be felt by both player and character. 
   
  Mystery 
  “Elementary, my dear Watson.” 
   
  -Sherlock Holmes (stage and film version) 
   
  Events have occurred that have the city’s Kindred baffled. Perhaps a Kindred or 
  prominent mortal citizen has been murdered, perhaps there have been break-ins at several 
  havens, or perhaps there have been mysterious sightings. Generally any story in which 
  perpetrator and motive is unclear makes for a mystery. Characters must discover who or 
  what is behind the unusual occurrences. 
  Players must solve the mystery by interacting with Narrator characters, who offer 
  
  different clues and other information. Props are ideal for such a story, serving as physical 
  clues. Such props are items that players can physically examine to) learn more about the 
  mystery. If you are particularly industrious, you can even recreate a crime scene that 
  players can explore. The scene can he complete with physical evidence and perhaps even 
  eyewitnesses played by Narrators. 
  Another option is to have one of the players pose as the perpetrator, the others trying 
  to determine who among them the perpetrator is. This makes for classic "whodunit.”  
  Each of the characters in this type of story should have a motive for the crime. Each of 
  the characters should begin the story knowing only certain facts about the others. The 
  combination of any physical evidence and characters’ interaction should eventually lead 
  players to a conclusion about the guilty party. Placing information is the key here. If 
  players know too much, the story could he over before it’s begun. You must he careful 
  how you place information; characters should not be able to draw conclusions until many 
  different clues can he pieced together. You may even want to not introduce a vital piece 
  of information until later in the story to make for suspense. 
  An additional factor to consider is why the culprit Sticks around. There are several 
  possibilities. Perhaps he wishes to frame someone else for the crime. This requires him to 
  stick around to ensure the frame is successful. The crime could have been committed in 
  the haven of an elder, and he may decreed that it must be solved before anyone can leave, 
  denying the culprit an escape. The elder may even place limitations, such as demanding 
  that the crime must he solved before dawn or all will he destroyed. 
  Choosing the method of telling a mystery story with an outsider or player as 
  perpetrator-can he affected by the context of the story, such as whether the story is told us 
  a one-shot or as part of a chronicle. An outsider as perpetrator is generally appropriate if 
  the story takes place as part of a chronicle. This allows players to work together as a team 
  to solve the mystery. A character as perpetrator is appropriate as a one-shot. Making one 
  of the characters the criminal offers an opportunity for inter-player interaction, which can 
  be the means for a great story. Even in a chronicle, it’s possible that a player may not 
  mind having her character become the villain. Of course, you should make it very clear 
  that she probably won’t be able to play her character again. Indeed, the character may not 
  even survive. 
   
  Rebellion 
  “If there is oppression from above 
  there will he disruption from below.” 
   
  -Chun Ch’an 
   
  A powerful group, usually anarchs, has grown restless and decides to openly confront 
  its oppressors. The players can be in either faction, or both, trying to settle the dispute 
  before it escalates into full-scale conflict, or are trying to enflame it even further. 
  This type of story can tie in easily with a conspiracy story. Players can be on both 
  sides, each vying for power. The ultimate goal of this story is probably the determination 
  of whether the city descends into rebellion. Playing out an actual revolt doesn’t make for 
  a very good story because of the logistics involved. However, segments of the rebellion 
  can easily he made into stories, using many of the story archetypes listed here. These 
  stories can he told as a series of one-shots, or even as part of a chronicle where players 
  represent opposite factions. 
  An actual rebellion story can take many forms. It can involve a meeting between 
  anarchs and the Camarilla in which the anarchs try to seize power they feel is owed them. 
  This can he further complicated by assassination attempts or other subterfuge. An anarch 
  leader can even he blackmailing the prince into giving him power. 
   
  Rescue 
  
  “Aren’t you a little short for a stormtrooper?” 
   
  -Princess Leia, Star Wars 
   
  A compatriot of the characters has been captured, and the heroes have to attempt a 
  rescue. This avenue relies heavily on Narrator characters, unless players can enact both 
  sides of the story with one side as the captors and the other side as the rescuers. 
  In order to set the mood of the story, the motivations of the captors must be known. 
  The captors’ motives often tie this story in with another of the story archetypes. The 
  capture can bean act of revenge or an act of sheer terrorism. It maybe that one of the 
  lovers in a love triangle (see “Romance”) has chosen to take matters into her own hands. 
  The kidnapper in this type of story is usually considered the antagonist. 
  The setting of a rescue is vital. There needs to he a degree of separation between 
  captors and rescuers so that both sides can make plans. This type of story doesn’t need to 
  end in brutal conflict, although you should he prepared for it. It is possible, in fact 
  preferable, that players negotiate their differences. In a story where players are on both 
  sides, this negotiation probably becomes an important part of the story. Tracking down 
  the villain to his lair can also he an essential part, especially if a Narrator is playing the 
  abductor. This hunt can be accomplished through the placement of clues, similar to those 
  of a mystery story. In fact, the beginning part of a rescue may have many aspects of a 
  mystery, requiring investigation of the abductor. 
  The rescue story is ideal for those who enjoy combat. The climax of such a story is 
  likely to see characters pitted against each other in an out-and-out bloodbath. If you 
  don’t want to see your characters rend each other limb from limb, this probably isn’t the 
  story for you. 
   
  Revenge 
  “Re-Re-Re-Revenge!” 
  -Michael Palm, A Fish Called Wanda 
   
  In this story archetype, one character seeks revenge on another for past 
  transgressions. Both sides of the story can he enacted by players, or one of them can he a 
  Narrator character. Revenge often involves making the target’s life 
  difficult as possible by constantly throwing various obstacles in his path. This may 
  take any form, from framing the individual for a crime to attempting out-and-omit 
  murder. 
  The motive for revenge is an important part of the story. Is the transgression real or 
  imagined? If’ it is imagined, what caused the person to feel slighted? Perhaps it is merely 
  a figment of imagination, or maybe the object of revenge has been set up. The web of 
  intrigue can become very complex in a story of this type. Exactly who is getting revenge? 
  Imagine if a Toreador in a city had been slighted by another Toreador because he was not 
  invited to a particularly extravagant party. He is angered, but can take no direct action 
  because the other Toreador is his elder. He therefore contrives a situation in which his 
  elder offends another elder, who can strike back, giving the original character revenge by 
  proxy. 
  A story of this type may work best as a subplot within a larger story. A revenge 
  subplot can add a significant amount of tension, which maybe lacking in a larger story. 
  Revenge is something that can easily he worked into an existing story should things be 
  dragging. You may even find spontaneous revenge plots developing between characters. 
   
  Romance 
  “My life would be right 
  If only you knew 
  
  I’d come back tomorrow 
  To be with you.”. 
   
  -Information Society, “Tomorrow” 
   
  Romance is a very common theme in vampire lore. It is often a motivating factor for 
  Cainites as they are easily swept away by their passions. Romance works best as a 
  subplot for a Mind’s Eye story, hut can easily become the main plot, especially if the 
  group is small. You should he very careful when casting players in a romance plot, as it 
  is easy to put someone in an uncomfortable situation. It’s usually best to place players 
  already romantically involved in lead roles, but if your players are capable of it, more 
  excitement arises if the leads are not involved. Players already involved know each other 
  too well and may bypass any emotional obstacles you throw in their path. 
  A romance story can take place between Kindred, or, as often happens in literature, 
  between a vampire and a mortal. For such a story to be interesting, there must be some 
  conflict involved with the romance. The love can be forbidden. Perhaps the prince of the 
  city feels that relationships between mortals and Kindred pose a threat to the Masquerade. 
  The tale can be one of unrequited love. This is most appropriate for characters of Clan 
  Toreador. The sight of her beau’s face might make her go mad with passion, yet he 
  spurns all her advances. A love triangle can make for an intrigue-filled story, as two 
  people compete for the affections of another. A doomed or tragic love affair is another 
  option. When a mortal learns that her lover is a hideous beast, a vampire, she may no 
  longer hear to he with him. Yet she may he torn by her emotions, for she still feels love 
  for him. These are only a few examples of the romantic stories you can tell. Countless 
  others exist. 
   
   
  Rewards and Punishments 
  “You made your bed, now lie in it.” 
   
  -someone’s another 
  Throughout the progress of a story, characters must make decisions. Some may he 
  good, others not. The purpose of this section is to explore the results of both types of 
  decisions. This is not to say that these are the only two extremes. A character’s actions 
  can have an impact on many different levels. What you need to do, however, is make it 
  worthwhile for characters to strive for one extreme while making it detrimental to 
  continue choosing the other. 
   
  Rewards and penalties work well to help players profit from their foresight and learn 
  from their mistakes. Rewards should be granted and penalties imposed at the conclusion 
  of a story. These should be worked into your chronicle. For example, if players interacted 
  well and their characters made good decisions throughout the story, grant them a boon 
  from the prince. This rewards characters for their efforts as well as serves them in future 
  stories. However, if characters really screwed up (perhaps they broke the Masquerade), 
  have them end the story (or begin the next) by suffering the prince’s wrath. The prince’s 
  wrath can lead to another story in and of itself. 
   
  Rewards 
  • Boon from the prince or an elder 
   
  • Permission to sire progeny (given by the prince) 
   
  • Rare or magical item (use this one sparingly) 
  
   
  • Vial of potent vitæ 
   
  • Valuable information 
   
  • New contact 
   
  • Improved Status 
   
  • Characters are owed a favor by an anarch gang 
   
  • Opportunity to learn a new or rare Discipline 
   
  • Exclusive hunting territory 
   
  • Improved resources 
   
  • Additional retainer 
   
  • New ally 
   
  Punishments 
  • Loss of Status or Influence 
  • Curtailed hunting grounds 
  • Blood chalice (characters are made to drink the blood of many elders, coming one 
  step closer to a Blood Bond with  
   all of them) 
  • Forced to do service (a mission of some sort for an elder) 
  • Blood Hunt 
  • Final Death (again, use this one sparingly, if at all) 
  • Lost resources 
  • Lost ally or contact 
  • New enemy: elder, prince, anarch gang, hunter, Lupine 
  • New Derangement 
   
  Finally, remember that rewards and punishments should always be given as a direct 
  result of characters’ actions. A reward or punishment should always be pertinent to the 
  story and the characters’ actions. In short, characters should reap what they sow. 
   
   
  Chapter Eight: Narration 
   
  “In your head is the answer let it guide you along let your heart be the anchor and the 
  beat of your own song.” 
   
  —Rush, “Something for Nothing” 
   
  Now that you have written a story, you need to make it work in a live game. 
  Narrating a story is an art akin to juggling; you have to keep up with all story threads, 
  
  play judge and make sure that none of the players get bored— you’ll be juggling quite a 
  few of them. Narration requires a lot of work and planning and usually leaves you 
  exhausted. You, however, have a ringside seat to the story and can watch it unfold in its 
  entirety. Because your control of the story is loose (tight control denies player freedom), 
  you may be surprised by how the story twists and changes in the hands of your players. If 
  you do your job well, you will be rewarded with the players’ thanks. 
  Of course, with the great rewards of storytelling comes a great deal of responsibility. 
  You have to initiate and guide the story and present it in an entertaining manner. You, 
  above all people involved, can destroy the story. Even a very good story can be ruined if 
  it’s not presented well. If a few required player handouts are missing, or if players have 
  no idea where the game is taking place, you have failed. It is very important that you 
  prepare every aspect of that story as far ahead of time as possible. If you try to prepare an 
  entire game at the last minute, you’ll he stressed out by the time the game begins. The 
  game will suffer heavily from your exhaustion. 
  Veteran roleplaying gamemasters should take note that running a live game is very 
  different from running old-style roleplaying games. You can no longer sit down an hour 
  before play commences and dream up a quick plot. If you try to do this, your story will 
  have lots of holes. If you change your setting in mid-story, you need to represent the 
  change in some way so players realize where they are without having to ask. Prepare 
  everything in advance or suffer the folly of sloth. 
  The main rule to remember when preparing your story is “show, don’t tell.” You have 
  to present your story so players can make their own impressions of the environment 
  without your impressions being forced on them. Live games work because players can 
  take the lead based on information they discover themselves. If you have not fleshed out 
  your story enough— if you have to tell players what’s going on— you might as well be 
  playing a tabletop roleplaying game. 
  To be a Storyteller, you need to work magic. You have to create the illusion that your 
  players are vampires, living by night and preying on humankind and each other. Fortu-
  nately for you, players probably cooperate in every way to help you maintain the illusion, 
  hut it’s up to you to direct their attention from the game-like aspects of roleplaying. 
   
  How to Host a Game 
  “Thorough preparation makes its own luck,” 
  —Joy Foyer 
   
  Once you have created your story, you need to cast it. Your story may require that 
  certain key players be present for the evening. You need to make sure that players 
  necessary to the plot are going to show. Make a list of two or three players who are 
  willing to help you narrate the game and serve as backup players. Call your key 
  protagonists and antagonists the night before the game to make sure they will be present. 
  In a game with as many as a dozen people, odds are that one or two will fail to show. 
  When you are preparing to stage a story, remember that you are playing host to dozen 
  or so guests. Plan the event as you would a party. You can even send out written 
  invitations corresponding to the theme. Like any party, you need to make sure your 
  guests are comfortable, that they have drinks and perhaps food, and that they are 
  entertained. As food and decorations cost money, ask your players for help. They can 
  bring drinks and munchies or donate money to help cover costs. 
  Running an entire chronicle can be exhausting unless you pace yourself. Expect to 
  spend a minimum of an hour per player writing the story and setting everything up. 
  Expect to actually play a story bi-monthly or even monthly. Trying to run a weekly game 
  is very taxing and may result in the eventual death of your chronicle. Don’t make your 
  
  games frequent and tedious, but rare and spectacular. 
   
  Storyteller Focus 
  “Carefully study the well-being of your men, and do not overtax them. Concentrate your 
  energy and hoard your strength. Keep your army continually on the move, and devise 
  unfathomable plans.” 
  —Sun Tzu, The Art of War 
   
  As a Storyteller, your focus should always be on keeping the game running as 
  smoothly as possible. To ensure that the game doesn’t get out of hand, make sure you 
  have enough Narrators. These Narrators usually assume the roles of elder vampires or 
  antagonists. They also serve to answer players’ questions and resolve the majority of 
  inter-player disputes. Your arbitration should only be required in the most extreme 
  circumstances. 
  You should also concentrate on keeping the story dynamic. Always keep your players 
  guessing. Have small subplots ready that you can thrust into the game should it become 
  static. Perhaps a Sabbat recruiter shows up on the scene, or a nosy police investigator 
  arrives and starts questioning characters about their nocturnal activities. If you notice 
  players milling about or ignoring each other, assume the role of an elder vampire and 
  introduce them. If players seem lost, gather them together for a Conclave to discuss the 
  various intrigues of the night. Give players something to occupy themselves with and 
  they will be content. 
  Concentrate on where players stand in terms of resolving the plot or solving the 
  mystery you have given them. If they are struggling, drop a few hints and spread a few 
  rumors, then watch your vampires scramble to discover new information. If they are too 
  close to solving the mystery, throw in a red herring or create a new scene on the fly. 
  Improvisation is a potent art, and Storytellers who learn to use it are well-rewarded, 
  If you are playing in public, you must serve as a buffer between the authorities of the 
  real world and the potential mayhem players can create. Discretion is the better part of 
  valor. Educate players on responsible playing and do not hesitate to hand out rewards or 
  punishments as the need arises. 
  Preparation is essential to running a successful story. The greater the preparation, the 
  less you have to worry about maintaining focus. A well-prepared game frees you to enjoy 
  your creation and interact with players, while a poorly prepared game leaves you 
  scrambling to maintain control. When you maintain focus on story elements, the 
  surroundings and your players, you need not fear the results of any game session. 
   
  Pre-Game Tasks 
  “Nothing makes a person more productive than the last minute.” 
   
  —Unknown 
   
  There are several things you need to do to set up and run a game of The Masquerade. 
  The following is a checklist which may help you prepare a game, presented as a real-life 
  example of a timetable used to narrate a 12-player game. 
  Most of these things need to be accomplished, but the schedule is subject to other 
  considerations. If you are running a larger game, printing out your final handouts should 
  be accomplished prior to day of the game. Working with a partner or two can help with 
  pre-game tasks, as one partner can prepare the environment while the other prepares the 
  player handouts. 
  This story is designed by two Storyteller/Narrators, Frank and Sandi. It is an example 
  
  of how much work can go into a story, as this particular one relies heavily on props and 
  special effects. 
  • T minus 2 weeks — Frank advertises the game to his circle of friends through calls 
  and messages. He creates a guest list from the replies he receives and decides that he can, 
  with the help of his girlfriend Sandi, manage to narrate the game with no additional help. 
  A good ratio is one Narrator for every seven players, although this can vary depending on 
  the scenario and experience of the players. 
   Frank and Sandi sit down and go over the entire story and player handouts, making 
  revisions. The process of revising the story continues right up to the evening preceding 
  the game. Final copies of player handouts are easy to produce, as they’re stored on 
  computer. 
  Frank creates a list of all of the props needed for the game. Sandi locates and 
  constructs all the props and stores them safely. Because the setting of the game is an 
  occult auction—requiring many stage items— two boxes are needed to store all the 
  props. Frank spends much of his time putting finishing touches on lighting and sound 
  systems to create the effect of a thunderstorm in the background. 
  • T minus 2 days and Sandi makes a grocery list for the game and picks up food and 
  drinks to feed a dozen people for the evening. Frank and Sandi clean up the townhouse, 
  clearing away any potentially dangerous items from the play area. 
  • T minus 1 day — Sandi prints the final versions of all player handouts. Frank sorts 
  the handouts into manila envelopes for each player so the material can be handed out 
  quickly once players arrive. 
  Sandi checks the props against the list to make sure everything is finished. 
  Frank calls all the players to make sure everyone can make it. One player has 
  forgotten and another is ill. Frank is able to replace the one player, resorting to a list of 
  standbys. 
  • T minus 2 to 4 hours — Sandi prepares the food and drinks and lays out the props 
  in their proper places. Frank does a final test on the lighting system and finds a bug. 
  • T minus 1 hour—Frank and Sandi go over the plot one last time to make sure both 
  have a good idea of events taking place during the story. Frank makes his best guesses at 
  things that might go wrong and suggests ways to respond to them. This preplanning 
  allows both Narrators to share the work of resolving plot problems. 
  • Game time — As players arrive they are each given their envelopes and sent into a 
  spare room to read through the material. After players finish reading, they are led into the 
  main room to begin play, with the help of Sandi’s narration, Frank stays in the spare 
  room to handle lingering questions. 
  • T + 4 hours — After the game is over, everyone sits down to discuss how it went. 
  Frank and Sandi award packs of Pez candies to the best players. 
   
