Tall Tales - A Vampire: the Masquerade: The Storytellers Handbook Review

White Wolf

 The Storytellers Handbook

White Wolf Game Studio

Designed by Andrew Greenberg, Graeme Davis, Dustin Browder, Dan Greenberg, Steve Crow, Frank Frey, Danny Landers, Rob Hatch, Mark Rein Hagen, Stewart Wieck, Sam Chupp, and Travis Williams

The 90s mainstay roleplaying game Vampire: The Masquerade turns 30 this year. In that time the game and its designers did much to push the medium forward, both in terms of representation and popularizing a more narrative driven focus. Admittedly in recent years, Vampire has become something of a wilted rose and a particularly thorny one at that.

Even so, one thing hasn't changed  over the decades. Would-be players and storytellers look to the heavens and ask "Well, how do you actually run a Vampire: the Masquerade campaign?" Historically, the books have done an excellent job establishing a rich setting of elaborate political systems and shifting mythologies, capped off by a millennia long struggle between individual vampires and the factions they represent.

Unfortunately, there's only so many pages in a rulebook and so it's often been vague how to bring any of that to the table, at least in a way players can properly engage with. Game masters, or in White Wolf's preferred terminology Storytellers, were largely left to figure that out on their own.

Published at the tailed of Vampire's first edition, The Storytellers Handbook came to the rescue. Released in 1992, this 151 page book intended to show Storytellers not only how to improve their Vampire campaign but more broadly how to run RPGs as fleshed out stories rather than scaled up wargames.

The Handbook is just shy of three decades old, so the book was obviously meant for a very different version of Vampire. Not everything has stood the test of time (or was very good to begin with) but there's some sound advice for storytellers of all stripes.

Back to Basics

The first half of The Storytellers Handbook is almost exclusively narrative in focus. It alternates between being broad and specific, sometimes on the same page. Sure, it teaches storytellers how to use the elaborate system of favors that holds the Camarilla together and how to handle quests for Golconda. But that's weighed with more fundamental advice, on how to give a story a real narrative arc, balance the tone, and the like.

It also gives advice for different styles of play, settings, and genres. One of the major takeaways from The Storytellers Handbook is that there isn't a single way to tell a story and you should approach Vampire with the same mindset. It encourages you to keep your vision broad and opt for the different and unexpected. Vampire was already a major departure from the endlessly-plodding-through-dungeons style of gaming. But the designers of this book didn't want to replace one rigid paradigm with a different but equally limited one.

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That turns out to be The Storytellers Handbook's answer on running the perfect Vampire campaign. It doesn't really exist, so here's some ideas, and do as thou wilt.

Beyond advice specific to Vampire's setting, there's a good deal of more general tips. Namely on how to adapt the art of storytelling to the challenging medium of roleplaying games. There isn't another art form where the audience has such a strong say over the story and The Storytellers Handbook takes that into account.

Like a lot of early White Wolf content, there's a deliberate effort to minimize the game aspect in favor of the story the table wants to tell. That approach isn't for everyone but it's how I run my RPGs and The Storytellers Handbook makes a good case for it. The key takeaway us your story belongs to the players too. Storytellers shouldn't be tyrants and you shouldn't be distributing "scripts," with players are goaded down a narrow corridor. The book advises to come up with possible routes rather than definitive paths, as players will always do something unexpected. That's something to be embraced not fought against or begrudgingly accepted.

This is very much an aid for playing Vampire but even so there's still sound pointers on GMing, regardless of the system you're using. I wouldn't say it's enough to justify the purchase for someone who never intends to play out the Camarilla and Anarchs' clashes at their table. But if you do get The Storytellers Handbook in preparation to run Vampire, you'll find its usefulness extends well beyond the World of Darkness.

Moving Parts

The Storytellers Handbook goes beyond just offering advice though. Worksheets for fleshing out settings and chronicles are provided, handy resources that remind me of Creative Writing classes I've taken. The short segment detailing Live-Action Roleplay is amusing, especially considering how what was given three pages here would later become an integral part of Vampire's identity.

