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  Storypaths
  Credits:
  Design: Mark Rein.Hagen
  Card Art: Richard Thomas
  Cover Arf Richard Thomas and Chris McDonough
  Editing: Stewart Wieck and Lisa Stevens
  Produ ction: Nicole Lindroos
  Whimsy CardgN were originally created by: Jonathan Tweet
  and Mark Rein.Hagen
  Storypathsru offer your gaming grouP a new way to roleplan no
  matter which game system you use. They provide a unique way for you to
  crcate more dynamic and detailed stories by hamessing the player's imagina-
  tion. The burden of always determining the who, what, when and where of
  the story can be atleviated by allowing the players and the Storypaths to work
  for you.
  Thcse cards allow a player to break into the action and add a new
  dctail or twist to the story. Usually, this is something which adds to the mood
  or atmosphere of the story, but sometimes it can actually affect the plot. Each
  Storypath Card suggests a different kind of intervmtion, but interpretation of
  just what a particular Storypath Card allows is up to the player and GM.
  Playcrs are no longer simply pawns thrust about by the CM's schemes, but are
  full participants in the unfolding story.
  Abbreviations and Terms Used
  Troupe: A group of roleplayers/storytellers
  Story: The advenhre or plot, or a segment of it.
  GM: Gamemaster, Storyguide, Storyteller, referee
  PC: Player character, a character roleplayed by a player
  NPC: Non-player character, character roleplayed by the GM
  The Deck
  This Storypath deck contains 24 cards: four are Theme Cards,
  sixtccn are Tone Cards, and four are Climax Cards. Each of the cards has a
  titlc, a short description to guide their use, an illustration, and a number from
  onc to scven which determines when it can be played.
  The Cards
  Storypath Cards allow a player to add to the story. Think of them as
  spccial effects cards which add all the dramatic and ahnosphere-building
  elcmcnts that thc movies have, but have never really been a part ofroleplaying
  (until now), such as sound effects, plot twists, new characters, sPecial saves,
  and surprising successes.
  Thcse cards can be described as spices added to a stew for flavor;
  while only the chcf (the Gamemaster) knows the true nahre of the dish, the
  dincrs (the players) can add salt, pepper, cheese, etc. to the meal to flavor its
  contcnts to their own taste and give it that added edge.
  Though you may be somewhat confused as to what these Storypath
  Cards are, you shouldn't be fooled into thinking the/re complicated.
  Storypath Cards are a natural extension of the roleplaying you are doing now.
  They lct the players act a little bit like a GM from time to time. Everyone gets
  the chance to add their ideas to the story, but because the cards create mostly
  "mood and feel," the authority of the CM is never threatened. Since the GM
  has Veto power over the use of the cardq he always retains control of the
  game.
  Often what is desoibed by the players using Storypath Cards are
  things the characters might think they know but may not actually be true. The
  charactcrs may believe they see someone watching them from the shadows,
  but the CM can later decide that it was nothing. Other times, the description
  may be of something the characters do not see, but is added only for the sake
  of the players enjoyment - sort of like when the camera in a movie shows you
  what the hero missed when he searched a room.
  Using the Cards
  At the start of the game, the GM gives each player 2 or3 cards,
  keeping the remaining cards in a deck and holding all of the Theme Cards for
  himrlf.
  Play starts after the CM has played a Theme Card (which is any
  card with thc #1 on it). The CM decide what kind of path he would like to
  start and plays an appropriate Theme Card.
  Players can then play cards from their hand. However, only cards
  that have a number equal to or one greater than the last card played can be
  used. Thus, the first card played after the Theme Card has been placed by the
  GM must be one of the #2 cards. The third card must be either a #3 card or
  another #2 card. The idea is to use the Tone Cards to lead up to one of the
  Climax Cards, which always end the storypath when played and can have
  powerful effects on the story. The best Climax Cards have the highest
  numbers and are thus the most difficult to reach. Climax Cards have numbers
  between 4and,7.
  The card played is put face-up on the table, alongside the previous
  card showing the path that the story is taking. The player describes what
  happens and, if accepted by the GM, it is incorPorated into the story. The
  way a player describes the effect of the card on the story must fit the theme of
  this particular path, as determined by the Theme Card that the GM has
  played.
  After a Storypath Card is played, the GM determines whether to
  Veto the us€, Edit it, or allow it to stand. Once the GM accepts the Storypath
  Card, it becomes a normal part of the story line - 
  as real as if it were a Pre-
  planned part of the story. Veto any play of a card if it doesn't naturally and
  completely fit within the unfolding story. When a story ends without a
  Climax Card being playe4 the path ends as if a Climax Card had been played,
  and a new Theme C-ard can be played at any time.