  Character Creation 
  “Let us make a man — someone like ourselves, to be the master of all life upon earth and 
  in the skies and in the seas.” 
   
  -Genesis 1:26 
   
  It is your role as Storyteller (aided by Narrators) to guide players through the 
  character generation process. After your players arrive for the game session, you need to 
  introduce them to the basic premise of the game, as well as describing the rule systems. 
  Your main goal should be to make story contribution as easy as possible for players. If 
  players are beginners, show them the basics, but let them discover the intricacies of the 
  game on their own. 
   Start by laying out any briefing sheets you want to use on the table and invite 
  players to look them over. You can pass out character cards at the same time. Give the 
  players a minute to look everything over and ask questions. If players can refer to the 
  
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  The Justicar for Clan Ventrue has made 
  an abrupt decision, He’s retiring, leaving the 
  Camarilla 
  for 
  reasons 
  unknown. 
  The 
  problem is, he’s only four years into his 13 
  year term. An emergency Conclave is being 
  called to select a new Justicar. Baltimore is 
  hardly the best choice for a Conclave, but 
  that’s just the site that the departing Justicar 
  has decreed. Tensions rise with the arrival o
  riefings and their character cards while 
  hey listen to your explanations, they’ll 
  ter understand how things work. 
  After everyone understands what’s 
  oing on, go through the character 
  reation process step by step with the 
  layers. The other Narrators can help 
  ith any questions. 
   It’s likely that you have certain 
  oles in the story that you need filled. 
  our story probably has requirements, in 
  rms of characters and setting, that must 
   understood by all concerned. Even if 
  you don’t have specific requirements, 
  you probably have a general idea of the 
  types of characters you need. These roles should be described only in terms of concept 
  (and perhaps clan); allow the players decide who plays whom. Disputes can be resolved 
  with a test. 
  Example Briefing Sheet 
  f 
  the Inner Circle. The breath of the Sabbat is 
  hot upon the city’s neck. As the prince and 
  his brood struggle to maintain control, and 
  many factions are struggling to make 
  themselves heard. 
   
   
  Introducing Your Story 
  “Welcome back, my friends, to the show that never ends. 
  We’re so glad you could attend, come inside, come inside.” 
   
  -ELP, “Cam Evil #9, First Impression” 
   
  When players begin to arrive, you need to give them information. You need to tell 
  them what’s happened since the last story (if anything) and should provide goals and 
  motivations for the upcoming evening. Prepare as much information as you can in written 
  form for players to read as they arrive. Here are some handouts that we provide (or you 
  can create) to facilitate your story’s introduction. 
   • Character Cards — You need to have enough of these for all your players. It’s 
  wise to have spare cards on hand, since players, who have their own characters, may 
  forget their cards. 
   • Timetable — (For Narrators only) This sheet contains a chronological list of all 
  events that take place. Timetable sheets are useful for planning complex stories. Events 
  listed might be, “10:00 PM — prince and entourage enter.” Make sure each Narrators has 
  her own copy and go through the events on the handout during your Narrator briefing. 
   • Background Briefing — This is a one-pager that you can create to provide a short 
  background for the important Kindred of your chronicle. You should include any 
  important events that have occurred, rumors that are circulating throughout the city and 
  important things that have happened in previous games. A new player should be able to 
  pick up this handout and immediately have an idea of what is going on in the city. The 
  handout can mention things like what city the chronicle takes place in and the name of 
  the prince and important Kindred who are likely to make an appearance. Make several 
  copies of this document and give one to each player, or leave several out in the open for 
  players to take. 
   
   
   • Character Briefing While the background briefing contains information all 
  Kindred in the city know, the character briefing describes events that pertain to a specific 
  character. A separate page should be prepared for each character. If you have a small 
  
  group, you can provide this information orally. This briefing should describe the impor-
  tant events that have happened to each character since the last story. Include a few events 
  that have nothing to do with the current story to give your chronicle a more richly woven 
  texture. Toss in a few red herrings for good measure. After the description of events, list 
  some of the goals the character might like to pursue during the story (but don’t force any 
  on a character). You may find that as players become used to acting out stories in Mind’s 
  Eye Theatre, you no longer need to list players’ goals. Experienced players can design 
  their own schemes. Novice players often appreciate the advice, though. 
  The last section of each character briefing sheet should list what the character knows 
  of other Kindred’s activities. Provide at least three rumors or clues for each character, 
  making up whatever important or nonessential details you feel flesh out the story. If this 
  is the first game in your chronicle, you may provide several rumors and clues to give 
  players something tangible to pursue. With later stories, rumors and clues virtually create 
  themselves. Each Cainite should have an entry about each of the other characters, even if 
  the entry says the character knows nothing about the other Kindred. 
  Perhaps the best way to present all the background and character material to players is 
  to arrange an area away from the main playing space. Set up a few tables, chairs and 
  pencils. As players wander in, lead them to this area to create their characters and read 
  the various briefing sheets. When a player is finished, she may enter the main room to 
  begin the story. The idea is to keep all reminders that you’re playing a game away from 
  the storytelling space. Players should assume their characters as they move from the 
  introduction area, instead of trying to read material and interact in character. 
   
  Guiding Players 
  “Take him by the hands. Make him understand. The world on you depends, our life will 
  never end.” 
  -The Doors, “Riders on the Storm” 
   
  As your players begin to play out the story, it’s possible that they may be unsure of 
  themselves. New players in particular need some sort of guidance to help them learn the 
  rules and get used to acting out their characters’ actions. Step into a minor character of 
  your story and engage a new player in a minor challenge to get her used to the rules. The 
  challenge system works well in play, but most people do not immediately understand it 
  until they actually defend themselves in a challenge. Try to let new players win your 
  challenge, as it builds their confidence, and confidence is sorely needed when newcomers 
  play in the same game as more experienced players. 
  Sometimes Cast Members also need help with their goals. A story that leans heavily 
  toward investigation may frustrate players who miss one or two vital clues. Eventually, 
  some players may come over to you asking for help. Unless it is a rules question, or you 
  have to clarify some point that a character should know, you might not want to give 
  information away too easily at first. If a player receives immediate assistance from a 
  Storyteller or Narrator, you introduce an omnipresent being into the game. Players may 
  become dependent on you. 
  Instead of giving direct answers to player questions, encourage players to figure 
  things out for themselves. Later, if a player really does need help, have another Narrator, 
  in the guise of a minor character, assist the player. If another Narrator is not available, 
  you can approach the player and offer aid through your own character (although having 
  another Narrator do it involves a touch of finesse). Pull your assistance off cleanly and 
  the player will never know you have responded to his plea. 
  You can also use antagonists and protagonists to provide information, asking an 
  experienced player to help out. Suppose a member of the Sabbat is at a party looking for 
  his contact in the city, and has not found anyone who answers to the proper code phrase: 
  “Blood brings death.” lithe Sabbat asks you, as Storyteller, for help because he needs to 
  
  begin plotting with his contact, tell him to keep looking. You can then trot over to the 
  Sabbat’s contact and wonder out loud why the wild looking guy in the purple shirt keeps 
  rambling about blood and death. Hopefully, the contact will soon talk to the Sabbat 
  member. If the characters still don’t pick up on their connection, have another Narrator, 
  playing a minor character, introduce the two. Remember, if the success of your story 
  requires that certain events happen, don’t let it be known that events are being staged 
  intentionally. It takes some of the spontaneity out of the game. 
   You also need to invent things to do for players who seem bored with the game. 
  These players have usually accomplished or hopelessly failed their goals or can’t find the 
  motivation to pursue a difficult goal. Your best option is to get a bored player involved in 
  another plot, or to make up a customized plot on the spot. If your character mentions a 
  lead to a powerful item that others are looking for, the player may spend time following 
  that lead. Alternatively, giving the bored player a clue that someone else has missed 
  allows you to two birds with one stone. It’s a good idea to have a library of new plots on 
  hand that you can drop into your chronicle as needed. 
   Remember to be vigilant for bored players during your first few games; first-time 
  players might not come back if they’re bored all evening long. If you don’t keep the 
  players busy with plots, their characters may start killing and feeding from each other just 
  for something to do. At this point, the game quickly degenerates into a free-for-all. You’ll 
  probably find that players stay busy as your chronicle progresses because they spend 
  more time involved in the plots of other players. 
   
  Interacting with Cast Members 
   Your key to interacting with Cast Members is the minor character known as an extra. 
  An extra can be a pre-generated character already woven into the story, or a character 
  created on the spur of the moment to fix a problem. You rarely need to create a character 
  card for your extra; a basic concept is usually enough. 
   Each character you introduce needs to have an easily identifiable mark so players can 
  recognize which minor character you are playing. A wearable prop, such as a hat, coat, 
  scarf, bandana or amulet is usually enough. A distinct speech pattern, like an accent, is at 
  least as useful. Remember that the mark needs to be something that you can put on and 
  take off quickly, since you may end up having to switch between several minor 
  characters in an evening’s story. 
   Your extra(s) should be enjoyable to play. During the middle of a story, you may find 
  that you and the Narrators have little to do. You then have a chance to play your bit parts 
  just for fun. Go a little wild. Try to provide some comic relief. 
   There are certain Narrator characters that are particularly useful when telling stories: 
   
  The Socialite 
   A socially active character is very useful for pulling Cast Members into a story. 
  While not all extras need to be sociable, you should plan on having one or two available 
  during your first few stories. Some characters may not know each other and may shy 
  away from interacting outside their circle of friends. You need someone to hook up with 
  people, introducing characters to each other and quickly moving on to other 
  conversations. A fun example of a socialite is a Malkavian who is bright and cheery, but 
  has an unusual hang-up about names: he introduces 
  everyone by the wrong name. By the time players have reintroduced themselves with 
  their correct character names, the Malkavian has wandered over to another group. Dress 
  your socialite in a flashy item of clothing, like a top hat or opera cape. 
   
  The Elder 
   You typically need a powerful extra to provide a symbol of authority. One character 
  
  needs to be powerful enough to direct major plot twists, to order protagonists around and 
  enforce the Traditions. This character helps you deal with emergencies and rewrites, and 
  can initiate new goals for bored players. So that players can easily distinguish this extra, 
  have him bear some symbol of power, like a cane or a large, noticeable ring. 
   
  The Informant 
   You need someone who has access to information, so you can provide helpful clues 
  to players who get stuck. This character can be a standard contact for several players. The 
  informant should be dressed in dark or nondescript clothes. Find an old woolen coat at a 
  thrift store. 
   
  The Bully 
   You need someone who is strong and sufficiently taunting to goad and dare players 
  into performing dangerous actions. Occasionally, players are hesitant to do certain things 
  and you need a strong, imposing extra to prod them into acting. Outfit the bully in a 
  leather or jean jacket. 
   
  Player Questions 
  “And you may ask yourself, ‘My God! 
  What have I done?” 
   
  -Talking Heads, “Letting the Days Go By” 
   
  Aside from having a way to deal with players within the context of the story, you 
  need to handle players’ questions outside the story. During the first half hour of a game, 
  it’s a good idea to keep a Narrator “out of game” to answer any questions players might 
  have, When players step out of character to ask questions, you don’t want them in the 
  main playing area. Set the “outside” Narrator up in another room. The most important 
  thing to remember when interacting with players is to never remind them they are playing 
  a game; addressing a Narrator as a Narrator does just that. 
  You may occasionally need to impart information that a mortal or vampire can not 
  offer. You have to provide such information as discreetly as possible without distracting 
  players from their characters. If your plot involves a large amount of investigation, you 
  can assign a Narrator the sole job of providing information that can be discovered. This 
  Narrator is responsible for telling players the results of searching a room, or tells what 
  happens to characters when they drink drugged blood. 
  If you want to be stylish about offering game information to players, you can prepare 
  notes for Narrators to hand to players who discover things. You can also put notes in 
  closed envelopes where clues might he found. You can write requirements on the outside 
  an envelope, requirements that must be met before the player may look at the clue within. 
  For example, you might introduce an occult hook which describes a new Tremere ritual. 
  There might he an envelope inside which says, “Do not open unless you have an Occult 
  Ability Trait.” The envelope contains a description of the ritual. By using a note, you 
  present information non-verbally, preserving the illusion of the story. 
  One thing you want to avoid when dealing with players is letting them overuse 
  Narrators. Players may try to use Narrators as messengers, to summon other characters, 
  or to handle uses of Aura Perception so that the character using the Discipline can remain 
  unknown. If a player asks for such favors too often, Narrators can simply refuse their 
  help. They’re busy enough managing the game, and they can get bogged down 
  performing players’ tasks. Narrators should only serve as players if you have the luxury 
  of a Narrator for every four or five players. 
   
  Working with Narrators 
  
   As a Storyteller, you can’t do everything yourself. It’s not possible. No matter how 
  good a Storyteller you are, you’re going to need the help of Narrators (unless, perhaps, 
  you have only five or six players). If you try to run the whole story, you will quickly 
  become overwhelmed. It’s best to delegate tasks and let your Narrators make judgment 
  calls. 
   Ideally, you, as Storyteller, should not have to deal with players very much (unless 
  you establish yourself as a Narrator as well as Storyteller). You should wander around 
  and observe to make sure the story is proceeding well. Players should learn to go to 
  Narrators with their questions. A player should refer to you only if a Narrator has no idea 
  how to handle a question. 
   To ensure that Narrators understand what’s going to happen in the story, you 
  should meet with them early in the evening. If no one but you knows what’s going on, 
  Narrators aren’t much use. You should assign tasks to Narrators at this time. For 
  example, you can ask a Narrator to provide a clue to a character, but let the Narrator work 
  out how and when it’s delivered. 
   During the story, you need to send Narrators on various “missions.” These might 
  involve overseeing a major battle or staying near a central character. Suppose a Lupine 
  has entered the city carrying a talisman that can repel vampires. A Narrator needs to stay 
  near the Lupine to enforce the effects of the totem. 
   Narrators need to keep you informed of their rulings and of story events. Avoid 
  reversing a decision that a Narrator has made. Doing so makes Narrators seem indecisive 
  and leads players to doubt them. If you want to run a large game, you are going to need 
  assistants, and you have to learn to communicate with them effectively. 
   
  Pacing the Story 
   More often than not, a story does not run according to schedule. It either drags late 
  into the night or Cast Members work too quickly and become bored with their 
  accomplishments. It’s during times like these that you need to reach into your bag of 
  tricks and adjust the pace of the story. 
   Dealing with stories that are running too long is, thankfully, relatively simple. It’s 
  easy to push on the accelerator. You can start by doling out clues and information 
  through character contacts and new props. One of the simplest tools you can have in your 
  repertoire is a number of characters to throw into the adventure. Simply introduce a 
  character who has the tools to help solve the problem, but for a price. 
   As an example, suppose your story requires that a protagonist discovers a vial of 
  blood, aiding in a final confrontation with a Ventrue elder. If, by the end of the evening, 
  the player has not found the vial, you can introduce a Tremere lackey who is looking for 
  the vial as well. The Tremere can “find” the vial, then sell it to the protagonist or require 
  some other favor for it. 
   You should have enough spare props on hand for Narrators to assume bit parts, like 
  this one, without confusing players. If you can manage different voices or accents when 
  playing these “new” characters, all the better. 
   Prolonging play time is a little more tricky than reducing it. Prolonging play time 
  means prolonging the story, but if the story is complete, you have to make up new events 
  in the spot. However, instead of creating an entirely new plot, you might be able to 
  extend the “finished” story by going on past its logical conclusion. If the protagonists 
  have already figured out who assassinated the Toreador primogen, have them present 
  their case to the prince. There might he some sort of trial, followed by a confrontation 
  with the killer. Extending stories works very well if you have a group of Narrators who 
  are flexible, creative and who like to work “on the run.” 
   If you foresee the story ending early, there are ways of prolonging it by distracting 
  players. Essentially, you introduce subplots in order to pull characters off the beaten path. 
  If you have a chance, work out one or two subplots for every story. Some tried-and-true 
  subplots include: 
  
  • Witch-Hunters—Hunters have tracked a Kindred to the players’ current location. 
  Have an available Narrator or two play mortals who are trying to trick a character into 
  breaking the Masquerade. A hunter turned loose in a group of vampires can delay the 
  game for quite some time. You might also have the hunter he a wizard of some kind, with 
  goals all her own. When the vampires finally catch the hunter, they have to deal with the 
  moral dilemmas involved in disposing of her. 
   • Innocent Bystanders — Sometimes mortals wander in just in time to witness 
  some event which breaks the Masquerade. Street gang members or mortal party-crashers 
  can appear at any point during the evening. Characters may bully or dominate the mortals 
  and send them away after a few minutes. However, you can then have the mortals’ 
  friends show up, wondering what happened to the others. 
   • Police Raid — A great way to screw things up, possibly for a reason that has 
  nothing to do with the story, is the arrival of police. There might be reports of suspicious 
  activity that a pair of police are investigating. A riot team may be called out to deal with 
  reports of fighting. 
   • Sabbat Attack — A Sabbat strike force seeks to violently recruit several 
  Kindred. This subplot almost inevitably leads to a big fight. Try to make the Sabbat just 
  powerful enough that players can force them to escape. You don’t want the Sabbat to win 
  and drag several characters away, you just want to distract players for a while. 
   • Haunting — Perhaps the locale where the game takes place is haunted and a 
  ghost appears. Maybe a mortal died in the locale, Or maybe a companion of one of the 
  protagonists appears to warn him of some impending danger. 
   Try not to overuse any of these devices for prolonging a story. The best way to 
  slow players down is to present them with something new. Invent a bizarre new magical 
  item or a Kindred who displays unusual powers. One of the more unusual tricks to use 
  while improvising is to create a set of events with no obvious explanation. Then listen to 
  the explanations your players propose and choose one to be the case, or base your 
  explanation on the theory you like best. While this tactic may seem cheesy, some 
  absolutely amazing stories can be developed this way.  
   