The latter third of the book is mostly mechanical in focus. The adversary section provides profiles for villains in the players' campaigns, with advice on how to work them into the story as dynamic elements and not just Things To Kill. Creatures from the other game lines make appearances, though little is provided to work through the difference in power and even mythology between Vampires and their supernatural relatives. 

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Bringing in werewolves has always been an established part of Vampire, as even this early on the looming threat of "Lupines" was a way to encourage vampires to stay citybound. Other creatures don't have the same justification though.

Even if World of Darkness ostensibly shares a setting between the different games, as far as I can tell mixing them together never ends particularly well. Still, it's nice to be provided the option. 

Vampire the Masquerade 1st edition isn't a particularly popular version of the game. I'd say that's due to clunky mechanics and some weirder setting elements. Barring a few stretches that doesn't really impact the usefulness of The Storytellers Handbook, but it does render the final chapter of the book, "The Ways," unhelpful. Admittedly even if I were to run a 1st edition game, I don't think I'd find it any more valuable. The slew of expanded rules for firearms and a somewhat random slew of mechanics for things like interrogation and hedge magic, just strikes me as unnecessary complexity. 

More interesting, if a bit uncomfortable, are expanded rules for how difficult it is to hunt people in cities, modified depending on whether the approach is more "romantic" or direct. It carries a lot of unfortunate implications but ones fundamental to the concept of vampires. Considering the Golconda section makes it clear players should have something to regret before seeking a cure for vampirism, it makes sense to have.

Into the Night

With the broad range of topics covered, I'm impressed that The Storytellers Handbook avoids feeling like a bunch of articles taken from the long dormant Vampire Magazine. There's a consistent throughline and as much as it encourages thinking outside the box, there's a consistent ethos. Enough is given to capture the "standard" Vampire tone while still reminding you not to get trapped in it.

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 Less on the consistent side is the art, which like 1st edition itself had yet to properly solidify its identity. The gothic punk and 90s influences are still prominent but it's a wide range of styles, with some certainly better than others. There is a sense of humor that's distinctly absent from future Vampire art. Tony Harris of Starman fame stand out. Jennifer Yuh's 80s anime-esque art is a huge departure from any other official Vampire material I've seen. Admittedly I think that's a bit of a shame, as it captures the spirit of the game in a way I had never considered before, as while a bit more fantastic it does make being a Vampire seem strangely alluring.

There's a wide range of art and not all of it is particularly good but the range of styles fits the overall message of The Storytellers Handbook well enough- there's no wrong way to play Vampire.  

Straight from the Horse's Mouth

Before giving way to reference charts that annoyingly lack page numbers, The Storytellers Handbook ends with a series of essays from a number of the designers. Vampire creator Mark Rein Hagen's recollection of his young RPG attempts being foiled by uncooperative players was very relatable and contains insights that make it worth seeking out by any serious game master.

The quality varies from there. Rob Hatch's "The Sound of Music: Songs for a Gothic Punk World," unsurprisingly reveals that developer Vampire chronicles were played to lots of Joy Division. Travis Lamar Williams idea of having players simply translate themselves as characters strikes me as being all at once unimaginative, hard to take seriously, and very likely to end badly.

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Future clanbook line editor Dan Greenberg's essay takes a very worrying turn as he details the kind of "evil" that should feature in your Vampire story. He argues that widely maligned dictators, namely Hitler and Sadam Hussein, are nothing compared to the broken promises and campaigns of terror waged by Western Superpowers. It's a point I'd agree with if Greenberg didn't frame it as an either/or choice - the former only exists because of the latter.

As ignorant as it might be, it does reveal quite a bit about the Vampire developers' intent for the game (as well as a few of the more objectionable parts of the clanbooks). Vampire: the Masquerade isn't about the obvious evils but rather the quieter ones accepted by most living in developed countries.

The Storytellers Handbook has its unfortunate moments. Settings outside of Europe and North America are given little support beyond being noted as "exotic" alternatives. But that's to be expected from White Wolf, who's attempts at being cutting edge often pushed the boundaries of taste. That's one thing this book won't help you with, navigating the more objectionable parts of Vampire.