  For the Players
  When using a Storypath Card, you interpret how the card affects the
  story. You should describe the effects of the card you have played in as much
  detail as possible, as if you were actually the GM at that moment. Attempt to
  build up the mood and atnosphere - creating the desired effects in the other
  players through your words.
  While you have the right to describe what the characters perceive
  and what they might presume, the GM has the right to make reality out of it -
  and the reality can sometimes be a far cry from your PreconcePtion. Whether
  the apparition you describe was real or simply a hallucination is up to the GM.
  You can be very creative employing Storypath Cards by looking at
  only the intent and flavor of the card's title and coming up with an enttely
  new way to us€ it. Additionally, you don't need to always apply the cards to
  the PC's; you can use them to affect the NPC's as well (sometimes you can get
  the best effects that way). But remember, if you go too far or get too selfish,
  your card will be Vetoed and you won't get a replacement. Playing a
  Storypath Card on yourself is not common, but it can iustify actions that may
  seem out of character.
  Sometimes you will play a card that hurts the characters, instead of
  helping them. While this may win you a reward of a replacement card, if you
  are partictrlarly ceative, you will find yourself doing so simply because it
  makes the story better and more fun. There is no better way to use StoryPath
  Cards.
  Different troupes will develop different rules of Storypath etiquette.
  In playtesting. the following guidelines were found to be helpftrl:
  . 
  Do not abuse the power of Storypaths. Using them to save your party is
  legitimate, but they have many other interesting uses besides thosc
  that benefit your characters. Often they provoke nonlethal trouble or
  horror-filled atmosphere that leads to enjoyable roleplaying.
  o If you are affecting the story in a major way, stretching the bounds of the
  use of a card or changing the orientation suggested by the card's
  explanation, it's usually best to discuss it with the CM first, so as to
  avoid the embarrassment of a Veto.
  . Avoid slowing the game down too much. If you inhoduce a plot twist just
  before the game is about to end, you could keep the story from coming
  to a satisfactory crcnclusion in the time available.
  . Always remember that GM's who give you Storypaths are sharing some of
  their power voluntarily. Accept the GM's judgment on Storypaths,
  even when he cancels one you have played.
  Forthe Gamemaster
  As the GM, you have the primary responsibility for guiding the
  story, so you also have final power over Storypaths. Essentialln you retain
  absolute control. Your rights are as follows:
  . To play Theme Cards, which determine which other cards can be playcd
  after it and the way in which those cards are interpreted. This can be
  done both at the start of the game and at any point in the story (evcn if
  a previous path hasn't been concluded), in order to change its pace and
  tone. Never give Theme Cards to players - they are yours alone to
  use.
  . To give and take Storypath Cards from the players, whenever you wish and
  in whatever manner you desire. You can reward and punish your
  players in this wan using the cards to keeP better contsol over unruly
  players.
  . To Veto the use of any Storypath Card (or Edit and change them). You must
  also interpret them after they have been played, weaving them into the
  story in an appropriate way. The player describes how thc characters
  see the card's effec! you determine the reality.
  
  New Found Escape
  Climer Card:Dwibe a
  potential way out of the situation, an
  escape which will take a character or
  characters out of harm's way. It
  must make sense and fit the story,
  otherwise it's going to be Vetoed
  out from under you.
  Climax Card.: Someone or
  something is taken away, kidnapped
  or stolen - or an attempt is made to
  do so (perhaps just the results of such
  could be discovered). Describe what
  isseen,butleave theresults to theCM.
  Something's Missing
  Describe the loss of an obiect,
  person or animal which might havebeen
  important to a character, and explain
  why it might be missing (it had better
  make sense). Whether it's really gonc
  or not, or if the character is just imagin-
  ing things, is up to the GM.
  It is hope that leads us onward
  into the future, and sometimes it is
  only hope that that keeps us going.
  But sometimes hope proves to be mis-
  guided. How was the hope misguided
  and what is likely to result
  
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  Where there was once sound,
  noise, life, now there is only stark,
  brutal silcnce. Inexplicable and
  sudden, the abscnce of noise makes
  the heart grow cold. The clutch of
  fear grasps all with this somehow
  sinistcr change in events
  Sense of Foreboding
  Theme Caril: The apprehen-
  sion of danger foreshadows great
  peril. Something in the air portends
  calamity, misfortune and death.
  What is going to happen to you, or
  rather -when is it? The horror of an-
  ticipation should Permeate this Path.