  Rescue 911  
  “Shut her down Scotty, She’s sucking Mud...” 
  —error message from a TRS-80 Model II computer  
   
   In Mind’s Eye Theatre, the Storyteller and Narrators have only limited control over 
  what occurs in the story. While you can often predict human behavior to know where a 
  story might lead, things never work out as planned. Players have a tendency to ignore old 
  goals, creating new goals without a second thought. While such situations can be 
  disconcerting, it’s not always a bad thing. 
  Unforeseen plot turns are, in fact, what Mind’s Eye Theatre is all about, No other 
  game is so open or free. No other game is so full of possibilities and surprises. No other 
  game lets players be as creative or have as much control. The trick is to use what the 
  players give you, instead of fighting with them. 
  If players generate new plots, you can continue them in the next story, providing you 
  with new material upon which to build. If you let players run with what they come up 
  with, your story may go on for some time. While the story may go off on a tangent, 
  headed toward no foreseeable conclusion, you can usually apply finesse to work things 
  out. The hardest part is knowing when to say “no” and when to stop destructive subplots 
  in their tracks. The rule of thumb is, if a new direction adds depth to the story, entertains 
  people and doesn’t get in the way, let it run its course. As with all things, though, people 
  can go too far. The following are some signs indicating that events might be getting out 
  of control: 
   
  
  • Characters begin attacking everything that moves for no obvious reason. 
  • There is more than one unexpected character “death” during a game. 
  • A key antagonist is killed, disabled, captured or otherwise prevented  
   from becoming a key figure in the story. 
  • Important items or clues are destroyed, discarded or stolen. 
  • A very serious breach of the Masquerade is committed, 
   
   Try to avoid halting the story altogether. Work within the story to put things right. 
  Once a player puts a plan into motion, you can add elements to his plan which cause it to 
  fail. Only when things look bleak, and you have tried in vain to fix story problems, 
  should you introduce the Deus Ex Machina ending. Deus Ex Machina is a literary term 
  which translates to “god out of the machine.” It means you are taking charge by using a 
  mechanism to insert an overwhelmingly powerful plot change. Here are some examples 
  of what can happen: 
   
  •     The prince shows up with his entourage and preserves the Masquerade by use of 
  force. If several Kindred have died, the prince is likely to send a group of followers to 
  clean up the mess, punishing guilty parties. This is a really good choice for dealing with a 
  small group of players who get out of hand, as you show players the consequences of 
  breaking the Masquerade. If you are severe enough, it won’t happen again. 
   
  • Announce that sunrise is imminent. Normally, the game takes place in real time, but 
  you can play a bit with time and break the game up by changing the flow of time. This 
  kills the game quickly, and should only be used when you need time to reconstruct the 
  plot. 
  • The building catches fire. When things start to break down, some character may 
  destroy something that catches the building on fire. Another option is having a hunter or 
  lone arsonist be responsible for the fire. 
  • Simply stop the story, allowing it to be continued at a later time. This is a pretty 
  ugly solution, but if you can’t think of anything else, you can rewrite the story. You can 
  then pick up where you left off at the end of the last session. 
  Sometimes you may want to bring an immediate end to the game, to give yourself 
  time to plan the next story. If the story ends prematurely, apply some of the prolongation 
  tips described above. Ultimately, it’s advised that you avoid Deus Ex Machina tactics. 
  They should be your last recourse in a story gone wild. 
   
  Pre-Packaged Stories 
  You can save a lot of time and energy with a pre-packaged story. These stories are 
  detailed and provide an arsenal of handouts for the game, as well as ideas for how to 
  handle events when the plot goes awry. These stories also have the advantage of being 
  playtested, with plot holes and continuity problems worked out— a luxury you might not 
  have with your own stories. 
  Of course, with a published story, you are not able to tailor it as much to your 
  characters and players as you could your own story. If possible, get characters involved 
  that match the concepts recommended for the story. You may also have to change 
  antagonists and some plot elements to merge the story seamlessly into the tapestry of 
  your chronicle. If a pre-made story just doesn’t suit your chronicle, you can at least lift 
  ideas and subplots from it, integrating them into your own stories. It’s not an easy task to 
  modify a pre-packaged story, but it’s often a lot easier than writing your own from 
  scratch. 
   
  
  Laying Down 
  the Law 
  “He couldn’t walk very far. I cut off his leg and his arms and his head. I’m gonna do the 
  same to you.” 
  -Rutger Hauer, “The Hitcher” 
   
  It’s your responsibility to ensure that players are not a hazard to others, including 
  people who are not involved in the game. It is mandatory that the normal rules of social 
  interaction be strictly adhered to. Most players will probably work with you in this 
  regard. However, from time to time, there are those who prove disruptive to other players 
  and the environment where the game is being played. 
   Many times this disruption occurs by accident. How-ever, there maybe instances 
  when players get out of hand on purpose. If such a situation presents itself, it’s not 
  considered bad taste to remove the offender from your game. It is, after all, your game 
  and your creation. The integrity of your game should be preserved for the enjoyment of 
  other players. The integrity of the game should also be upheld in the minds of those who 
  do not play or understand Mind’s Eye Theatre. 
   
  Resolving Arguments 
  “I’m really, really sorry. I apologize unreservedly. I offer a complete retraction. The 
  Impartation was totally without basis in fact and was in no way a fair comment.” 
   
  -John Cleese, A Fish Called Wanda 
   
  As Storyteller, and to a lesser degree as a Narrator, you have final word in any dispute 
  that may arise between players. It is your responsibility to maintain peace between 
  players to insure the smooth flow of the story and its enjoyment by all. 
  Players should be given the opportunity to speak their minds on a situation in which 
  they disagree. While it is suggested that you listen to a player’s grievances, remember 
  that your decision is final and must be adhered to by all concerned. It’s best to combine 
  an understanding ear and a firm hand. Keep your wits about you and your players will 
  respect you for it. If a player’s problems prove a disruption to the story, they may have to 
  be put on hold and dealt with after the night’s session. 
   
  Breaking the Rules 
  “The world is your exercise book, the pages on which you do your sums. It is not reality, 
  although you can express reality there if you wish. You are also free to write nonsense, or 
  lies, or to tear the pages.” 
  Richard Bach, “Illusions” 
   
  The rules are yours to use and abuse as you see fit. The novelist Richard Bach once 
  said, “Argue for your limitations, and sure enough, they’re yours.” Do not limit yourself 
  to this set of rules. Your concept of the way The Masquerade should be played may 
  change constantly. Bend or break the rules to your liking. The rules serve the story; the 
  story does not serve the rules. If you come upon a situation that isn’t covered by the rules, 
  don’t panic— improvise. Improvising rules involves applying common sense to a 
  situation. Don’t he afraid of going against the grain in such cases. By playing this game, 
  you are exploring a new frontier in roleplaying. It is your duty to test the limits of Mind’s 
  Eye Theatre. 
   
  
  Tradition of the Masquerade 
  “You had something to hide 
  Should have hidden it, shouldn’t you? 
  Now you’re not satisfied 
  With what you’re being put through. 
  It’s time to pay the price 
  For not listening to advice.” 
   
  —Depeche Mode, “The Policy of Truth” 
   
  The Masquerade is the first and most sacred of the Camarilla’s Traditions. It is the 
  tradition mandating that the existence of vampires be kept secret from the mortal world. 
  Breaking the Masquerade is considered the most heinous crime a vampire can commit. 
  Even the most violent Brujah anarch thinks twice before breaking the Masquerade. As a 
  Storyteller or Narrator, you need to be constantly vigilant of this consideration. You also 
  need to be prepared to present your players with the consequences of breaking the 
  Masquerade. 
   
  Importance of the Masquerade 
  It is only through the preservation of the Masquerade that knowledge of vampires is 
  kept from the mortal populace. In the modern age, with its mass media, if the existence of 
  vampires was made known, vampire society would be shaken to its very foundations. 
  Panic would ensue, feeding would become nearly impossible and every vampire would 
  have to live in fear for her existence. The vast amount of resources available to modern 
  man would put the continued existence of vampires in great jeopardy. 
  The Masquerade can be a very useful tool for the Storyteller and Narrator. Fear of 
  breaking the Masquerade can be used to keep characters in check and to keep the game 
  from getting out of hand. A Narrator character who is a powerful Archon or Justicar, and 
  determined to punish transgressions, should keep characters in line. Indeed, if your Cast 
  has a tendency toward combat, setting the game in a public place can discourage open 
  conflict, forcing players to use more subtle methods of interaction. After all, no vampire 
  character wants to be photographed or, worse still, filmed while using Wolf’s Claws or 
  Celerity. 
   
  Enforcing the Masquerade 
  The Masquerade is self-enforcing. Revealing one’s true nature to a mortal is risks 
  destruction; the wrath of elders is of secondary importance. Maintaining the secret of his 
  existence is second nature to a vampire. 
   Yet despite the appalling risk, there are those who ignore the Masquerade.   
  Perhaps they enjoy the terror that they inflict in those to whom they reveal themselves. 
  Perhaps they delight in the irreverence of defying the Traditions. Perhaps they’re just 
  careless. Whatever the reason, there must always be consequences to breaking the 
  Masquerade, whether it be the retribution of the prince or actions taken by mortals who 
  are made aware of vampires. 
  Enforcement of the Masquerade is a fundamental part of being a Storyteller and 
  Narrator. Players must always be reminded that their actions have consequences. This is 
  not to say that you should pull them aside and remind them in the middle of a story.  
  Rather, make them aware of their transgressions by introducing new elements to the 
  story. If the Masquerade is dangerously near to being broken, you can play the part of an 
  emissary of the prince, or a character’s sire, warning that if events continue, the character 
  will certainly be punished.  
  You can also act out the reactions of any bystanders, should there be an obvious use 
  
  of vampiric powers. If the Masquerade is repeatedly breached, a character can be forced 
  into Blood Bond with the prince or another elder, to ensure obedience. Or a hunter can 
  learn of the vampire and begin stalking him, introducing a whole new plot line. The 
  hunter can he played as a Narrator character or by another player, depending on the 
  nature of the chronicle. 
  Overall, the Masquerade can be very useful to both the Narrator and Storyteller. Not 
  only does it give you a method of keeping players in line, but it Opens up story 
  possibilities. 
   
   
   
  Chapter Nine: Chronicle 
   
  “Life is pain; anyone who tells you 
  differently is selling you something.” 
   
  -“The Princess Bride” 
   
   
   If characters are the lifeblood of 
  Mind’s Eye Theatre, then the chronicle 
  is the body they sustain. Although The 
  Masquerade can be used and enjoyed as 
  a series of loosely connected stories, 
  such games often lack a sense of 
  continuity and offer little opportunity for 
  character development. In a chronicle— 
  an ongoing series of stories— not only 
  do characters reside in a familiar 
  environment, but one that evolves as 
  they interact with it. Developing and 
  maintaining a chronicle is a satisfying 
  task, but it requires continuous effort and 
  dedication on the behalf of you and your 
  Narrators. This chapter assists you in 
  this task, explaining the elements 
  involved in creating, evolving and 
  maintaining a dynamic chronicle. 
   
  Setting the Stage 
   
  The first element to consider in 
  chronicle construction is the atmosphere 
  you 
  desire. 
  The 
  two 
  aspects 
  of 
  atmosphere are mood and theme. Each is 
  a fundamental ingredient in the alchemy 
  of a chronicle. Although mood and 
  theme have already been discussed in 
  terms 
  of 
  story, 
  and 
  some 
  ideas 
  previously presented apply here, mood 
  and theme for a chronicle involves other 
  aspects. 
   
  Mood 
   
   Mood is the underlying emotional 
  sentiment of a chronicle. It should be 
  
  powerful and moving, yet subtle. Mood 
  is like an ocean wave. It starts out gentle 
  and rolling, but as it reaches the shore, it 
  can crest to an enormous size. Consider 
  a few of the following moods: 
  • Surreal — The world is a dreamy, 
  shifting place where reality twists along 
  like some immense Moebius strip. The 
  players are at a crossroads of nightmare 
  and fantasy. 
  • Mysterious — Secrets abound at ever 
  turn. Nothing is ever as it seems. No 
  truth ever resists close examination, and 
  with every discovery, more questions 
  arise. Only with cunning perception and 
  diligent observation do even the smallest 
  enigmas unravel. 
  • Defilement — An indelible stain of 
  darkness and evil pollutes the world. The 
  few things that are pure are soon soiled 
  and dragged down like everything else. 
  • Madness — Sanity is a lie and chaos is 
  king. The only logic that exists is a 
  warped and twisted parody of sanity. 
  Players can either embrace this madness 
  or fight it and possibly be consumed by 
  it. 
  • Excitement — A nonstop rollercoaster 
  ride where no one ever gets a chance to 
  slow down. Never let up with the action. 
  There are no stops.  
  Theme 
    
  An effective chronicle theme should 
  permeate all aspects of the characters’ 
  lives. Consider the theme of rebellion. 
  The players’ characters are relatively 
  young Kindred rebelling against the 
  brutal hierarchy of their elders. To drive 
  the point home, you should paint the 
  world in terms of rebellion: 
   
   rebellion of mortal youths against 
  authority; rebellion of the third world 
  against the first; rebellion of the dynamic 
  against the static. Try to incorporate 
  imagery or analogies. You can allude to 
  civil wars and coups both current and 
  historical. An appearance or allusion to 
  the works and persons of famous 
  revolutions is a good idea. 
    
  Themes can emerge as seemingly 
  inconsequential encounters or as the 
  major focus of a chronicle. Avoid 
  overemphasizing 
  theme, 
  however. 
  Overemphasis makes related events 
  
  expected and predictable rather than 
  haunting 
  and 
  prophetic. 
  See 
  the 
  “Theme” 
  section 
  of 
  the 
  Scripting 
  Chapter for ideas on story themes that 
  can be applied to chronicles. 
   
  Setting 
    
  The setting is the stage upon which 
  the drama of a chronicle is played. 
  Setting is composed of environment and 
  locale. 
  Environment 
  describes 
  the 
  overall scheme of the world. The 
  environment 
  of 
  The 
  Masquerade 
  involves vampire sects, the Traditions, 
  clans and vampire origin myths. Book of 
  the Damned details many setting back-
  grounds. 
  However, 
  your 
  chronicle 
  doesn’t have to follow that book’s 
  example. On the contrary, differences, 
  whether relatively minor and cosmetic or 
  major and widespread, can make your 
  chronicle all the more unique and 
  enjoyable. 
  A 
  myriad 
  of 
  potential 
  alternatives are available. It’s your 
  reality— do with it what you will. 
    
  Locale, or the physical point where 
  you choose to place your chronicle, is 
  the next step toward chronicle creation. 
  The easiest choice for chronicle setting 
  is the very city in which you and your 
  players live. During your games, you can 
  visit and utilize parts of the city in which 
  your stories take place. It’s also a good 
  bet that your players are familiar enough 
  with their setting to incorporate all sorts 
  of firsthand knowledge into their play. 
    
  If you don’t think your home town 
  would do as your chronicle’s locale, or 
  simply don’t want to use your actual 
  location, there’s a whole world out there. 
  Bookstores, libraries and tourist bureaus 
  can provide you with enough detailed 
  information to set a chronicle in almost 
  any city. This sort of research is also 
  helpful if your players move around a 
  great deal in the chronicle. Using foreign 
  locales takes a bit more imagination, but 
  if you’re playing this game, you’re 
  probably not running low in that 
  department anyway. 
    
  When it comes down to it, who says 
  your chronicle must be set in the modern 
  day? Although we suggest other times 
  only 
  for 
  experienced 
  players 
  and 
  
  Storytellers, a number of historical eras 
  provide excellent settings for chronicles. 
  Some unique vampire settings include: 
    
  • Imperial Rome — A culture of 
  dazzling 
  splendor 
  and 
  shocking 
  perversity. A Kindred could find even 
  his 
  unique 
  needs 
  and 
  practices 
  common, if not a trifle blasé. 
    
  • Middle Ages Inquisition — A dark 
  time for the guilty and innocent alike. 
  Evil’s servants walk among men, but 
  this time humanity knows evil’s name. 
  The hunt is on, and Kindred are  the 
  prey. 
    
  • Renaissance Europe — The world 
  has entered an age of enlightenment and 
  reason. Humanity is casting aside the 
  mantle of superstition and myth that 
  reigned throughout the Middle Ages. 
  What is the place of Kindred, who were 
  the subject of many old superstitions and 
  myths, in this new age? 
    
   • The Industrial Revolution — 
  Humanity has begun to apply its 
  mechanical toys to every aspect of life. 
  The cities swell as humans migrate to 
  them to man factories and workshops. 
  Do the Kindred suffer or benefit from 
  the dizzying changes taking place? 
    
  • 
  The 
  Roaring ‘20s Reckless 
  abandon, rampant crime and decadence 
  at every turn. A wild and exciting time 
  to he alive. Probably not a bad time to be 
  undead, either. 
    
  Players might also enjoy witnessing 
  and participating in historical events 
  they are familiar with. Besides, this 
  allows you an opportunity to explain 
  how the Kindred have influenced all 
  manner of events throughout history, 
  while providing a rich foundation for 
  chronicles set at later times. Once again, 
  ample 
  research 
  and 
  a 
  working 
  knowledge of the time period prove 
  invaluable to a successful “elsewhen” 
  chronicle. 
   
  Creating the City 
    
  The city is the locus of your 
  chronicle. It is where vampires feed and 
  hide, and it is where they are trapped. 
  You need to present your city in a 
  realistic and consistent manner so that 
  players believe in it. The setting must 
  
  live and breathe for players and, until it 
  does, characters cannot come to be. The 
  city is where your stories take place — 
  the more interesting and exotic it seems, 
  the more your stories come to life. With 
  each story you run, define the city a little 
  more, but don’t give away everything at 
  once. 
    
  As the chronicle progresses, add 
  details of geography, custom and plot. 
  Build the city bit by bit at whatever pace 
  you choose. The mortal half of the city is 
  fairly easy to establish. Though the 
  setting of The Masquerade is Gothic-
  Punk, much of it is identical to the world 
  we know. However, the city isn’t quite 
  the one you live in. It’s fictional. You 
  may want to change a few details here 
  and there to suit the mood of your game. 
    