Even so, I think this is a valuable book for the prospective Vampire: The Masquerade Storyteller. The Storytellers Handbook provide what's needed to build a more compelling narrative around your group's kindred. Though I'd advise exercise some good judgment along the way.

3 Things a Game Master Can Learn From The Pokémon Games

                                                                                                                Nintendo

 

As much as I enjoy the tabletop side of roleplaying games, I can't deny that it was surpassed by its electronic counterparts a long time ago. Admittedly, this is partially because when talking about video games an RPG can range from anything from an automated pen and paper system to a more action driven, cinematic experience. Then you have the likes of Pokémon, the multimedia franchise that began in Japan and swept through the rest of the world. While we’re long past the 90s heyday of the franchise, it’s still popular enough to generate widespread excitement for the newest games and receive a major Hollywood film.

The Pokémon games draw heavily from JRPGs. Mainly in the sense that while there are characters and a main storyline, it’s typically very linear. The player’s ability to affect the narrative is almost entirely nonexistent, leaving the player effectively on rails. The RPG element manifests almost exclusively through the gameplay, in which the player is given considerable options throughout the game. In Pokémon, that comes in the form of the creatures you send to battle, as well as the abilities each one has. While it seems far removed even from the likes of Dungeons & Dragons, Pokémon is the bestselling RPG of all time for a reason. And that means there's a lot a Game Master can learn from the games.

If isn’t broken, don’t fix it

Pokémon is hardly the only series to have a formula. But there’s clearly something different when Nintendo has essentially released the same game seventeen times, without a single failure to speak of. Aside from consistent core gameplay, even the storylines are largely the same. Each game follows the player character leaving home to become a Pokémon trainer, beat gym leaders, and save the world at some point along the way. A malevolent organization and overly persistent rival are also in the mix. The specifics vary from game to game but there’s yet to be a mainline Pokémon game that deviates from this basic format. This isn’t a bad thing by any means. Not many are playing Pokémon for an in-depth, dynamic story. And certain games do manage to produce some memorable if not particularly complex moments and characters. Some entires certainly handle it better than others.

It can be hard for more ambitious GM’s to accept that there’s a place for a formula. If you’re planning multiple campaigns and sessions, there’s no harm in replicating what works. Originality is important but that doesn’t justify throwing away a perfectly good story or gameplay element just to be different. As long as you put enough effort to come up with some differences and focus on other parts of your plans, it shouldn’t be an issue to fall back on a formula. Just make sure that your players don’t feel like they’re in some kind of Groundhog Day like limbo or that you’re being lazy. The Pokémon games are likely the most obvious example of finding a formula and using it for all its worth while still maintaining a certain level of quality and novelty.

Have a Clear Focus- then change it

As I said, every major Pokémon game has a fairly consistent storyline. One of the more interesting recurring themes is how each game builds up to its central plotline. At the start of each game, the player is tasked with cataloguing every Pokémon they can find, when you’re not proving your worth as a trainer. At some point along the way, you run into an absurdly dressed evil “Team” who go from trying to steal your Pokémon to entirely remaking the world to suit their whims. The better games find some way to integrate the two but that’s not the point. What does matter is how each game starts out with a fairly simplistic premise and then branches outward from it.

Despite the big jump from what’s essentially bug collecting to stopping Cobra Commander, it never feels unnatural. The good games gradually introduce their respective antagonists and never leads with world domination. They’re clearly up to no good, judging by their typically small time introductory antics, which tends to be stealing other people's Pokémon. That frames the "Team" in the Gotta Catch 'Em All goal. Additionally, you usually have to defeat the team to move forward, as they start getting involved in your business.

The scale of each "Team's" villainy only becomes apparent much later on in the game. They also tie the “Team” storyline back to your original objective by having a unique, legendary Pokémon lie at the center of the antagonist’s dastardly plans. This gives the more selfish player an incentive outside of saving the world, as they get a chance to complete their Pokédex. Despite or possibly because of the relatively simplistic storylines, Pokémon offers a good model for GMs for introducing their antagonists and the stakes of the narrative. As well as how to it with overshadowing other aspects of the story.