  Yast
  Theme Card: The universe is
  broad and contains much within it
  that is unknown, and ultimatcly, ur-
  knowable. Mysteries, se'crets, hidden
  terrors, dark honors, and all that
  lurks beyond our sight can be
  e
  Unknow
  Describe to a character the
  sensation that someone or something
  is lurking near them, just oubide the
  periphery of their vision. Idenhfy how
  evidence of this fiendish prowler was
  obtained: trackq sounds or maybe a
  a part of this Path.
  @
  Unknown Lurker
  
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  Suspicious Stranger
  Inkoduce a shanger to the
  story - 
  a cloaked wanderer, a sly
  guttersnipe, or a brutal bounty
  hunter. Someone of sinister nature
  that suggesb, rightly or wrongly, of
  future peril - an outsider in
  -2./ ",//1"
  Remembered Dream
  A relevant &eam is recalled by
  a character. Describe the specifics of a
  nightmare, daydream or vision in an
  evocative and compelling manncr, in a
  way that relates to the character's pcr-
  sonality. What the character makes of
  it, however, is up to him.
  @
  dden penis
  Describe the frenzied
  emergence of dread and horror in a
  character or characters, or its residual
  effects. It could be just a false alarm,
  or they might really have seen, heard
  or sensed something.
  '--;4, 
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  Hapless Victim
  An innocent is harmcd,
  sacrificed or oppressed. Perhaps they
  are hoodwinked, duped, tortured, or
  brutalized. Describe the appearances
  of the situation, but leave the spccifics
  w72,,
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  ./.?2.-
  
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  Describe to a single character
  a dark but uncertain vision of what
  may await them if they persevere in
  what they are doing. Make it as
  sinister, malignant and apocalyptic as
  you desire - perhaps it really is only
  @
  Ominous Omen
  Introduce an eniSmatic omen
  of peril into the story- a black cat
  crosses the road or the characters dis-
  cover the moldering cnrpses of a
  previous expedition. Something sug-
  gests future evil, but the sigrrilicance
  Horrifying Discovery
  Discrcveries are not always he-
  roic, they are often horrific. Describ€
  a discovery by a character in a way
  that will appall and frighten the play-
  ers. Theclosepresenceof sudr per-
  versity is startling even to the most
  of an omcn is always uncertain
  
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  _ 
  Youhave the right topickoutnot only which Storypathsyou want
  the players to use, but which cards. In oertain situations, you wiU want to
  ass_igr players certain Storypath Cards, thus helping to msure that the story
  will progressin a certain direction. This type of manipulation is a great way to
  stay on top of things, while still allowing the players to contribute to the
  overall story.
  As the GM, you should try as mudl as possible to incorporate the
  players' imaginations, as expressed through the playing of the cards, into your
  scenes and plots, but don't heitate to use your Veto power if it screws things
  up.
  Vetoes and Edits
  Veto or Edit the use of a Storypath Card if the change in the story is
  undesirable. You know more than the players, so they might try to change the
  9!ory in an impossible way. For instance, if the story depends on a certain
  NPC befriending the party, any Storypath C-ard that would turn this character
  into an enemy must be Vetoed. You don't need to explain why you are
  Editing or Vetoing a card if by doing so you might give away your secrets.
  If the player was being greedy, don't give them back their card
  when you Veto it. Instead place it in the deck and don't give them a replace-
  ment. If it was an honest misunderstanding or played out of ignorance, it is
  good to retum it to them and let them try again at a later time.
  Storypaths are a radically new addition to roleplaying so most
  troupes will not know the best way to use them at first Therefore, we suggest
  that you proceed with caution the first few time you use them. At firct, pEce
  heavy restrictions on them. Do not allow replacements and Veto anything
  that greatly changes the plot Set a precedent for tight crcntrol. If you let the
  players go wild from the start, you will never be able to regain control later.
  There are several ways to restrict Storypath Cards if they are getting
  out of contsol. You can set conditions under which they cannot be played,
  such as during combat or in the same scene as a previous Storypath Card. You
  can also place limits on their power, such as not allowing them to cause a char-
  acter to be killed or healed. Restrict them however you wish in order to
  maintain conkol of your story.
  Example of Play:
  The session has iust started and all you know is that your characters
  are about to enter the tomb of an ancient king - then the GM plays the
  Animosity Theme card. You have the Veiled Threat (3), Startling Discovery
  (5) as well as the Lasting Impression (2) Intrigue cards in your hand. If you
  wish, you may play the lasting Impression card immediately, as it is a # 2
  card and the Theme Card is a # 1 card. After the party enters the tomb and
  creeps into the already looted outer chamber, you decide to go ahead and
  play it. You might suy, "From underneath the pile of rubble in the comer, we
  see a hand poking out and we can see the glint of gold on its finger from the
  reflection of our torches." The GM responds, "Well, you see a hind all right,
  or at least what's left of it. It's only a skeleton and there isn,t any ring.,, You
  aren't surprised, you threw in the ring expecting it to be rejected. you hope to
  get some clue to the dangers of the tomb by digging out the body of this
  previous explorer. However, the GM has decided that there is a ring but that
  it fell off the hand long ago and is on the floor covered with dust. Unfortu-
  nately, neither you or your companions ever find it.