  Creating the vampire aspect of the 
  city is more difficult. You need to decide 
  how the city’s vampire power structure 
  functions and who controls it. The prince 
  is likely to be the single most important 
  individual in a city, but that is not 
  always the case. The prince might be the 
  actual ruler, or he could simply be a 
  figurehead with some elder manipulating 
  things from the shadows. Intrigue among 
  the Kindred is often ferocious, so decide 
  how vampires in your city relate. How 
  many different sides are there? Why are 
  they opposed to one another? Members 
  of various clans can be antagonistic, or 
  the classic elder-anarch conflict can be 
  the major source of division. Are there 
  Methuselahs 
  behind 
  the 
  scenes, 
  manipulating the various sides, or are 
  most Kindred slaves to only their own 
  passions? 
  You need to decide what coteries are 
  in opposition to the group or individual 
  who controls the city, and which groups 
  support the status quo. How do the 
  Kindred of the city interact with mortal 
  rulers? 
  Are 
  the 
  police 
  becoming 
  suspicious, or do ruling Kindred control 
  mortal 
  authorities? 
  Some 
  cities, 
  especially smaller ones, might suffer 
  from very few or no conflicts between 
  Kindred. But how interesting is that? 
  Don’t make your city one of those 
  peaceful, boring ones. Fill it with enough 
  intrigue and inequity to inspire a 
  
  hundred stories, or at least plan future 
  strife to devastate the peaceful city you 
  create now. 
  Last but not least, you should make 
  sure the design of the city meshes well 
  with the motif of your overall chronicle. 
  If the chronicle is going to be about 
  corruption, the city ought to be corrupt 
  as well, both in its mortal and vampiric 
  aspects. 
   
  Casting the Parts 
  The body of your chronicle lies bare 
  before you, and you must now breathe 
  life into it. Of course, the life of a 
  vampire chronicle is conflict. What 
  powers lie at the center of action and 
  reaction in the city? Generally, very old 
  Kindred, locked in seemingly endless 
  struggle, provide the initial source of 
  conflict, 
  Their 
  schemes 
  and 
  manipulations filter down a procession 
  of vampires, each with his or her own 
  hopes and desires. 
   
  Ancient Vampires 
  It is probably easiest to begin at the 
  top of the hierarchy and work your way 
  down. Perhaps a couple of fourth or fifth 
  generation Kindred occupy the primary 
  positions in your chronicle. However, 
  employ these characters sparingly. At 
  these high levels of power, participants 
  are few. Their goals are pervasive and 
  easily 
  orchestrated 
  when 
  weaker 
  Kindred are puppets. The exact opposite 
  is true of the goals and efforts of the 
  characters. Goals tend to be small and 
  attainable 
  on 
  the 
  short-term, 
  but 
  fathoming the natures, goals, identities 
  and even existence of more venerable 
  vampires 
  is 
  nearly 
  impossible. 
  Obviously, the eldest vampires in the 
  city are parts that Narrators should play. 
  And when Narrators do play these parts, 
  you can utilize the full potential of such 
  powerful vampires. Only with time may 
  the mighty be supplanted by particularly 
  ambitious and energetic characters. 
   
  Ancient 
  Kindred 
  have 
  untold 
  centuries, even millennia of experiences 
  behind them. Treat them appropriately. 
  When developing ancient elders, ask 
  yourself these questions: Where did they 
  
  come from? What was their mortal life 
  like? Who Embraced them? What are 
  their hopes, dreams and fears? What 
  sorts of tactics and schemes do they 
  employ? And what plans do they have 
  for the future, both theirs and others’? 
  Now, what sort of conflict is worthy 
  of such venerable creatures? When 
  deciding this, make sure the conflict is 
  stable enough to endure for some time, 
  but not so static that no shift in power 
  ever occurs. The best way to achieve 
  such balance is to make sure each side of 
  the conflict is reasonably equal (usually 
  several weak allies must unite to 
  confront a powerful one). As for the 
  nature of the conflict itself, consider the 
  following: 
  • Rivals — Two Kindred, possibly 
  Methuselahs, are engaged in a shadow 
  war against one another, with the city as 
  their battlefield and their lessers as their 
  armies. 
  • Wolf Pack —A small group of 
  Kindred, say fifth generation, strive to 
  bring down an even more ancient 
  Cainite, possibly their sire. This unholy 
  alliance could quickly sour if the 
  aggressors also seek their elder’s blood 
  for diablerie. 
  • Survival of the Fittest — An 
  apparently unknown lord of the city 
  hones his unwitting legions of undead, to 
  pit them against a real or imagined 
  threat. 
  • The Sleeper — Deep in the arms of 
  torpor lies a Kindred of immense power, 
  perhaps an Antediluvian. For now, she 
  slumbers peacefully, but who knows 
  when she will awaken? For that matter, 
  what she will do when she does? 
   
  Elder Vampires 
  Beneath the ancient vampires of the 
  city are the elder Kindred. While not the 
  near omnipotent beings their “ancestors” 
  are, 
  elders 
  nonetheless 
  possess 
  impressive 
  power 
  and 
  influence. 
  Generally, there is one elder Kindred for 
  each faction (groups based on clan or 
  politics) in the city. Larger or more 
  powerful factions may have even more 
  elders, but one usually holds dominance 
  over the others. These factions provide 
  
  an excellent means to organize the city’s 
  vampires and draw neat battle lines. 
  Elders have weathered the test of 
  centuries and most are highly ambitious. 
  They, more than any other group of 
  Kindred, are in a precarious position. On 
  one side are the Methuselahs and 
  Antediluvians who seek to or already 
  control the elders. On the other side are 
  young rebellious Kindred who seek to 
  bring the elders’ carefully laid plans 
  crashing to the ground, or worse still, 
  seek to slay elders and inherit their 
  power. How do these rightfully paranoid 
  Kindred deal with this war on two 
  fronts? Their choices depend as much on 
  their personalities as on the nature of the 
  threats they face. Some elders surround 
  themselves with loyal servants. Others 
  hone their personal powers and depend 
  only 
  on themselves. Some hand together 
  with their peers for mutual protection, or 
  ally themselves with more powerful 
  Kindred. To create realistic and dynamic 
  elders, you should assign them positions 
  of importance in the city. Some positions 
  include: 
  • Prince 
  • Prince’s lieutenants 
  • Clan lieutenants 
  • Spy/Traitor 
  • Clan elder 
  • Crime boss 
  • Political puppeteer 
  • Justicar 
  • Wealthy elite 
  • Inconnu agent 
  • Archons 
  • Business tycoon 
  • Artistic gentry 
  • Sabbat pack leader 
  Elder roles can be assigned to either 
  Narrators or very experienced players 
  (as long as they understand what they’re 
  getting into). 
   
  Kindred Peasantry 
  Dwelling in a restless mass beneath 
  the ancients and elders are the ancillæ 
  neonates and childer. These Kindred are 
  generally far weaker than their elders, 
  but make up for their shortcomings by 
  sheer number and vitality. This group is 
  
  also the most diverse of the Kindred. 
  They range from rebellious anarchs to 
  BMW-driving yuppies. The majority of 
  characters belong to this group of 
  Kindred. 
  Many of the Kindred from this level 
  of undead hierarchy band together in 
  small groups called coteries. “Young” 
  Kindred might be motivated to work 
  together because they are acquaintances. 
  Most, however, have more powerful 
  motivations to work together. Some 
  motivations include: 
  • Revenge This group of Kindred 
  shares a desire to make someone or 
  something pay for a wrong done them. 
  Once their revenge is achieved, if 
  possible, members of the group probably 
  go their separate ways. Many, however, 
  remain together, realizing the benefits of 
  companionship or simply to defend 
  against reprisals. 
  • Shared Threat — These Kindred 
  are hounded by the same danger and 
  seek better odds of survival as a group. 
  There are many threats that can face 
  young Kindred, including zealous and 
  experienced hunters, vengeful elders, 
  enraged Lupines and even other lowly 
  Kindred. 
  • Nomads — The life of the 
  wanderer means freedom and no fixed 
  responsibilities. It also means new 
  dangers at every turn, with no one but 
  fellow coterie members to rely on. Still, 
  the open road is the only life for some 
  people. If the characters do not form a 
  coterie of nomads, a similar coterie can 
  move in and out of the chronicle on an 
  irregular basis. 
  • Runaways — This is a twist on the 
  Nomad motive, in which wanderlust is 
  the least of the coterie’s worries. Some-
  thing in the characters’ past forces them 
  to live on the run. This reason can be 
  shared by all the members of the group, 
  or each :an have her own reason for 
  running. 
  • Street Gang— Members of this 
  coterie are tied by bonds of the street as 
  well as by those of age and blood. 
  Characters can be drug dealers, gun 
  runners, racketeers or even guardians 
  who strive to keep the streets free of 
  
  crime. Most commonly, these gangs are 
  anarchs who favor a lifestyle that 
  embodies their disdain for authority and 
  the establishment, both Kindred and 
  kine. 
  • Bands — Characters’ desire to 
  express themselves through music forms 
  the bond between members of this 
  coterie. Members find themselves gifted 
  with powers that make them among the 
  world’s greatest performers, but the 
  anonymity demanded by the Masquerade 
  is put in jeopardy. Variants on his 
  motive can include a theatre troupe or 
  street performers. 
  • Outlaws — Members of this coterie 
  have chosen to utilize their supernatural 
  powers to pursue a life of crime. It’s 
  bard to think of any crime that a human 
  could commit that a Kindred couldn’t do 
  better. Jewel or art thief, corporate 
  raider, 
  credit 
  fraud 
  and 
  computer 
  hacking all involve a certain flair and 
  romance 
  that 
  Kindred 
  might 
  find 
  alluring. For  those of a simpler bent, 
  strong-arm robbery, burglary and safe 
  cracking quite literally) are viable 
  options. 
  Feel free to combine these and other 
  motives to unite and inspire your 
  “young” characters. Allow a coterie to 
  change its motives when appropriate. 
  For example, a coterie with a Shared 
  Threat could turn on its tormentor and 
  become driven by Revenge. 
   
  Kindred Interaction 
  With so many groups and factions of 
  Kindred acting within the same city, the 
  place is rife with intrigue. To reflect all 
  these layers of duplicity, you must layer 
  the intrigue of your chronicle. One way 
  to accomplish this is with secret or 
  desperate 
  alliances, 
  competitive 
  interests, strange bedfellows and ever-
  changing fronts and oppositions. As far 
  as many Kindred are concerned, it’s fine 
  to work with others as long as needs are 
  served, and when they no longer are, it’s 
  acceptable to move on. You should 
  strive to make these interactions as 
  realistic as possible. Everyone has an 
  ulterior motive or something to gain. 
  The world of vampires is less than kind 
  
  to the altruistic soul. 
  Pay particularly close attention to 
  inter-clan and primogen politics. The 
  interrelations of a Camarilla-controlled 
  city can be quite complex. Determine 
  which clans support the current prince 
  and primogen, and which clans are allied 
  and opposed. A web diagram showing 
  these relationships is useful, both to you 
  and your players (an example of such a 
  diagram is provided later in this book). 
  One phenomenon of intrigue that 
  originated with the elders is the 
  existence of sects and organizations. The 
  largest of these are the Camarilla and 
  Sabbat. These organizations claim to 
  support two violently opposed policies 
  on the way vampires should act towards 
  the rest of the world, Another theory 
  claims that these factions exist for the 
  benefit of the ancient Inconnu. By using 
  these factions, it’s argued, the Inconnu 
  present a unified front against their foes, 
  or will use such organizations for cover 
  when the trumpets of Gehenna sound. 
  The characters’ place in the scheme 
  of Kindred politics requires careful 
  consideration on your part. What sort of 
  influence do you want characters to have 
  on the evolution of your chronicle? 
  Consider the role they play. Do they 
  shake the foundations of the Camarilla 
  or are they a footnote in Kindred 
  history? Are the characters saviors, 
  destroyers or nothing at all? 
  To start, determine who sired the 
  characters and why. They may have 
  been created by a single vampire, or by 
  several different vampires. The Embrace 
  is the characters’ birth into the World of 
  Darkness and, like mortal birth, has a 
  great deal of influence on who characters 
  follow (just as mortal children usually 
  follow their 
  parents). Perhaps 
  the 
  characters’ creation was an accident or 
  embarrassment to their sire(s). Perhaps 
  the sire has decided to kill, ignore or 
  chase off his unwanted childer. If the 
  characters were intentionally created, 
  what plans does their sire have for them? 
  Do the sire’s enemies know about his 
  childer? Do enemies try to use the new 
  Kindred against the sire? 
   
  
  Depending on the motivation players 
  have chosen, decide where the characters 
  stand in the chronicle. Who knows them, 
  who do they know and just how did they 
  meet? Have they already made allies or 
  enemies of any of the city’s personalities 
  or coteries? Do they have any allies or 
  enemies outside their coterie? If so, how 
  do these relationships influence the 
  characters’ 
  relationships 
  with 
  their 
  peers? Deciding where characters stand 
  in the chronicle is important because 
  dropping characters cold, so to speak, 
  into a setting only serves to alienate 
  them. Early connections serve to draw 
  characters into the web of intrigue you 
  have woven. 
   
  Coteries 
  A coterie is a group of characters 
  with enough shared motivation and 
  background to work together toward a 
  common goal. There is usually one 
  character who is the leader (such as an 
  elder among her progeny, retainers and 
  ghouls), though this is not always the 
  case. 
  In games of over 15 participants, 
  dividing players into different coteries is 
  essential. Even if you have a small group 
  of players, it can be very helpful to 
  design your city in terms of coteries. 
  Coteries divide players’ characters and 
  Narrator characters, and facilitate adding 
  more players at another time; new 
  players can join an existing group or 
  form their own. Several coteries working 
  together and against each other also 
  establishes immediate layers of intrigue 
  and politics. When you design your 
  chronicle you can treat each coterie as a 
  separate unit. 
  Though members of coteries are 
  often tightly bound to one another, it’s 
  always fun to plant the seeds of dissent 
  among them. Two characters can vie for 
  leadership positions or they can simply 
  hate one another; a character can be 
  looking for a way out of the coterie or a 
  character can be a spy. Some examples 
  of coteries include: 
  • Anarchs Seeking only survival, at 
  least at first, these Kindred are banded 
  
  together for mutual protection. 
  • Ancillæ — These Kindred band 
  together to gain power and status in the 
  regimented caste system of Kindred 
  society. 
  • Primogen — Those that help rule 
  the city must work together to ensure 
  that their rule goes unquestioned. 
  • Prince — The prince and his 
  retainers are the lords of the city... or so 
  they think. They also enforce the 
  Traditions and keep the anarchs in line. 
  • Sabbat — A Sabbat pack is very 
  close-knit. They sneak into the city to 
  scout and spy on the Camarilla, 
  sometimes posing as anarchs. 
  • Inconnu — These ancient vampires 
  seek nothing more than continued 
  survival. 
  However, 
  with 
  Diabolists 
  seeking their rich vitæ, survival is often 
  difficult. 
  • Clans Members of the same clan 
  can band together. This can be for 
  protection or to gain an advantage over 
  rival clans. 
  Look at the above chart as an 
  example on how you can illustrate the 
  character relationships of a coterie. 
  When running your first story, use this 
  type of chart to plan out the characters’ 
  attitudes toward each other. These 
  sentiments should be translated to and 
  illustrated on players’ briefing sheets. 
  Later, when your chronicle is in full 
  swing, you can use this chart to keep 
  track of inter-character relationships as 
  they change and develop. 
  You can also use a similar chart to 
  map out the interrelationships of all 
  Kindred in the city. YOU can create a 
  massive wall chart with every character 
  on it, or simply treat each coterie as a 
  character and demonstrate how they 
  interact. 
  Place each character or coterie’s 
  name in one of the open shapes. Along 
  the arrows between each shape write 
  down a word or two that best describes 
  the way the characters or coteries feel 
  about each other. Use simple words such 
  as Trust, Tolerance, Love, Hate, Respect 
  and Blood Bond. 
   
  
  Intrigue 
  Intrigue is a vital ingredient of your 
  chronicle. For people to play out 
  intrigue, they need to he drawn into it. 
  Power is often a lure. This power needs 
  to be immediate and real. It needs to be 
  visible and obtainable. It needs to he 
  given out only occasionally to inspire 
  characters to pursue it, but not so often 
  that opportunities are passed on. 
  Dark 
  secrets 
  can 
  help 
  inspire 
  intrigue, hut this reason alone is not 
  enough. Props and quests are also good. 
  Rewards, of course, need to be given 
  regularly 
  (money, 
  possessions 
  and, 
  occasionally, magic). In the end, the 
  chance to seize power is the true lure 
  into intrigue. 
   
  Ambition 
  Many characters eventually want to 
  assume positions of power in the city. In 
  some games, this is just another aspect 
  of the self-generating plots players 
  contrive on their own. In other games, 
  you may plan the characters’ search for 
  power from the beginning. In either case, 
  you need to learn what long-term goals 
  your players want to accomplish in the 
  chronicle. You can then tailor an 
  occasional session to these goals, but 
  don’t give the players everything they 
  want. 
  Some 
  may 
  covet 
  powerful 
  positions in the Camarilla, such as clan 
  elder, 
  primogen 
  or 
  perhaps 
  even 
  princehood. Others may seek the ever-
  elusive state of Golconda or answers to 
  the nature and origin of the Kindred. 
  Both goals are power in one form or 
  another, both over others and over one’s 
  self. 
  More than a few players don’t know 
  or admit what they want in the long-
  term, or may not desire power. Don’t 
  worry, they’ll set their sights on 
  something in time, especially if tempted 
  by the likes of elders and the Sabbat. 
  Practice stringing players along. Keep a 
  carrot dangling before them. After all, 
  you’ve got to offer something to keep 
  characters coming back for more. 
   
  
  The Price of Power 
  “You know your place in the sky, 
  you hold your course 
  And your aim 
  And each in your season 
  Returns and returns 
  And is always the same. 
  And if you fall 
  As Lucifer fell: 
   
  You Fall 
   
  In flame.” 
   