Don’t limit your player’s options

The Pokémon series' enduring appeal can be at least somewhat credited to the sheer variety offered by the games. The original games, Red and Blue, contained 151 distinct Pokémon for the player to battle as enemies and acquire as potential allies. Aside from “evolutions,” these were all unique creatures and not just endless recolors like in most other games. On top of that, you had the type system, as well the multiple moves each one can learn. Each installment adds a little more to this foundation, but that basic core is still there. All in all, every Pokémon game gives its players a staggering numbers of ways to battle through it, even if the ending is always the same.

This doesn’t seem particularly feasible to an outsider. It can easily sound needlessly complex but anyone who’s played the games can attest that it’s all relatively straightforward. The game wisely limit’s what the player can do. You can never have more than six Pokémon at a time and they can never know more than four moves. As a result, the player is constantly forced to make choices, altering them depending on the specifics of the situation. The type system also ensures that each Pokémon has a clearly defined set of strengths and weaknesses. With a handful of exceptions, there’s no take-all-comers creature, so the player will find themselves frequently switching out their teams.

The lesson for a GM is that they shouldn’t limit the players’ number of options but rather how many they can actually use at a time. This makes it easier for everyone to keep track of things, while still ensuring it isn't all too linear. With this approach, you can avoid having to make any major compromises. Also make sure to look at how Pokémon rations out its content. The games present you with basic features and Pokémon before gradually working in the more complicated elements. If a GM follows this path, the players feel like they have a variety of options in front of them without making the campaign feel overwhelming. Just don’t come up with the tabletop equivalent of making two identical games, distinguishable only by whether or not they have certain Pokémon.

Setting Guide- Star Wars: Knights of the Old Republic

 
Most long running franchises have a number of different eras for Game Masters to set their campaigns in. With the advent of youtube and various wikis, it's easy to get the raw details. But it's harder to get a sense of what makes a given fictional time period so special. In this first Setting Guide, I explain what thematic elements make the media based on the classic video game Knights of the Old Republic so special.

Yesterday’s Heroes- and Villains

Falls from grace and unlikely redemption dominate the KOTOR era. Revan and Malak went from being the Republic’s saviors to razing it. That's just the most influential example. The inverse is equally prominent. Nearly every central character works to overcome some past failing, be it moral or otherwise. What makes this element so unique to KOTOR is that the heroes have often committed unimaginable horrors. The struggle comes not just from their quest for forgiveness but determining if they can ever come back from what they did. The conflict between what you were and what you’ve become drives the character arcs of the KOTOR era, if not the entire setting.

Dark Revelations

In the Mandalorian Wars and its subsequent conflicts countless secrets and lies were exposed. The truths range from being personal to galactic in scale. The most obvious example of the former is the famous twist involving the first game’s player character. The first KOTOR game also revealed that the galaxy was shaped by the monstrous Rakatans, from crucial technology like hyperspace drives to the very foundations of worlds like Kashyyyk. Regardless of what form they might take, these truths have massive ramifications. All of KOTOR media was defined by their shocking twists and turns, even more so than the rest of Star Wars. Wherever you might take your KOTOR-era games, make sure the player characters learn something they really didn’t want to.

An Endless Cycle

It’s hard to think of a piece of Star Wars media that doesn’t feature dark lords, dashing rogues, faceless soldiers, and dastardly superweapons. Star Wars has a certain set of tropes it always falls back on. This is especially evident in KOTOR media, though this reliance is used to anchor the more unique elements. With the this era of Star wars, relying on these tropes is vital to establishing the events of your campaign as being a part of the Star Wars universe. KOTOR and its offshoots are so far removed from the entities and characters traditionally associated with the franchise that Game Masters shouldn’t be afraid to lean heavily into Star Wars’ established archetypes. That will give you more of an opportunity to fully exploit the more unique aspects of the KOTOR era.