  Later in the adventure, you or another player could play a card
  numbered 2 or 3. This means you could play your Veiled Threat if, for
  example, you found a prisoner in the tomb who warned you about not freeing
  him.
  Rewards
  g the story, players should be able to gain new cards to replace
  those which they have used. However, don't simply give players a card
  because they need one, but rather give cards as rewirds. 0se-them to
  encourage the players to play the game the way you want them to. Story path
  Carrls are the gold starg pats on the head or 6rownie points of your game -
  use them as such. New cards can be given to a player for many different
  reasons: exceptional roleplaying leadership of the group, inventive or
  creative use of a card for paying attention, and out and out bribery.
  Creating Adventures
  You can use Storypaths to create a story. They can spark your own
  creativity and help aeate a consistent story line. You start by picking a Theme
  Card which reflects the type of story you want to tell, and thin use this theme
  to direct your imagination so that every element of the story illuminates this
  theme._ Then pick a card from whatever sort of deck you are using to guide
  your ideas on what to include in the story. Think of what kind of encounter
  the card suggests and what kind of roleplaying it might engender. However,
  you may need to rearrange elements and elaborate to make the resulting story
  complete. This procedure can even be used to create a story on the spur of the
  moment, if you have no story prepared. It's a great way to give a little
  direction and organization to that type of extraneous rolepliying.
  Look for these PATHS
  We will be producing many different decks of Storypaths, allowing
  you to ceate a mammoth deck of cards where you can mix and matdr cards
  depending on what type of story you wish to tell. A targe deck allows for a
  huge variety of events tro be played out in the story.
  . PATH of HORB,OR
  The Path of Horror brings the fear and trepidation of horror into
  your game. 
  - [,et your players terrify themselves by using these cards; you,ll be
  amazed at the panic they breed.
  . PATHof INTR,IGUE
  _ 
  The Path of Intrigue brings the shadowy world of conspiracies,
  schemes, plots and political machinations into your adventule. Ii you woutd
  like to embroil your characters in such plots, you need this path.
  . PATH ofDANGER
  - The Path of Danger allows the story to enter the realm of unhappy
  events which put the characters into danger in search of the ultimate rewiid.
  :;Irg*" 
  along this Path creates a situation which must be trltimately
  . PATIIof HOPE
  - 
  The Path of Hope can shed a ray of light on gloomy situations.
  While you cannot always extract yourself from the unhappy situation, the
  problem may be somewhat lessened in overall severity.
  . PATI{of DECEPTION
  The Path of Deception promotes the idea of deception, either for or
  against the group. This can be internal (within the group) or concern others
  that the group is in contact with.
  . PATHof DISCO\IERY
  The Path of Discovery explores the intricacie of the human (and
  perhaps nonhuman) moods and rationales. The explorers may discover their
  true nature, but remember, the truth is sometimes painful.
  . PATII of WTIIMSY
  The Path of Whimsy adds that extra tint or color to any game. The
  Path of Whimsy can be used to lighten a sad or dangerous situation, but
  doesn't really alter its effect. It can also be used to bring the other decks
  together - the tie that binds.
  . PATIIof SUSPENSE
  The Path of Suspense creates a mood of anticipation, as strange and
  sinister events unfold before the players' eyes. What will happen next, turn
  over the card and find out....
  Comments? Questions?
  Write to us at the address below and let us know what you think of our
  Storypaths. Have.you found new ways to use them? Do you have good ideas
  for new cards? We hope to publish a number of new decks in addition to
  those listed above and ideas are welcomed (and rewarded with free product).
  S€nd dl correspondence (and product orders) to:
  White WoIf
  1298 Winter Place
  Anniston, AL36207
  SIORYPAITIS & WHMSY CARDS are trademrks of White lrrrolf.
  01990 White Wof. A[ rBht3 rery€d. Reproduction ln any EEdium without written
  Fmi$ton of the pubtisher is prchibited.
  
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  Thepidation of Horror into your
  Let your players T*ttrfy
  Throt size, ornately
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SOURCE: textdata/thevault/1990_-_White_Wolf_-_Story_Paths_The_Path_of_Horror.pdf