  -Javert, “Les Miserables” 
   
  In most chronicles, it’s likely that 
  one or more characters are in a position 
  of power. Indeed, some might be elders. 
  If this is the case, the players need to 
  know exactly what their responsibilities 
  and advantages are. In general, any 
  players in the role of elder should be 
  experienced enough to assist you as a 
  Narrator. As elder characters can have 
  tremendous impact on lesser characters 
  and the story as a whole, players should 
  know what the ramifications of their 
  actions are and must take them into 
  consideration. Only experience in play 
  develops this insight. The following 
  section lists the various positions elders 
  can hold, and discusses the advantages 
  and responsibilities of those roles. 
   
  Prince 
  “Once there was a man who decided he 
  knew everything 
  Once there was a book he threw in my 
  face 
  Once there was an angry mob that 
  marched 
  Up and down the street 
  Don’t ya know they all called my name 
  What do they want from me?” 
   -Oingo Boingo, “Fill the Void” 
   
  The prince is not usually a true 
  dictator, although in some instances can 
  be. In general, the prince is the one who 
  maintains order in the city. The 
  influence of Kindred in a city can 
  usually be gagged by the power of the 
  
  city’s prince. If the prince of a city is 
  very strong, it stands to reason that 
  elders of the city are powerful as well— 
  a prince is rarely more powerful than her 
  supporters. Generally, there is a balance 
  of power between a prince and the 
  elders. The prince should be powerful 
  enough to maintain control of the city, 
  while the elders, if joined together, 
  should have the power to remove her 
  should she get out of line. 
  The prince’s biggest obligation is 
  maintaining the Traditions, particularly 
  the Masquerade. In terms of privileges, 
  the prince sets the limit on the number of 
  Kindred that may exist in the city, 
  extends feeding privileges and extends 
  the right to sire progeny. The prince is 
  also the final arbitrator in any dispute 
  between Kindred. Here’s a precise list of 
  the prince’s powers: 
  • Right to Progeny The prince is the 
  only one who may sire progeny. No 
  others have this right unless the prince 
  grants it to them. 
  • Mastery over Domain — The 
  prince’s word is law over any Kindred 
  who enters her domain. Traditionally, 
  newcomers must present themselves to 
  the prince. Failure to do so is invites 
  severe punishment. 
  • Freedom to Feed — The prince 
  may limit feeding (in the interests of 
  protecting the Masquerade) if she 
  desires. These limitations usually control 
  when and where the Kindred of the city 
  may feed. Those who disobey may be 
  punished for breaking the Masquerade. 
  The prince, of course, faces no such 
  restrictions. 
  • Power over Enemies — The prince 
  has the power to call a Blood Hunt— a 
  sanctioned persecution. This costs the 
  prince two temporary Status Traits, hut 
  will cause the subject to lose half of her 
  Status within the city. She may also dole 
  out punishments to those who defy the 
  Traditions. 
  Even with the great privileges the 
  prince possesses, she must still be 
  careful how she applies her power. Her 
  power 
  stems 
  primarily 
  from 
  her 
  supporters, and if they revolt, the prince 
  is powerless. It is therefore in the 
  
  prince’s best interests to ensure the 
  contentment of her supporters, espe- 
  cially the powerful or ones with broad 
  influence. Ensuring contentment does 
  not necessarily mean losing power, 
  though. 
  The 
  prince 
  must 
  be 
  a 
  consummate 
  manipulator, 
  constantly 
  playing one faction of elders against 
  another. Even the anarchs must be kept 
  content to some degree, for a full anarch 
  revolt can spell doom for even the most 
  powerful prince. 
  Should you need to cast someone in 
  the 
  role 
  of 
  prince, 
  give 
  careful 
  consideration to the individual you 
  assign the role. It should be a person 
  who can handle a great deal of 
  responsibility, and someone you can 
  trust to help guide the story. 
   
  Primogen 
  The primogen of a city is a group of 
  elders 
  who 
  “advise” 
  the 
  prince. 
  Generally, the eldest members of each of 
  the seven clans in a given city has a seat 
  on the primogen, though in many cases, 
  members of each clan nominate a 
  candidate who is then approved by the 
  current primogen. Collectively, these 
  Kindred 
  are 
  considered 
  the 
  most 
  powerful vampires in the city. It is even 
  possible that an individual member may 
  be more powerful than the prince, but is 
  not inclined to that position for whatever 
  reasons. The primogen usually act as 
  city 
  clan 
  leaders, 
  organizing 
  clan 
  meetings and affairs. 
  As with the prince, primogen roles 
  should be assigned with care, unless, of 
  course, all the players are primogen for 
  the purpose of the story. Any player who 
  is assigned a primogen character should 
  be experienced enough to act as a 
  Narrator. Those on the primogen are 
  generally granted special privileges by 
  the prince. In addition, there are several 
  advantages that naturally come with the 
  position: 
   
  • 
  Choice of Domain — The 
  primogen of the city are usually given 
  first choice of hunting grounds. This is, 
  of course, subject to the prince’s 
  approval. Any disputes over domain are 
  
  arbitrated by the prince. 
  • 
  Grants 
  of 
  Influence 
  — 
  Primogen are not only allowed to gather 
  as much influence as they can, but may 
  actually be granted it by the prince or by 
  those seeking favors. 
  • 
  Clan Influence A member of 
  the primogen who represents his clan 
  generally wields a great deal of power in 
  that clan. He is often considered clan 
  leader in that city. 
  • 
  The Prince’s Ear — Those 
  on the primogen have the opportunity to 
  directly influence the prince. Many 
  Kindred use this advantage to further 
  their own objectives while feigning to 
  further other goals. 
   
  Justicar 
  Justicars are the only Kindred with 
  true authority over all of the Camarilla, 
  princes included. Justicars have supreme 
  power to make judgments involving 
  transgressions against the Traditions. 
  There 
  are 
  no 
  official 
  guidelines 
  concerning punishment; it’s at the 
  Justicar’s discretion, and their decisions 
  are often harsh. A Justicar is supposed to 
  hold a Conclave to pass judgment, but 
  over time, Justicars grow in power. 
  Some no longer feel the need to hold 
  councils, meting out justice as desired. 
  The judgment of a Justicar may only 
  be challenged by another Justicar. A 
  Conclave is then called, wherein the 
  Justicars come together to resolve 
  the dispute. Judgment is usually put to a 
  vote before the Assembly. 
  As with the prince and primogen, 
  you must be extremely careful when 
  assigning a Justicar as a character. A 
  Justicar wields an incredible amount of 
  power. You must be cautious lest the 
  player abuse his power. Generally, a 
  Justicar is best assigned as a Narrator 
  character. 
  Justicars face many challenges, so 
  are granted much in the way of 
  privileges: 
  • 
  Judgment — A Justicar is 
  considered the ultimate authority in 
  matters concerning breaches of the 
  Traditions. Punishment is determined 
  solely by the Justicar. 
  
  • 
  Summon Conclave — All 
  Justicars have the right to call a 
  Conclave 
  whenever 
  they 
  wish. 
  Conclaves may be called to pass 
  judgment on one who has broken a 
  tradition or to solve some other problem, 
  such as a prince accused of abusing her 
  power. 
  • 
  Right to Progeny — A 
  Justicar may create a number of progeny 
  deemed reasonable to serve him as 
  Archons for the duration of his term. 
  • 
  Freedom of Movement — 
  Justicars are not restricted in where they 
  may travel. No prince may ban or banish 
  a Justicar from her city, nor must the 
  Justicar present himself to the prince 
  upon arrival in her city. 
   
  
   
   
  Archon 
  A Justicar often has a coterie of 
  vampires, often his progeny, who 
  enforce his will and report breaches of 
  the Traditions. These assistants are 
  called Archons. Archons are always 
  willingly Blood Bound to their Justicar, 
  though they need not be from his clan. 
  Archons do not wield as much power as 
  
  a Justicar, but are widely respected for 
  the connections they have. 
  Archons can make very useful 
  Narrator characters and can keep players 
  in line when they are in danger of 
  breaching the Masquerade. In fact, if 
  Kindred in a city are notorious for 
  defying the Traditions, a busy Justicar 
  might assign an Archon to reside 
  permanently in the city as a reminder of 
  the Justicar’s power. 
  Archons essentially have the same 
  power as other elders (below), but have 
  more Status; their word is taken before 
  any other elder’s, and even the prince is 
  wise to heed an Archon (though she still 
  has the power to challenge an Archon). 
   
  Elder 
   
  There comes a time in a vampire’s 
  existence when there are few who are 
  more powerful than he. It’s at that point 
  that a vampire is considered an elder. 
  Even once they have attained physical 
  power, many elders seek social power in 
  the form of status (a social dominance 
  that the game term, Status, can reflect), 
  perhaps becoming prince or Justicar. 
  Others, however, are content to use their 
  status to do what they will, remaining 
  free from the responsibilities that come 
  with positions of authority. This status 
  and freedom confers certain privileges to 
  elders. Here are some sample elder 
  privileges: 
  • Authority Greater status gives an elder 
  authority over those of lesser status. This 
  is even more so within one’s own clan. 
  • Positions of Power — Status gives one 
  the opportunity to attain positions of 
  power, such as the primogen or even 
  princehood. 
  • Progeny—Those of great status are 
  more likely to be successful in 
  petitioning the prince to sire progeny. 
  • Deference Neonates and ancillae are 
  expected to defer to an elder in any 
  matter, whether it involves choosing the 
  
  best table at a restaurant or selecting a 
  prime vessel. 
  There is growing unrest among 
  “younger” Kindred who feel that status 
  among vampires is awarded based on 
  age, not proof of worthiness. Most 
  would change their minds, however, 
  when directly confronted by “old” 
  elders. 
   
  Chronicle 
  Dynamics 
  The key to a successful chronicle is a 
  constant and uninterrupted flow of 
  action. In the real world, events never 
  stop occurring, and everyone, in one way 
  or another, gets dragged into life’s 
  chaos. Your chronicle should have the 
  same power. All characters should be 
  drawn into the events around them. 
  Every 
  character 
  should 
  be 
  doing 
  something. Those in conflict may bide 
  their time and pause to marshal their 
  forces, but the tension never recedes. 
  The illusion of tension and chaos can be 
  accomplished by artfully deploying a 
  few tricks, like these: 
  • Overlapping— Stories have no 
  clear cut beginning or end, but flow into 
  each other. If your group is large 
  enough, two or more stories can run 
  simultaneously. 
  • Transitions — Cues to new stories 
  should be distributed in the process of 
  normal play. Don’t make a grand affair 
  when you begin a new story. Each story 
  involves what seems to be the next 
  logical course of action for characters. 
  It’s also a good idea to hint at several 
  different stories at once. This way, 
  characters are allowed as great a 
  measure of free will as possible. 
  • Nuances — Not every interaction 
  between Narrators and characters has to 
  relate directly to the story. Characters 
  can meet people or become involved in 
  events that are simply part of everyday 
  life. Included in this vein are red 
  herrings, which purposefully distract 
  characters from truly significant events. 
  Red herrings are fun because you can 
  reintroduce them later, sometimes as 
  
  legitimate story concerns. 
  • Mystery Figures — This is a catch-
  all for recurring figures from the past. 
  They can be archenemies, haunting 
  spirits or mysterious benefactors. These 
  friends or foes display a remarkable 
  ability to survive destruction, slip away 
  at the last moment or simply appear at 
  the most unexpected of times and places. 
  Don’t overuse this device, however, for 
  it can ruin your chronicle’s credibility. 
  • Crossovers — Another advantage 
  to having more than one story in 
  progress at the same time is that they can 
  intersect with each other. This tactic 
  really promotes interaction when one or 
  both groups, pursuing separate goals, 
  discover something that can benefit the 
  other. 
  • Multiple Goals — Each character 
  has a separate motive which, if made 
  known, can lead to conflict as characters 
  argue over what course to take. Perhaps 
  characters have discovered a valuable 
  mystical artifact. If they’ve received 
  many offers for it, who, if anyone, do 
  they turn it over to? in Greek mythology, 
  Paris got into a lot of trouble with a 
  golden apple when put into a similar 
  position. Chances are the characters will 
  get in trouble too. 
  • Unfinished Business — Whoever 
  said a story has to be played to 
  completion the first time around? After 
  abandoning a goal, or believing their 
  goal achieved when it really is not, 
  characters can return to that goal in a 
  later story. Maybe they learn the 
  vampire they destroyed was not actually 
  the murderer the characters thought he 
  was. Who was the real killer, and how 
  do the characters atone for their grievous 
  error? 
   
  Trouble in all Shapes and Sizes 
  There are dozens of things in a story 
  that can go wrong. This is particularly 
  true of a chronicle, With the added level 
  of complexity that comes with a 
  chronicle, problems with continuity, 
  advancement, 
  numerous 
  players, 
  constant change and background plots 
  are inevitable. A few of the more 
  
  common chronicle problems, and how to 
  deal with them, are detailed below: 
  • Problem Players — This problem is 
  probably one of the most delicate and 
  potentially disastrous you can face. For 
  one reason or another, one or more 
  players are disrupting the story and 
  ruining everyone’s good time. This can 
  be the result of many things: cheating, 
  rule 
  quotation 
  (“rules 
  lawyering”), 
  personal vendettas or improper behavior. 
  Once you detect a problem, your first 
  action should be to approach the players 
  privately and explain what they are 
  doing and why you don’t like it. At that 
  point, most people attempt to change 
  their 
  ways... 
  and 
  that’s 
  that. 
  Unfortunately, 
  some 
  are 
  prone 
  to 
  backsliding or just don’t take the 
  problem seriously, disregarding your 
  warning. The next step to consider is 
  some 
  sort 
  of 
  penalty. 
  Temporary 
  suspension from the chronicle is usually 
  effective. If players continue to make 
  trouble, you may have to perform the 
  distasteful task of barring them entirely 
  from your chronicle. 
  • Favoritism — There is often a 
  tendency 
  to 
  give 
  friends 
  special 
  treatment. Be vigilant to this habit in all 
  those who run and play the game, 
  including yourself. If the problem does 
  arise, try to remember that this is just a 
  form of entertainment; no one can 
  reasonably hold you responsible for a 
  character’s 
  loss. 
  If 
  the 
  problem 
  continues, 
  try 
  to 
  isolate 
  problem 
  individuals 
  from 
  encounters 
  where 
  favoritism might occur. As a final 
  option, remove the offender from any 
  position in which she can dispense 
  favors. 
  • Grudge — In this situation an 
  individual is treated unfairly for some 
  reason that is not related to her 
  character’s nature or actions. Such is 
  often the case with players who are not 
  fond of each other in the real world. 
  Handle it in a manner similar to 
  favoritism problems. 
  • Stagnation — Even the most 
  imaginative Storyteller occasionally runs 
  out of ideas. Perhaps you’re running the 
  game too often to give yourself time to 
  
  create new and original stories. if this is 
  the case, consider spacing sessions 
  further apart to provide yourself more 
  planning time. Another solution is to 
  take on more Storytellers or Narrators to 
  give the chronicle a greater creative base 
  to draw on. A plot coordination council 
  of some sort is almost essential to 
  running large-scale chronicles. 
  • 
  Logistics — Problems with 
  supplies and locations are bound to arise. 
  If this is the case, be sure to 
  communicate with everybody involved 
  in the game. Players are often able to 
  help procure a setting, props, incidental 
  supplies and all manner of other needs. 
  Getting the News Out — Sometimes 
  you just don’t have enough people to 
  play the type of chronicle you’ve 
  planned. This is more often a case of 
  poor advertising than genuine lack of 
  bodies. Consider posting notices on elec-
  tronic bulletin boards or your local 
  university network, in game and hobby 
  stores, 
  at 
  conventions, 
  at 
  gaming 
  organizations, with theatre or drama 
  groups, 
  on 
  college 
  campuses 
  and 
  anywhere else you think imaginative 
  people with a taste for the original might 
  frequent. 
   
  Maintenance and Record Keeping 
  It’s a simple fact that the longer a 
  chronicle runs, the more complex it 
  becomes, The increased size of some 
  chronicles only amplifies this fact. 
  Developing a method and the habit of 
  keeping records is essential. 
  The easiest part of the chronicle to 
  keep records on is characters’ statistics. 
  Having a master copy of each character 
  card has several advantages. Someone is 
  bound to lose his character card and may 
  need a replacement. Without a good 
  memory or a master copy, this can pose 
  a problem, especially with advanced 
  characters. 
  Storyteller 
  records 
  of 
  characters 
  also discourage unscrupulous players 
  from 
  altering 
  their 
  characters. 
  Furthermore, you can make use of 
  character information when designing 
  new stories. And it’s a good idea to 
  update your master copies after each 
  
  story, given changes arising from 
  experience, rewards and penalties. 
  A journal of events from each 
  session 
  proves 
  equally 
  invaluable, 
  helping you understand changes the 
  chronicle undergoes. You can then apply 
  these changes to new stories. Ideally, 
  you, the Narrators and players should all 
  file some sort of informal report after 
  each story. Records from everyone can 
  keep you appraised of all events and let 
  you in on players’ individual intentions. 
  To encourage players to provide this 
  information accurately, consider making 
  reports mandatory or award experience 
  only after you receive them. Make it 
  clear that these reports are confidential 
  and will not be used to “screw players 
  over.” 
   
  Advancement and Balance 
  The greatest reward for some players 
  is the sheer joy of playing. However, 
  many players prefer to see their 
  characters improve in status and power. 
  Both needs must be satisfied. 
  Players who enjoy the story for its 
  own sake are easy to please. In fact, they 
  often please themselves by pursuing the 
  goals their characters desire, which are 
  often 
  interpreted 
  by 
  the 
  players 
  themselves. 
   
   
  Pleasing accomplishment seekers is a 
  little more difficult. Allow characters 
  chances to improve their station in the 
  chronicle, if it’s within the scope of 
  things. 
  When 
  characters 
  make 
  achievements, their players are happy. 
  However, to keep players happy without 
  their 
  characters 
  achieving 
  massive 
  power, be prepared to take characters 
  down a peg or two, or allow other 
  characters to do so for you. Besides 
  creating revenge motives, such attacks 
  fire players’ desire to achieve more. 
  Experience points, which players 
  spend to improve their characters, are 
  one form of reward, but there are others 
  that are just as satisfying. Gaining the 
  favor and support of other Kindred can 
  be more rewarding than any Discipline. 
  
