Do the Ghouls that hang our in a Vamp’s Haven basically have a perpetual Debt to the Vamp?
Do the Ghouls that hang our in a Vamp’s Haven basically have a perpetual Debt to the Vamp? Enter Haven. Become enDebted. Debt gets cashed in. Ghoul is still in or re-enters Haven, gets another Debt?
Kind of makes sense from a Renfield-like, do your bidding Master way. But I don’t want to overdo it.
Halo.
Halo.
I’m here again.
With my players we made a try-session of the game to understand better the mechanism of the ganet.
As was before, with other players, we found the lack of an investigation move a little disturbing.
We have try to use investigate place of power and Keep your cool, but don’t fit.
I know that the game don’t focuses on investigation but on politics, but sometimes a specific move about searching evidences is useful… But lacks.
Hi.
Hi.
In the next weeks, I’ll start a new campaign with new players.
They never played World of Darkness or similar.
So i need some suggestions for a campaign to play them.
Thanks.
Back when I ran the playtest, I used the session start move as a way to come up with ideas to run the session (or…
Back when I ran the playtest, I used the session start move as a way to come up with ideas to run the session (or series of sessions). I’ve never been one for planning and have always been more likely to improv stuff that I come up with on the spot: I’m lazy that way. That works very well with PbtA and the session start move just made that style easier.
Thing is, there wasn’t a lot of rules for threats and fronts back then and I’ve never been one to use them in PbtA games out of laziness. I got by just fine,. but I do feel I wasn’t playing poker with all the cards, if you know what I mean.
With the session start move, I can see it being a little harder to use in this title.
How do other GM’s balance setting up threats, custom moves, countdown clocks, etc. when ideas for the session don’t come up until the beginning of the session?
Hey, how does everyone else treat ghosts and tainted when it comes to dead NPCs?
Hey, how does everyone else treat ghosts and tainted when it comes to dead NPCs? In the playtest campaign I ran a few months ago, I used ghosts and people buying back into life as tainted as a way of making the direct, violent route seem less of a long-term solution, but I wonder if anyone else used it that way.
A fae question: has anyone done fae from a non-Western European perspective?
A fae question: has anyone done fae from a non-Western European perspective? I’m thinking about setting a game in a city where the major fae powers are in an ethnic enclave (not sure if it’ll be Chinatown, Little Baidoa, or somewhere else) and I wanted to know how other people approached non-European fae.
Hello awesome community! I’m back with another US question that I’d love to explore.
Hello awesome community! I’m back with another US question that I’d love to explore.
The scene: a fae Lovecraftian morality play is coming to an end. The major players in the web of intrigue we’ve built over the last eight games are all here, and the PCs have prepped for it the past couple of days: securing alliances, doing research, scraping together some weapons… they’re ready.
During the Big Fight, the Wizard seals the deal with an unseelie fae (+1 corruption for deal with a dark power) to achieve the dread “Upon A Pale Horse” corruption move. The Veteran spends a hold to have “just what you need” and whips out the true name of the vamp that she and her assistants have been researching for days to find.
Wizard + true name + Upon A Pale Horse + 2 corruption = 6 AP harm to the big bad. Night night!
My players knew that a lot of narrative threads were getting tied up in this fight. They also knew that we would be taking a Urban Shadows break to play around in Fate-land (Dresden? Secrets of Cats? We’ll see!), so this was Season Finale time.
The way we would continue this, narratively, is that the Wizard is persona non grata for just outright blowing someone he doesn’t like away. No one will see him face-to-face anymore. That’s some super dark stuff that’s gonna pull that Wizard down down down in the coming months.
I’d love to hear from other people about how they handle this particular corruption move in their groups, what kind of narrative pressure/consequences comes to bear on their Wizards, if/when/how the MC uses that move against the players to turn it back on them..? Any and all. This particular move seems like a Very Big Hammer to swing around and I’d love to get some perspective on its use.
Can someone help me grok Adaptable Palate from The Vamp?
Can someone help me grok Adaptable Palate from The Vamp? I understand why it’s where it is from a mechanical perspective, but fictionally it seems backwards to me that you need to give in and become horribly corrupt before you can stop eating people. Got some good thoughts on the underlying fiction to help me wrap my head around it?
Soon enough I will start my Rio de Janeiro campaign.
Soon enough I will start my Rio de Janeiro campaign.
After quite some thought, I will suggest my players to pick from Mortality only.
They should be hunters, but corruption and compromise are common-place here. There will be plenty of sleeping with enemy, cutting shady deals, and jeopardizing your roots and ideals. Those who prosper either retire or become the enemy. And you have the Hunter, a tragic rebel and martyr.
Potential? Suggestions?
On May 1st we start our Milan (and neighbours) campaign.
On May 1st we start our Milan (and neighbours) campaign.
We use the whole hinterland because some say Milan is a nice “town”
We have an ex nazi spectre (repented), a norwegian Wizard (think Burzum), quite repented too; and an Eiluned Fae, on hir (zie can’t figure it out yet) Grand Tour, really enjoying the City.
My city moves for MILAN
1) Cover the city with a dome of seemingly unpassable fog.
2) Paralyze the street with traffic, during a fashion Event, a protest or a VIP visit.
3) Smear the newspapers’ pages with blood to entertain, horrify, or induce hate
We have the lance of Longinus (we KNOW it’s here, somewhere…); a secret garden in a painting; well, we have Burzum, and a Black Metal jar full of evil and insensate nightmares.
And a whole lot of real characters, who seem to come out form a TV fiction but, alas, they’re real. And in command…