  Furthermore, 
  there 
  are 
  numerous 
  positions of power that experience points 
  can’t buy, but ambition and tenacity can. 
  Even in well-planned chronicles, 
  players may reach a point where they are 
  bored and discontented with their place 
  in the story. A player in this position 
  actually has a couple of options. Starting 
  a new character, only playing the old one 
  from time to time, helps players see if 
  they still have what it takes to see a 
  character survive. As a Storyteller, make 
  sure the player doesn’t use this option to 
  accumulate 
  power 
  for 
  both 
  his 
  characters. Bringing in an old character’s 
  “relative” 
  and 
  allowing 
  interaction 
  between the siblings can mean trouble as 
  they “work together.” The easiest way to 
  discourage this is to deny any direct ties 
  between 
  old 
  and 
  new 
  characters. 
  Another option to is to take the 
  “advanced” character as a Narrator or 
  Storyteller character. The character’s 
  experience with your chronicle and 
  game as a whole can be used as a 
  resource by lesser characters (i.e., other 
  characters 
  seek 
  help 
  from 
  the 
  experienced character), and the older 
  character can be the means for future 
  stories. 
   
  Advancing in the Story 
  Characters grow stronger and more 
  powerful in game terms by acquiring 
  more Traits and Disciplines. However, 
  The Masquerade is about storytelling, 
  not crunching numbers (or hoarding 
  Traits). Thus, you probably want to 
  account for characters’ improvements in 
  terms of the story. After all, a character 
  just doesn’t walk down the street and 
  acquire a new Discipline just because his 
  experience points were cashed in. The 
  new Discipline should be accounted for 
  in the story. Is the character taught the 
  power by another Kindred?  
  Does 
  the 
  character 
  reach 
  a 
  transitional point in unlife which leads to 
  the development of new powers? Do 
  recently aroused instincts inspire new 
  powers? In the end, it’s up to the players, 
  but you should encourage them to 
  account for their characters’ changes and 
  improvements in the story. 
  
   
  End Notes 
  As a Storyteller or Narrator, you 
  have accepted a sizable responsibility 
  and workload. You’re to be applauded. 
  Without people like you, games like this 
  one 
  would 
  not 
  be 
  possible. 
  Congratulations and gratitude are in 
  order.  
  Hopefully, the sight of players 
  enjoying themselves is reward for your 
  effort. But remember, for many new 
  players, you are the first impression they 
  have, not only of The Masquerade, but 
  of live storytelling in general. Their 
  opinions about this and similar forms of 
  entertainment are determined by you. 
  Try not to let your power go to your 
  head. You’ll make mistakes— be big 
  enough to admit them. You’ll need 
  help— don’t be too proud to accept it. 
  Following your example, players will 
  also strive to make the game a fun one. 
   
  Chapter Ten: Adjudication 
  “Suave... He’s just so... suave.” 
   
  -Dennis Hopper, “Blue Velvet” 
   
   
  As a Storyteller and Narrator, one of 
  your most difficult tasks is adjudicating 
  the rules. When two players have a 
  dispute, you’re the one responsible for 
  settling it. In order to do this well, you 
  need to intuitively understand how the 
  challenge system works. 
   
  Challenges 
   
  When two players meet in the course 
  of a story, they may become involved in 
  some sort of conflict that cannot be 
  settled through roleplaying. Players 
  often have specific goals for their 
  characters, and rather than roleplaying a 
  situation that they know would be 
  detrimental to their goals, they naturally 
  want to offer resistance so that they can 
  continue following their motives. This 
  kind of situation requires a method by 
  which to determine the outcome. When 
  all other interaction comes to an end and 
  
  a dominant figure cannot be determined, 
  a challenge is declared. 
   A challenge can be called to resolve 
  almost any confrontation, but this should 
  be a last resort. If extraordinary vampire 
  powers are put to use, a challenge may 
  not occur: the target sometimes relents 
  before the superior power presented 
  before him. A challenge only occurs if 
  the target resists. A challenge may also 
  be called when someone wants to find 
  out a particular bit of information or 
  wants to exact his will over another’s. 
  As with extraordinary powers, scenes 
  involving 
  information 
  gathering, 
  seduction or just plain intimidation 
  should be acted out before going to the 
  extreme of a challenge. 
   
  There are many ways to avoid a 
  challenge. Straight-up acting offers 
  people the chance to practice their 
  “poker face” while telling lies and 
  persuading opponents to reconsider their 
  actions. The mere comment “you really 
  don’t want to do that” can strike terror in 
  the hearts of many, such as when a 
  Malkavian says it and laughs heartily. 
  However, there comes a time when even 
  bluffing doesn’t work and players must 
  resolve their conflicts through rules. 
   
  Appropriate Traits 
   
  Challenges do not usually require 
  your involvement as a Storyteller or 
  Narrator. This is especially true when 
  players are experienced. However, there 
  is some room for interpretation in the 
  challenge rules. If two players get 
  particularly stubborn, they may need 
  your assistance. 
   
  For instance, players can usually 
  only bid Traits that sensibly apply to a 
  situation. The basic rule is that a 
  challenge must use either Physical, 
  Social or Mental Traits. Only Traits 
  from the correct category can be used in 
  the challenge. Even then, not all Traits in 
  a category are valid. Brawny is useful 
  when punching someone, but it’s hard to 
  
  justify how it can help when wielding a 
  gun. For quickness of play, you can 
  decree that all Traits of the same 
  category apply, but for more realistic 
  play, such as with experienced players, 
  you can decree that only truly applicable 
  Traits apply (applicable Traits are 
  usually determined by the contestants of 
  a challenge). 
   
  To toss another wrench into the 
  works, there are some circumstances 
  where traits of different Attribute 
  categories may be appropriate. Say, for 
  example, that two players are debating. 
  Their applicable Social and Mental 
  Traits might apply. Again, both parties 
  must agree which Traits apply. 
   
  Intervention 
   
  It’s very common for players to have 
  questions about the rules. Unfortunately, 
  it’s almost as common for them to argue 
  about the rules. This is where you come 
  in. We don’t encourage players to call 
  for a Narrator, because no character 
  interaction takes place when players step 
  out of character. It’s best if players can 
  work out their problems in the context of 
  the story. It’s even better if a Narrator 
  can resolve their problem while playing 
  a character herself. 
   
  If you or your Narrators are busy, 
  you can encourage players to ask their 
  peers to make rule judgments. Allow 
  them to call another player to serve as 
  mediator in their challenge. Of course, 
  all players must remain in character. It’s 
  best to call upon the mediation services 
  of an experienced player. In terms of the 
  story, have players call upon another 
  player who has a character of earlier 
  generation. This elder figure has 
  authority over the two characters, and 
  his player is probably familiar with the 
  game (as previously suggested, it’s best 
  to assign elder roles to experienced 
  players). If players repeatedly call upon 
  
  the mediation services of an elder, the 
  characters may eventually accrue a debt 
  to the elder— he can demand prestation 
  for helping— which should encourage 
  players to resolve any future rule 
  disputes themselves. 
   
  Multi-Player Challenges 
   
  When three or more players decide 
  to enter a challenge, they will usually 
  need the assistance of a Narrator. These 
  large challenges can get rather confusing 
  and can be drawn out by player 
  arguments and indecisiveness, Your job 
  is to remain level-headed and to work 
  the challenge out as quickly as possible. 
   
  The first thing you need to do is 
  decide who is challenging whom. This is 
  usually obvious, hut when it’s not, you 
  need a quick way to work things out. 
  Simply have everyone involved count to 
  three at the same time. On three, each 
  player points at the individual he is 
  challenging. 
   
  The first challenge that must be 
  resolved involves the person who has the 
  most people pointing at him. Determine 
  what the appropriate category of Traits 
  would be— Physical, Social or Mental. 
  Each player pointing at the defender 
  must bid one appropriate Trait. This 
  group must also choose a leader. The 
  defender must then bid as many Traits as 
  there are people opposing him. If he 
  does not have enough Traits to do so, he 
  automatically loses the challenge. If he 
  does have enough Traits, a test is 
  performed between the defender and the 
  chosen leader of the attackers. The rest 
  of the challenge continues as normal, 
  although any comparison of Traits or 
  overbidding may only be done by the 
  group leader. 
   
  If the defender wins the test, he is 
  unharmed, but he can choose to affect 
  one member of the attacking group. 
  
  Usually, as in the case of a combat, this 
  would mean inflicting one wound. 
  Additionally, all Traits bid by the 
  attackers are lost. If the attackers win, 
  they may inflict one wound, and the 
  defender loses all the Traits he had 
  risked. 
   
  After the first challenge is 
  concluded, go on to the next one. 
  Continue the process until each character 
  who has declared an action has been the 
  target of a challenge or has donated 
  Traits, 
   
  A few clarifications should be made 
  regarding bystanders. People directly 
  involved in a group action (those who 
  point at a group target) who are not the 
  lead challenger do not have to donate a 
  Trait to the lead challenger or the target. 
  The player may leave the group action 
  and get involved somewhere else. 
  However, the player can only attempt to 
  get involved in one other action, or does 
  nothing while other characters act 
  around him. So, if a player moves from 
  one group action to another, and is not 
  the lead challenger there either, he may 
  not move on again. He must donate a 
  Trait to someone in the new group action 
  or do nothing at all. 
   
  If the roaming player is confronted 
  by someone else outside any group 
  actions, he can be challenged directly.  
   
  Acting Out Combat 
   
  One of the most difficult questions to 
  answer is what to do about the outcome 
  of combat. Typically, players react in a 
  manner appropriate to the outcome of 
  each combat challenge. For example, if a 
  character is hurt by another, the player of 
  the target may choose to yell out in pain 
  after the challenge. This probably 
  attracts the attention of the victim’s 
  comrades.  
   
  Then another action may be taken by 
  the victim to counterattack. A good rule 
  
  of thumb is to allow one verbal and one 
  physical reaction to the outcome of each 
  combat challenge. Each combatant, after 
  a combat challenge is resolved, can call 
  out once and decide on another single 
  course of action. The next course of 
  action for both is often determined by 
  one character’s plan to continue 
  attacking. The thing to remember is that 
  combat attracts unwanted attention. 
  Calling out and counterattacking, 
  thereby using both actions to call 
  attention to the struggle, is often a 
  defender’s best defense. 
   
  Progress in Time 
   
  In The Masquerade, time is 
  assumed to pass in the game as it does 
  on the clock. Time is time, and it doesn’t 
  stop or fast-forward on command. With 
  a few minor exceptions for powers such 
  as Celerity, time marches ever onward. 
  However, there are a few rules about 
  time that are worth noting. 
   
  The “three second” rule is a combat rule 
  that states that a person is considered 
  surprised if she does not react to a 
  Physical Challenge within three seconds. 
  Surprised people are at the mercy of 
  their attackers. Chapter Four explains the 
  rules for surprise in detail. 
   
  Rules of time usually involve powers 
  such as Thaumaturgy, Celerity, Rapidity 
  and Fleetness. Such powers often have 
  time limits measured by actual watches 
  or clocks. If a character spends 15 
  minutes performing a Thaumaturgic 
  ritual, the player must spend 15 minutes 
  undisturbed in one place. For powers 
  that work with seconds, players must 
  count the seconds aloud. This is a signal 
  that other players must remain frozen (as 
  in the case of Celerity and related 
  powers). 
   
  As a Storyteller or Narrator, you 
  always have the right to call for a time-
  
  out, but you should rarely do so. A time-
  out stops all activity among those 
  players who can hear you, giving you 
  time to resolve a particularly sticky 
  situation. Time-outs, however, ruin the 
  flow of the story. It is far better to take 
  contestants into a side room and talk to 
  them there rather than stop everyone else 
  from roleplaying. 
   
  Advice on How to Judge 
   
  Typically, there is no right or wrong 
  way to judge Mind’s Eye confrontations. 
  Using your head and thinking logically 
  enables you to answer most questions as 
  they arise. Players can actually be good 
  at resolving conflicts among themselves. 
   
  The only thing you should really be 
  concerned with is ‘keeping the storyline 
  interesting so that players aren’t tempted 
  to kill other characters just for the thrill 
  of it. Nonetheless, there are situations 
  you may encounter that may try your 
  patience. Persevere through it all and 
  you will be rewarded with a good time 
  for everyone. 
   
  Breaking the Rules 
   
  At some point during the game, you 
  may wish to break the rules to keep the 
  story rolling. This is perfectly accept-
  able, as long as you don’t do it all the 
  time, Doing so makes players dependent 
  on you. Try to resolve problems based 
  on the logic of the story, particularly if 
  the “official” rules call for a resolution 
  that doesn’t exactly make sense in the 
  context of the story. Don’t be afraid to 
  break the rules. As long as the game is 
  fun, players probably don’t care that 
  you’ve disregarded the letter of the law. 
  The spirit of the game is more important. 
   
  Game Tools 
   
  Although The Masquerade is 
  primarily about storytelling and 
  roleplaying, there are elements of stories 
  
  that must be addressed in terms of rules. 
  For instance, how do you handle magical 
  items or animals in the game? This 
  section offers details and insights into 
  how to manage events, characters and 
  items in terms of rules. If you partake of 
  several different games of The 
  Masquerade, acting as player, Storyteller 
  and Narrator, try to keep your 
  knowledge of the following information 
  to yourself. Announcing the specific 
  Traits of an animal only ruins everyone 
  else’s fun. And even though you have 
  inside information, try to behave as if 
  you don’t when acting as a player; try to 
  make yourself as ignorant as your 
  character. 
   
  Artifacts and Inventions 
   
  Occasionally, a vampire may create 
  an artifact, an invention, or a magical or 
  scientific device to use in the story. 
  These devices sometimes have strange 
  abilities, and sometimes they have none 
  at all; they’re just really old. When you 
  use these items as a focus for your 
  stories, they can figure prominently even 
  if they’re never seen. The Maltese 
  Falcon is a good example of this type of 
  item, in that it drives the central theme 
  of the movie, but is hardly ever seen. 
  Everybody wants it, but nobody is sure 
  what it is. Be careful not to use these too 
  often in your stories. Your players may 
  become bogged down in the acquisition 
  of material things. 
   
  Use your imagination when making 
  up artifacts and inventions, but be 
  careful that you limit their use. As with 
  weapons, you must not design them to 
  be a crutch for your Cast. Live 
  interaction is the name of the game. 
  Make some of them fairly innocuous, 
  like a gold statuette of Caine, sculpted 
  by a Malkavian in the 13th century. One 
  or two devices could be powerful, with 
  Disciplines all their own, but may 
  
  require the blood of an Ancient vampire 
  to work. Let your imagination run free. 
   
  If players want to introduce artifacts 
  or inventions, you have to judge their 
  impact on the game. Decide whether the 
  item could become a crutch or interfere 
  with roleplaying. Also decide if the item 
  will unravel your story. If you fear that 
  an item is causing trouble, tone down its 
  capabilities or disallow its use. 
   
  The following are some magic items 
  that can be introduced to your games, 
  either as story hooks or tools utilized by 
  characters. Magic items should be 
  represented by cards or props that you 
  create. 
   
  The Tortuous Glass 
   
  This magical mirror was designed by 
  a particularly sadistic Tremere to torture 
  a few vain Toreadors. The possessor of 
  the mirror must sacrifice a Blood Trait to 
  it each day to fuel its powers. The Trait 
  can he the possessor’s or a victim’s. 
  (Blood must be poured into a small 
  funnel hidden in the scrollwork at the 
  top of the mirror.) 
   
  When the mirror has been fed with 
  blood, it alters the images of vampires 
  who look into it (mortals looking into 
  the mirror appear normal). Vampires can 
  be made to look horrific or cast no 
  reflection at all. The mirror also 
  duplicates all the current Mental Traits 
  that the blood donor has at the time of 
  feeding. If a vampire looking into the 
  mirror fails a Static Mental Challenge 
  against all the Traits invested into the 
  mirror, the vampire gains a 
  Derangement. The Derangement usually 
  involves a response to a horrific 
  appearance (Nosferatu are therefore 
  immune to the effect). The Mental Traits 
  invested in the mirror fade at the next 
  sunrise; they are not lost if the mirror 
  
  loses a Mental Challenge with an 
  onlooker. 
   
  The mirror is virtually unbreakable 
  and has spent years hanging on dungeon 
  walls as a means of torture for vampiric 
  prisoners. Some believe that the legend 
  of vampires casting no reflection may 
  have originated with this item. 
   
  No one knows if humans can 
  manipulate the mirror. If they could, it 
  would be a great boon to many vampire 
  hunters. 
   
  Toecuffs of Cold Iron 
   
  These punitive devices are designed 
  to go on the toes of magic-using 
  creatures. They dampen the magical 
  energy of such creatures by “grounding” 
  them. They are therefore highly effective 
  against Tremere. Many Tremere accused 
  of breaking the Masquerade have been 
  punished this way. Unfortunately, there 
  are few sets left today; few have had the 
  proper rituals spoken over them. 
   
  When a Tremere has these properly 
  attached to his toes, he must make a 
  successful Static Mental Challenge 
  against five Traits before even 
  attempting to perform any ritual. If the 
  Mental Challenge fails, all Traits bid are 
  lost for the duration of the story. 
  However, if the Mental Challenge 
  succeeds, the Tremere retains his Traits 
  and may proceed with the intended 
  ritual. 
   
  In terms of the game, rubber bands 
  can be wrapped around the player’s 
  individual toes, or around all the toes of 
  each foot, The player is then left to enact 
  travel with such a burden. Removing the 
  toecuffs is difficult and requires 
  someone with the Security Ability to 
  even think about trying it. The attempt 
  then requires a successful Static Mental 
  or Physical Challenge, whichever is 
  appropriate to the means used to remove 
  the cuffs.  
  
   
  The Storyteller is left to determine 
  the static difficulty of removing the cuffs 
  so that players don’t become 
  complacent, expecting the same 
  difficulty each time. If application of the 
  Security Ability to remove the cuffs 
  fails, the Tremere might lose his toes! 
   
  Blood Amulet 
   
  These magical items were created 
  during some time of strife in the distant 
  past. There are amulets for each clan. An 
  amulet endows the wearer with one basic 
  clan Discipline, and a single Trait that 
  may be applied to any single 
  challenge— Physical, Social or 
  Mental— every night. A vampire must 
  be of the same clan as the amulet for the 
  Discipline and Trait to function. Indeed, 
  if a member of a different clan wears an 
  amulet and tries to activate the amulet’s 
  Discipline or its “free” Trait, the wearer 
  automatically suffers one injury and the 
  Discipline or Trait fails to activate.  
   
  More than one amulet can be worn at 
  the same time (provided amulet and 
  wearer are of the same clan), but if the 
  wearer naturally possesses an amulet’s 
  Discipline, the item is of little value. The 
  extra Trait still serves the wearer, 
  though. 
   
  To use an amulet’s “free” trait, the 
  wearer must present the jewel to the 
  challenge’s opponent. However, if an 
  opponent in any other challenge suspects 
  the wearer has an amulet and is gaining 
  power from it, that opponent may 
  present the amulet as a Negative Trait 
  against the wearer. The wearer is 
  penalized a Trait in the current 
  challenge. It’s therefore best for an 
  amulet’s wearer to keep the item hidden 
  until needed. 
  The Discipline invested in an amulet can 
  be sensed as soon as the item is put on. 
   
  When Worlds Collide 
  
  “A man’s got to know his limitations.” 
  — Dirty Harry Callahan 
   
   
  In Mind’s Eye Theatre, people who 
  work against the players’ characters are 
  called antagonists. Sometimes players 
  themselves assume the roles of 
  antagonists, facing off against other 
  players. For the most part, though, 
  antagonists are played by Narrators. 
  Chapter Five of this book details the 
  different hierarchies of vampires, 
  indicating their advantages, 
  responsibilities and motivations. This 
  section details different kinds of 
  opponents in game terms. 
   
  Indeed, you should refer to this 
  section if players get bored, or if they 
  think their characters are too tough for 
  most opponents. Paranoia, sleepless days 
  and even outright terror strike characters 
  when you mention enemies like Lupines, 
  Methuselahs or ghosts. 
   
  Antediluvians and Methuselahs 
   
  Antediluvians and Methuselahs are 
  ancient Kindred of third or fourth 
  generation. They have existed for 
  thousands of years— no one is sure 
  exactly how long. It’s said that they 
  wield god-like powers, and a drop of 
  their blood is supposed to grant immense 
  power. It is also said that these ancients 
  only gain nourishment from the blood of 
  other Kindred. 
   
  Methuselahs are the more likely of 
  these two ancients to involve themselves 
  in the affairs of lesser Kindred, hut they 
  stay out of the spotlight. They use their 
  lessers to wage wars upon each other. 
  Under no circumstances should it he 
  possible for characters to capture or 
  harm a Methuselah, at least not without 
  great effort by at least ten characters. 
  Even then, the task should be extremely 
  difficult. 
  
   
  Antediluvians are the more powerful 
  of the two groups. It’s said that they 
  sleep within the earth, awaiting Gehenna 
  (the time of destruction). On this night, 
  they are supposed to rise to drink the 
  blood of lesser Kindred. This is the only 
  blood that sustains them, and after eons 
  in the soil, they will be hungry indeed. 
   
   
  Elders 
   
  Elders are very old vampires who do 
  not directly rule the city, but still 
  maintain a great deal of influence over it 
  and its lesser Kindred. Elders typically 
  have 10 primary, eight secondary, and 
  six tertiary Attribute Traits.  
   
  An Elder also has five to 10 
  Disciplines (including intermediate and 
  advanced ones). As they are very 
  experienced, elders have a considerable 
  number of Abilities, generally 15 to 20. 
  Elders also have a great deal of 
  Influence over mortal society and have 
  many servants, retainers and even some 
  progeny to draw upon. The number of 
  Attribute traits indicated on the 
  “Generation Table” in Chapter XX is the 
  starting number an elder has by 
  generation. More experienced elders 
  clearly have more, as reflected by the 
  numbers given above. 
   
  The Prince 
   
  The prince is usually the single most 
  influential and powerful Kindred in the 
  city... at least as far as she knows. The 
  actual power any given prince wields 
  varies from one city to the next, usually 
  depending on the support and ambition 
  of the various elders. The prince’s power 
  also depends on the strength of the 
  anarch faction. 
   
  A prince can have 15 primary 
  Attribute Traits, 11 secondary Traits, 
  and eight tertiary Traits. A prince 
  usually has 10 to 13 Disciplines, 20 to 
  
  25 Abilities and extensive Influence in 
  mortal and Kindred society. Again, 
  Blood and Willpower Traits are a direct 
  reflection of the prince’s generation. 
   
  Lupines 
   
  Lupines, or werewolves, inhabit the 
  countryside surrounding many cities. 
  They are numerous, and on occasion, 
  they venture into cities to hunt their 
  mortal enemies, vampires. Vampires are, 
  Lupines believe, part of a great, 
  corruptive mystical energy they call the 
  Wyrm. The Wyrm is seen as responsible 
  for the entropy that grips our planet, and 
  it is werewolves’ sworn duty as 
  defenders of the world to stop it. Perhaps 
  there is some truth to Lupine 
  mythology— maybe within the legend 
  of the Wyrm there is a clue as to the 
  genesis of vampires. 
   
  Lupines are fearsome creatures. 
  They usually concentrate on Physical 
  Attribute traits. They cannot have 
  vampiric Disciplines, but are considered 
  to have Fortitude, Celerity, Wolf’s 
  Claws and Potence. Typical Lupines 
  have 14 Physical Traits, nine Social 
  Traits and five Mental Traits. Lupines 
  are exceedingly dangerous. More 
  exacting details on Lupines are included 
  in Mind’s Eye Theatre: The Apocalypse. 
   
  Mummies 
   
  Mummies have their origins in 
  ancient Egypt. Each one has received the 
  Spell of Life, an ancient Egyptian ritual 
  that renders the recipient immortal. Of 
  all the individuals inhabiting this dark 
  world, mummies are the only ones who 
  experience the continuous cycle of life 
  and death. They are therefore true 
  immortals and are rarely extinguished. 
  Mummies rarely involve themselves in 
  the affairs of others, although there is a 
  distinct faction among them that works 
  against the Followers of Set.  
  
   
  Indeed, their origins can be found in 
  Set’s dark history. When a mummy does 
  involve herself in Kindred affairs, it is 
  often for personal reasons. Most 
  mummies are aware of the existence of 
  Kindred and are aware of their various 
  strengths and weaknesses. A mummy’s 
  typical role is manipulative rather than 
  confrontational. However, their 
  knowledge of Kindred weaknesses and 
  their centuries-old skills make them 
  deadly adversaries. 
   
  Mummies have access to various 
  potions and amulets (many of which can 
  grant them additional traits). A mummy 
  begins with at least eight primary, six 
  secondary and four tertiary Attribute 
  traits. Bear in mind that because of their 
  immortality, it is entirely possible for 
  mummies to have considerably more 
  Traits than the number listed here. Also 
  remember that there are less than 50 
  mummies believed to be left in the 
  world.  
   
  Mummies can come from any 
  profession in ancient Egypt and 
  therefore vary widely in Abilities. They 
  have at least eight different Abilities. 
  Some mummies even have magical 
  powers at their disposal. 
   
  Humans 
   
  Humans present an interesting 
  challenge in The Masquerade. They are 
  the one encounter that players have on a 
  constant basis. Characters need humans 
  to feed, and a Narrator should be able to 
  make up human characters on the spot. 
   
  Humans normally have the same 
  number of Attribute Traits as 13th 
  generation vampires. They also have the 
  same number of Abilities. They may not 
  learn vampiric Disciplines, though; 
  human beings are not of the 
  supernatural, so they usually have no 
  supernatural powers. 
  
   
  There is one power that humans may 
  have, however— Faith. Faith is found 
  only in those with an extreme conviction 
  in a Higher Being. Faith acts as a 
  powerful repellent to vampires. If a 
  human character presents his Faith (in a 
  religious display in which some religious 
  symbol is presented), vampires present 
  must make a Mental Challenge against 
  the human to remain in his presence. The 
  action is resolved as a multi-player 
  encounter if there is more than one 
  vampire present, the vampire must win 
  the challenge to remain present. 
  Otherwise, she will flee the human’s 
  presence and cannot confront him again 
  for a full two hours. Even then, the 
  vampire must win another Mental 
  Challenge. Expenditure of a Willpower 
  Trait allows a vampire to remain in the 
  Faithful’s presence, but if the human 
  continues to demonstrate his Faith, 
  successive Willpower Traits must be 
  spent to remain. 
   
  If the human with Faith loses a 
  Mental Challenge to keep vampires 
  away, he loses the Mental Traits bid (as 
  a reflection of his spiritual exhaustion). 
  The power of Faith itself is not lost; it is 
  merely rendered ineffective once all 
  Mental Traits are lost. 
   
  Faith is a power left to the Storyteller 
  or Narrator to assign. Remember, very 
  few humans have Faith, so grant this one 
  sparingly. 
   
   
  Ghouls 
   
  Ghouls are the human servants of 
  Kindred. They are created by allowing a 
  mortal to drink of Kindred blood. After 
  drinking vampire blood, a human 
  temporarily ceases aging and acquires 
  some of the abilities of vampires. Ghouls 
  make excellent retainers, for once a 
  ghoul drinks his master’s blood three 
  times, he is Blood Bound. If more than a 
  
  month passes without the opportunity to 
  feed, a ghoul becomes mortal once again 
  and the Blood Bond fades (Blood Bond 
  does not have the powerful hold over 
  mortals that it does over vampires). If a 
  ghoul has been sustained past his mortal 
  life span, but is abandoned, he ages very 
  quickly. Many vampires create ghouls as 
  servants to protect them during daylight 
  hours. 
   
  Ghouls can be enacted by players or 
  Narrators. They make intriguing 
  characters for players. Granted, ghouls 
  do not have the sheer power of vampires, 
  but do have certain advantages. For 
  instance, they can move about freely in 
  sunlight and do not need blood to sustain 
  themselves. 
  Many interesting subplots, or even main 
  plots, can be woven around ghoul 
  characters. Perhaps a vampire promises 
  that the ghoul who serves her best will 
  be Embraced after completing a certain 
  task. This can make for a rivalry 
  between two or more ghouls, as each 
  strives to best serve the mistress. Maybe 
  a ghoul is dissatisfied with his master 
  and seeks a new one, or his master has 
  met Final Death and the ghoul must find 
  a new one before the month is up. 
   
  As Narrator characters, ghouls can 
  be used as low-level messengers of 
  powerful individuals. Or, if the setting is 
  the dwelling of a powerful Kindred, such 
  as the prince, Narrators can play the 
  parts of ghouls in the service of that 
  vampire. Such roles allow Narrators to 
  mingle without seeming out of place. 
  They can step out of character only 
  when needed to settle a rule dispute. 
  Such characters can also be used to help 
  advance the plot, spreading rumors and 
  other tidbits of information to visiting 
  Kindred. 
   
  As a human, a ghoul has the same 
  number of Attribute Traits and Abilities 
  
  as a 13th generation vampire. All ghouls 
  begin with the vampiric Discipline of 
  Potence, and some have even come to 
  learn a few other Disciplines that their 
  Regnants possess. Most Ghouls have one 
  Blood Trait, although some have more. 
  A very few exceptional ghouls may have 
  one Willpower Trait. 
   
   
  Wraiths 
   
  Wraiths are restless souls who haunt 
  the living. For one reason or another, a 
  wraith has been kept from its final rest 
  and roams the mortal realm. Wraiths can 
  be of any disposition: Benevolent, 
  vindictive, malicious— regardless of the 
  motivations and emotions that sustain 
  them, they are very passionate creatures. 
  They can be summoned and commanded 
  to perform a task or can be “indigenous” 
  to a locale. Wraiths have incredible 
  sensory abilities and are normally 
  invisible to all but the spirit sensitive and 
  those with Auspex. Wraiths make 
  excellent spies. 
   
  A typical motive for a Wraith is 
  revenge. This is, however, by no means 
  a wraith’s only plot option. A wraith is 
  rarely free to simply roam around. If one 
  is not summoned, it is probably tied to a 
  certain location, event or person. 
  Sometimes wraiths are bound to a 
  certain goal or purpose. 
   
  Mages 
   
  Mages are practitioners of arcane 
  lore. They are humans of great power, 
  and most Kindred avoid them whenever 
  possible. However, a few Kindred have 
  been known to ally with mages, 
  occasionally forming friendships, Some 
  mages hate the Tremere with a 
  vengeance, branding them traitors and 
  extinguishing them whenever their paths 
  cross. Mages practice their own form of 
  
  the masquerade, keeping out of sight of 
  mortals and most Kindred. 
   
  Mages can add a new depth to a 
  story, but should generally be used only 
  as Narrator characters. A mage can be a 
  useful contact should a character seek an 
  item of mystical nature. It is possible 
  that a mage could request a service of 
  some sort in exchange for an item. Such 
  contact with mages can lead to a whole 
  series of new stories. A mage could even 
  be a Kindred’s patron, offering rituals or 
  enchanted objects in exchange for things 
  the vampire can attain, like the blood of 
  an elder vampire or werewolf teeth. 
   
  Mage characters have several 
  Attribute Traits and Abilities. Mental 
  Traits are primary. They also have 
  access to forms of magic not available to 
  vampires, in addition to Thaumaturgy. A 
  mage often has one or more Willpower 
  Traits; one must be strong-willed to 
  wield magic. 
   
  Faeries 
   Sometimes the Garou encounter beings 
  that have never been fully explained. A 
  variety of beings draw upon the power 
  of magic to cross into this plane of 
  existence from a realm called “Arcadia.” 
  Perhaps they are attracted to magic and 
  magical places like moths to a flame. For 
  the purposes of Mind’s Eye Theater, we 
  shall refer to them as faeries. 
   
  Faeries exist in a magical realm. 
  Arcadia, the Otherworld, Hy-Brasil, Tir-
  na’nogth— regardless of the name used 
  for this realm, it is the place where the 
  fey are all-powerful. Their forays into 
  this world are but accidental intrusions. 
  It is usually on days of special magical 
  import, such as Samhain— the day that 
  gates between the worlds are 
  weakened— that faeries enter the mortal 
  world. Some Garou, particularly the 
  Fianna, have a sort of kinship with the 
  fey, and may even at times call on 
  faeries or the kin of the faeries for aid. 
  
  As with all dealings with faeries, there is 
  always a price. 
   
  Faeries prefer to not be seen in our 
  world. They use a variety of natural 
  Obfuscation powers. Faeries generally 
  have high intelligence (Mental Traits are 
  primary). Faeries also have their own 
  form of magic, which no Kindred or 
  werewolf has ever learned. Few things 
  are known to harm faeries, but there is 
  legend that cold iron may drive them 
  back to their own realm. Knowledge of 
  faeries is limited to legend, however. 
  The secrets of their world remain to be 
  seen 
   
  Sabbat 
   
  The Sabbat is the enemy sect of the 
  Camarilla. They believe the Camarilla is 
  just a pawn of the Antediluvians, who 
  will consume the blood of all childer 
  upon their awakening at the time of 
  Gehenna. The Sabbat have made it their 
  primary goal to destroy the Camarilla. 
  They accomplish this by any means 
  possible. 
   
  The Sabbat are very different from 
  the vampires of the Camarilla in that 
  they no longer see themselves as human 
  in any way. They think it foolish to 
  attempt to hold onto humanity, instead 
  searching for a higher morality. Many of 
  the Camarilla perceive Sabbat ways as 
  evil, for the Sabbat view mortals as 
  lesser beasts to be used as the vampires’ 
  needs require. 
   
  The most probable option for a 
  Sabbat character in a story is that of a 
  spy observing the Camarilla. What this 
  spy is attempting is dictated by your 
  story. In an ongoing chronicle, a spy 
  might not reveal herself until after 
  several stories have been told, if even 
  then. Generally, a Sabbat spy’s goals are 
  to learn of weaknesses within the 
  hierarchy of the Camarilla. A spy might 
  even sabotage the plans of elders 
  
  whenever possible and create friction 
  among the clans, leaving the city open 
  for a Sabbat takeover. 
   
  As a Narrator character, a member of 
  the Sabbat can seek to subvert one or 
  more of the characters, offering them 
  bribes or gifts. Such offerings might be 
  particularly tempting to a character who 
  has been unwillingly Blood Bound, as 
  the Sabbat supposedly possess a ritual 
  for breaking the Bond. Beware, though, 
  for once a character joins the Sabbat, he 
  is theirs forever. 
   
  It’s also possible that you may want 
  to tell an entire story from the Sabbat’s 
  perspective. Such a story would have a 
  very different feel to it than the usual 
  Camarilla story. Combat would be 
  emphasized, with a higher risk of 
  character mortality. 
   
  Sabbat characters should be made 
  exactly as other vampire characters, 
  though some of the Sabbat clans possess 
  unique Disciplines. 
   
  Other Rules 
   
  So what now? You’ve looked over 
  this book and understand the game’s 
  systems. What more is there? 
   
  There’s a lot more, my friend. Limits 
  to the rules are not limits to your 
  imagination. While all the systems 
  described in this game are good 
  guidelines, there is a lot more you can 
  add. 
   
  Not every adjective in the English 
  language is listed under Attribute Traits. 
  Any single word that describes a quality 
  can conceivably be used as an adjective 
  in this game. If there is an appropriate 
  word for a situation, use it. As a 
  Storyteller or Narrator, your powers are 
  limitless. The point is to create fun for 
  you and your players. 
  If you want to create new Disciplines or 
  Abilities, do it.  If you want to 
  experiment by creating new rules, do it. 
  
  Nothing is prohibited; everything is 
  permitted. You may wish to use the 
  techniques of flashback to describe past 
  events more fully to your players. You 
  may wish to set your world in the distant 
  past or future. Whatever you do, have 
  fun doing it. 
   
  The following sections are additional 
  rules that you can apply to the game, but 
  only as needed and as you please. 
   
  Cards 
   
  Included in this book is a sheet of 
  card templates. On it are cards that 
  represent weapons, animals and 
  prestation. 
   
  Weapon cards depict the weapon 
  possessed and list all positive and 
  Negative Traits attributed to the weapon. 
  These cards need to be held when the 
  weapon is produced. Some weapons, 
  like swords, rifles and shotguns, are 
  impossible to conceal without a trench 
  coat and should be carried for public 
  display at all times. Other cards can be 
  kept hidden away until the weapon is 
  drawn. 
   
  Animal cards indicate all the positive 
  and Negative Traits of the animal in 
  question (as listed below). Such cards 
  are carried if a character has an animal 
  companion. Others are given to those 
  with the Nature of the Beast Discipline 
  to indicate Traits received from the 
  animal spirit contacted. 
   
  Prestation cards are blank, with 
  space left for players to write in favors 
  held over other characters, Favors are 
  measured in Social Traits, usually 
  ranging from one to five. These traits can 
  be used from story to story until the 
  favor owed is paid off. The name of the 
  dupe— the one who owes the favor— 
  should be written on the card. 
  More cards will be released in future 
  Masquerade supplements. 
  
   
  Spirit Combat 
   
  Psychically projecting individuals 
  can readily see each other as long as 
  their line of sight is not impaired by 
  physical world structures or creatures, or 
  supernatural barriers. Such projecting 
  characters may also communicate freely 
  with one another. Only purely Mental 
  and Social Disciplines, such as Aura 
  Perception, Telepathy and 
  Entrancement, may be used against one 
  another (see the Psychic Projection 
  Discipline in the Chapter Three for full 
  details on the power). 
   
  A far more common form of 
  confrontation among Psychically 
  Projecting characters, however, is a 
  mental duel. In this scenario, the 
  combatants lash out at each other’s 
  psyches with either ego or intellect. 
  Eventually, one falters and is driven 
  back to his physical body.  
   
  Alternatively, combatants may draw 
  on their corporeal resources in a last 
  ditch effort. The price of defeat for an 
  individual who expends these last 
  reserves, however, is death. 
   
  In game terms, characters in a 
  psychic contest of wills perform contests 
  much as physical combatants do, except 
  they may only employ Mental and Social 
  Traits, The two match wills and presence 
  to overwhelm each other. The first one 
  to yield in a challenge or expend all of 
  his Mental or Social Traits is banished 
  from the astral plane, back to hearthly 
  body.  
   
  Thus, if you ever relent in a contest 
  of wills, you are immediately driven out 
  of the astral plane, but if you continue 
  struggling, you have a chance to remain 
  there and drive your opponent out. A 
  Kindred who loses or relents in this 
  contest of will or Presence may not 
  project her spirit from her body again 
  
  until all Mental and Social Traits are 
  regained. (It doesn’t matter what Traits 
  were lost in the astral plane, all Mental 
  and Social Traits must be restored). 
   
  Those who refuse to be driven from 
  the astral plane when the above rules 
  demand may draw on the Physical Traits 
  of their bodies for power (although 
  Physical Disciplines cannot be used). In 
  this way, a combatant may continue to 
  fight, but not without a cost. Any 
  Physical Traits spent and lost in astral 
  plane contests are lost permanently. If a 
  combatant expends the last of his 
  Physical Traits, he perishes and his spirit 
  dissipates. Even if a combatant uses 
  Physical Traits in the astral plane and 
  remains there (drives his opponent out), 
  any Physical Traits bid and lost are still 
  lost permanently. 
   
  Status Traits can be used in astral 
  battles, but only if applicable to the 
  situation. If combatants are fighting to 
  the physical and spiritual death, one’s 
  respect within the Camarilla doesn’t 
  have much effect on an opponent. 
   
  Animals 
   
  The following are the Traits 
  possessed by different animals that 
  might be encountered in a story. Their 
  traits can be bid in contests against 
  Kindred (note that some new traits are 
  introduced to reflect the unique natures 
  of these animals). Each animal also has 
  its own “Derangement”. Animal De-
  rangements are the natural tendencies of 
  beasts, indicating how animals behave 
  and in what kinds of situations they lose 
  control (or “frenzy”). 
   
  The Storyteller or a Narrator is free 
  to alter the health levels of animals as 
  compared to Kindred; a bear might have 
  to be injured twice before being 
  wounded, whereas a small rat might be 
  killed after being injured only once. 
  Furthermore, in dishing out damage, a 
  
  bear might cause two health “levels” of 
  damage for every blow, whereas a small 
  rat might have to bite twice to reduce a 
  vampire by one health “level.” 
  • 
  Owl — Insightful, Knowledgeable, 
  Reflective, Discerning 
   
   Derangement: Must avoid well-lit 
  areas 
  • 
  Wolf Ferocious, Tenacious, Cunning 
   
   Derangement: Deferment; will not 
  act against  
   
   the first individual who defeats it in 
  any Physical  
   
   contest 
  • 
  Bat — Quick, Quick, Quick 
   
   Derangement: Must avoid well-lit 
  areas 
  • 
  Rat — Nimble, Resilient, Cunning 
   
   Derangement: Agoraphobic; fear 
  and therefore  
   
   avoidance of open spaces 
  • 
  Bear — Stalwart, Resilient, 
  Relentless, Intimidating 
   
   Derangement: Short-tempered; 
  becomes  
   
   enraged if injured 
  • 
  Eagle — Vigilant, Vigilant, 
  Dignified 
   
   Derangement: Claustrophobic; fear 
  of enclosed  
   
   spaces 
   
   
  • 
   Tiger—Dexterous, Dexterous, 
  Ferocious, Surefooted 
   
   Derangement: Solitary; seeks to he 
  solitary and avoids  
   
   others 
  • 
   Stallion — Tireless, Robust, 
  Surefooted, Brawny 
   
   Derangement: Reckless; wild with 
  abandon 
   
   
  Because of their unique natures, 
  animals often exist outside The 
  Masquerade’s rules. For instance, their 
  
  Derangements are often different from 
  those of Kindred. The Storyteller and 
  Narrators are given wide latitude when 
  playing animal characters, and they are 
  free to bend the rules whenever an 
  animal’s nature is best represented by 
  doing so. Narrators should also pay close 
  attention to characters with the Nature of 
  the Beast Discipline, ensuring that 
  animal qualities are roleplayed 
  satisfactorily. 
   
   
  Conversion Rules 
   
  Vampire is the tabletop storytelling 
  game played in the same setting as The 
  Masquerade. Because the rule systems 
  of these two games are as different as 
  petals and thorns, it might seem 
  impossible to transport a character from 
  one game to the other, But, because both 
  are designed with the same priorities, 
  conversion from one to the other is 
  surprisingly easy. 
   
  Guidelines for converting a character 
  created using the Vampire rules are 
  presented here in five steps. These five 
  steps parallel the steps of Masquerade 
  character creation. Only the powers 
  described in the main Vampire rulebook 
  are covered here, but with an 
  understanding of the conversion process 
  and a little extrapolation, you should he 
  able to convert all the powers available 
  in other Vampire supplements. 
   
  Of course, if any of the conversion 
  procedures do not properly convey your 
  Vampire character in Masquerade 
  terms, feel free to alter your 
  Masquerade equivalent as required. A 
  perfect duplicate, only under a different 
  game system, might not be possible 
  without some fudging of the following 
  “rules”. 
   
  Step One: Inspiration 
  
   
  This is the easiest step of the five. 
  Static Vampire character information 
  such as name, Demeanor, Nature, clan 
  and generation transfers directly to The 
  Masquerade. Both games share the same 
  world and the same background. 
   
  The Vampire character’s personality 
  can be forced into one of The 
  Masquerade character concepts, hut it 
  doesn’t need to be. In essence., the 
  converted character’s personality need 
  not change at all. 
   
  Step Two: Attributes 
   
  The adjective Trait system of The 
  Masquerade corresponds to the point 
  system for Attributes in Vampire. In 
  Vampire, starting characters are 
  allowed to distribute seven points to 
  their primary Attribute category, five to 
  their secondary and three to their 
  tertiary. They also receive three initial 
  points in each Attribute category, with 
  one allocated to each subcategory. With 
  the exception of these initial three 
  points, the Masquerade character gets as 
  many Attribute Traits as the Vampire 
  character has Attribute points. So add up 
  all the dots the Vampire character has in 
  each Attribute category and subtract 
  three from each— the resulting figure is 
  the number of Traits the Masquerade 
  character has in each Attribute category. 
   
  Now you have to choose exactly 
  which Traits you have. The 
  Masquerade’s adjective Trait system 
  describes characters with more diversity 
  and precision than does Vampire. 
  Because of Vampire’s less than perfect 
  match, you have to apply some 
  creativity, deciding how your Vampire 
  character’s identity translates into 
  adjectives. 
   
  Masquerade Trait categories— 
  Physical, Social and Mental— can be 
  subdivided into the same Attribute 
  subcategories used in Vampire. For 
  
  example, Physical Traits can be 
  classified as Strength, Dexterity, 
  Stamina and miscellaneous statistics. To 
  keep the general trend of Attributes for 
  the converted character, pick the same 
  number of Traits (minus one) as points 
  in the Vampire Attribute subcategories. 
  (For example, if the original Vampire 
  character has four points of Dexterity, 
  choose Graceful, Lithe and Dexterous 
  Traits, since these are related to 
  Dexterity. The fourth Trait is lost 
  because it is owed to a Vampire free 
  point.) 
   
  Feel free to play with the number of 
  Vampire Attributes you have so you can 
  choose some miscellaneous Traits, too. 
  Here is an informal breakdown of 
  Vampire’s Attributes in terms of The 
  Masquerade’s Traits: 
  Physical 
  Strength — Brawny, Wiry, Ferocious, 
  Stalwart, Tough 
  Dexterity — Dexterous, Nimble, 
  Graceful, Lithe 
  Stamina — Resilient, Tireless, Robust, 
  Rugged, Enduring 
  Miscellaneous — Energetic, Tenacious, 
  Athletic, Vigorous, Steady 
  Social 
  Charisma Charming, Genial, Eloquent, 
  Dignified, Charismatic 
  Manipulation Empathetic, Commanding, 
  Ingratiating, Persuasive, Beguiling 
  Appearance—Alluring, Magnetic, 
  Seductive, Elegant, Gorgeous 
  Miscellaneous — Diplomatic, 
  Expressive, Witty, Intimidating, Friendly 
  Mental 
  Perception — Insightful, Vigilant, 
  Discerning, Attentive, Observant 
  Intelligence Cunning, Knowledgeable, 
  Reflective, Rational 
   
  Wits 
  Intuitive, Alert, Clever, 
  Shrewd, Wily 
  
  Miscellaneous Disciplined, Dedicated, 
  Patient, Creative, Determined, Wise 
  Vampire’s Virtues convert into three 
  Masquerade traits, Conscience converts 
  into the Social Trait of Compassionate. 
   
  Self-Control converts into the Mental 
  Trait of Calm. Courage converts into the 
  Physical Trait of Stalwart. However, the 
  Masquerade character only receives 
  these traits if the Vampire character has 
  a score of five in the Virtues. 
   
  René looks at her Vampire character 
  sheet, which holds information on a 
  character named Linda, She counts six 
  dots in Physical, 12 dots in Social, and 
  nine dots in Mental Attributes. She 
  subtracts three in each and ends up with 
  three Physical, nine Social, and six 
  Mental traits for her converted 
  Masquerade character. Now she has to 
  choose what Traits are appropriate. 
   
  For Physical, she chooses Graceful, 
  Resilient and Energetic, all of which 
  reflect qualities of her Vampire 
  character. The Traits are also chosen in 
  roughly the same point distribution of 
  her Vampire character’s Attributes. 
   
  For Social Attributes, she picks 
  Alluring twice and Seductive once. She 
  selects two Empathetic Traits because of 
  her Vampire character’s high empathy, a 
  Persuasive Trait, and a Beguiling Trait 
  because of her Vampire character’s high 
  Subterfuge. She rounds this out with two 
  Charming Traits (stemming from her 
  Vampire character’s high charisma). 
  For Mental Traits, she chooses 
  Insightful, Observant, Cunning, Wily, 
  Intuitive and Determined. 
   
  Step Three: Advantages 
   
  Masquerade Abilities are not rated 
  by points. Otherwise, they serve the 
  same purpose as their Vampire 
  counterparts. Just take an Ability for 
  each talent, skill or knowledge the 
  Vampire character has of level three or 
  
  more. Not all Vampire’s talents, skills 
  and knowledges exist in The 
  Masquerade. You can create new 
  Masquerade Abilities or choose ones 
  that are close to Vampire talents, skills 
  and knowledges. 
   
  René’s converted character has 
  Politics, Subterfuge, Animal Ken, Drive, 
  Bureaucracy, Investigation and Law as 
  Masquerade Abilities. 
  Disciplines in The Masquerade do not 
  have point ratings as they do in Vampire. 
  Instead, The Masquerade rates 
  Disciplines in terms of relative power. If 
  a Vampire character has a level three 
  Discipline, the Masquerade character 
  receives all equal and lesser Disciplines. 
  You might decide to limit Disciplines 
  that can be taken to clan allowances, or 
  might just let the converted character 
  have whatever Disciplines relate to the 
  Vampire  
   
  Disciplines the character has. 
  (Discipline prerequisites may also be 
  ignored, or imposed to limit what 
  Disciplines the translated character can 
  have.) Here is a chart to help you 
  transfer Vampire Disciplines over to 
  Masquerade Disciplines: 
   
  
   
   
   
  Rene’s character has an Auspex of 
  three which will give her Heightened 
  Senses, Aura Perception and Spirit’s 
  Touch. 
  Influence Traits in The Masquerade can 
  be equated based on the Background of 
  the Vampire character. Vampire has an 
  actual Background quality of Influence, 
  but this quality is only a reflection of 
  The Masquerade’s Influence Trait; 
  many factors make up The 
  
  Masquerade’s Influence Trait. Choose 
  three Masquerade Influence Traits that 
  reflect the Vampire character’s 
  Background. If the Vampire character 
  has a lot of clout, more Influence Traits 
  can be taken. 
   
  Step Four: Last Touches 
   
  Characters in The Masquerade only 
  have three Blood 
  Traits. Characters in Vampire can have 
  several Blood 
  Points. After conversion, a character 
  simply has three Blood 
  Traits, and that’s all there is to it, unless 
  he is of lower than 
  13th generation (see the “Generation 
  Table”). 
   
  Characters in Vampire often have 
  more than one point (the equivalent of a 
  Trait) of Willpower. Since Masquerade 
  characters usually only have one 
  Willpower Trait, excess Willpower 
  points can be translated into Mental 
  traits that reflect on the Masquerade 
  character’s strength of mind.  
   
  Vampire’s Willpower points can be 
  translated into Mental Traits like 
  Disciplined, Dedicated and Determined. 
  However, these “extra” Mental Traits 
  replace any Mental Traits that the 
  Masquerade character has already been 
  assigned, above. Otherwise, a Vampire 
  character with several Willpower points 
  would create a Masquerade character 
  with immense mental faculties. 
   
  If the Vampire character is lower 
  than 13th generation, he has more than 
  one Willpower Trait when translated. 
  This means the character has one less 
  Mental Trait to take as a reflection of 
  mental fortitude. Of course, this isn’t a 
  penalty by any means, as you do get 
  more than one Willpower Trait. 
   
  Vampire characters have weaknesses 
  according to clan. The Humanity of 
  Vampire characters is also reflected by 
  
  points, while The Masquerade’s 
  Humanity is reflected by Beast Traits. 
  Low Humanity can be reflected by 
  taking an additional Beast Trait. 
   
  Choose Derangements that reflect 
  the Vampire character’s personality. If 
  any mental quirks possessed by the 
  Vampire character cannot be equated to 
  Masquerade Derangements, make up 
  new Derangements. 
   
  There are no freebie points in The 
  Masquerade. The closest things are 
  Negative Traits, which allow for the 
  application of more positive Traits. As 
  freebie points in Vampire are already 
  taken into account in the translation of 
  the character, freebie points themselves 
  do not have to be accounted for here. 
   
  However, if the Vampire character 
  has a zero or one in any Attribute, that 
  might represent a Negative Trait for the 
  Masquerade character. Choose any 
  Negative Trait that seems appropriate 
  and add a positive Trait to 
  counterbalance it. We recommend you 
  do this no more than five times. 
  Furthermore, if the Vampire character 
  has any low Virtues— a score of one or 
  zero— choose Negative Traits to reflect 
  this. If the Vampire character has a low 
  Conscience, take a Negative Social 
  Trait, such as Callous. If the Vampire 
  character has a low Courage, take a 
  Negative Physical Trait, such as 
  Cowardly. If the Vampire character has 
  a low Self-Control, take a Negative 
  Mental Trait, such as Violent. 
   
  Also, take Submissive as a Negative 
  Mental Trait if the Vampire character 
  has less than two points of Willpower. 
  Here is an informal breakdown of 
  Negative Traits: 
  Physical 
   
  Strength — Puny, Flabby 
  Dexterity — Lame, Clumsy 
  
  Stamina — Delicate, Sickly, Decrepit 
  Miscellaneous Lethargic, Docile, 
  Cowardly 
   
  Social 
   
  Charisma Obnoxious, Dull, Callous, 
  Condescending 
  Manipulation — Naive, Tactless 
  Appearance — Repugnant, Bestial 
  Miscellaneous Untrustworthy, Shy 
  Mental 
   
  Perception — Oblivious, Shortsighted 
  Intelligence — Ignorant, Forgetful 
  Wits — Gullible, Witless 
  Miscellaneous Predictable, Impatient, 
  Submissive, Violent 
   
  Step Five: Spark of Life 
   
  Give the converted character a 
  number of Status Traits appropriate to 
  the Vampire character’s Background. 
  There is a Status score in Vampire, but 
  The Masquerade’s Status Traits are a 
  reflection of many aspects. Thus, The 
  Masquerade character’s Status traits may 
  be based on the Vampire character’s 
  Status score, or on any other qualities of 
  the Vampire character’s authority or 
  clout. 
   
  René’s converted character receives 
  her Malkavian Derangement of 
  Catatonic (a new one) and Regression, 
  and takes two Status traits. She’s done. 
   
  *************End of 
  Crap**************** 
  
SOURCE: textdata/thevault/Storyteller [multi]/World of Darkness (WoD) [multi]/oWoD/Minds Eye Theatre/Vampire/MET Masquerade 2nd Edition.pdf