Chapter Eight: Storytelling

  Humans have told tales for many, many years; stories are an intrinsic part of cultures both advanced and primitive. For werewolves, whose society is entrenched in oral tradition, where every sunrise could mean the last day of a warrior's life, stories are perhaps even more important. The werewolves' sagas serve as records for past deeds of glory and honor. They rest near the heart of what it means to be Garou.
  So now you have this monumental task of being a Storyteller to a group of players in a game where the tale means everything. Where to begin? How is it done, and done well? What are the promises of storytelling — and the pitfalls?

Who is a Storyteller?

  If you're reading this chapter, we hope you are. The ideas and advice here are meant for Storytellers rather than players, since players generally have more fun if they don't know the details of all your devious plots or how you developed them. But to be honest, a Storyteller is anyone who has ideas for games and is willing to put some time and energy into developing those ideas for a group of players. Hopefully, said players will thank you for your efforts when the scenarios are good and be honest with you when they're not. Even the greatest Storytellers can always improve upon their craft. And don't forget that the most novice Storytellers can run one-in-a-million games while the masters might have an off day and run really crappy ones. Storytelling is an art, never a science.
  As the Storyteller, it's your duty to come up with the basic plot for each game session and overall story arc. You decide the conflict, devise the antagonists and so on. You'll also be called on to take the role of any characters the players' characters might interact with or meet, from their contacts to their elders to ordinary people thrown into their paths. (These supporting cast members are generally called Storyteller characters, for obvious reasons.) And, of course, you must be able to describe the characters' surroundings and adjudicate the results of any actions they take. Storytelling is quite a bit of work, but it's also rewarding.

Showing Stories

  The most basic lesson you need to learn is the following: Overall, show rather than tell. You can describe in painful detail what a moonrise looks like, but it's going to mean a lot more to players if you put it in terms of their characters. What do young werewolves feel as they see the glow after their First Change? How are their perceptions different than at the previous moonrise, now that they're no longer quite human? Maybe they never bothered to look at the moon before. Talk to the players about painful aches in their characters' hearts as they behold the beauty of that glow. If you go on about the craters or how high the moon appears to be on the horizon, you're telling some things, but not really showing much. See the difference?
  You need to find a happy medium, a style that works for you. Giving details about what someone (or something) looks like is equally important. Imagine what your players would do if, in the process of describing their awe and inspiration at the sight of the Black Fury Crinos, you just happened to forget to mention that she was holding a silver dagger that dripped with a caern Warder's blood...

Developing a Quality Story

  Unfortunately, good stories don't grow on trees. Most Storytellers would agree that a first-rate game is about 40% inspiration and 60% perspiration. For a great story, you need a special combination of memorable characters from both players and the Storyteller, a cohesive plot, interesting conflicts, solid pacing and a satisfying conclusion. The hard-to-swallow news is that it may take you some time to develop these pieces and techniques. The more pleasant news is that storytelling more games is the easiest way to make them better.

Characters

  You and your players have to be happy with the chronicle's main characters. If you don't like the way a character is developing, you're not going to be inspired to run games featuring that persona. If a player isn't happy with the way his character is being treated, he's not going to enjoy the game much. Worse, if several players have characters too similar to each other, things are going to get real dull real fast. Nobody wants a copycat character or competition for her character's niche in the game. Yet, even within the tribes, plenty of chances exist for enormous diversity and roleplaying opportunities. What you don't want to have, though, is a game in which every player wants a Bone Gnawer Galliard who specializes in the folk music of central Louisiana.
  When constructing characters, most players conceive of a persona who has a story to tell through the life of the game or chronicle; this story might well change over time.
  For example, consider Evan Heals-the-Past, Wendigo Philodox. His initial story was about discovery and learning what it means to be Garou. Now that Evan's well entrenched in Garou society, his story has evolved. Now it focuses on his efforts to become a force for transforming werewolf society. Once a lost cub, he's taken to guiding others (as in the Prologue). Each character in your own chronicle should have an interesting background, a purpose and a way to impact her world as well.
  Also, don't forget that flaws and quirks help individualize characters as much as their unique talents and personalities. And such hooks can be highly inspirational for your story ideas. Characters with some troubles in their past provide excellent fodder for your more wicked schemes.
  Finally, don't forget that everyone likes his character to have a starring role from time to time. If Jim's Ahroun turns out to be the main focus for the more martial scenarios, try to plan a few sessions focusing on Monica's Galliard or Joan's Theurge, too. One of the beauties of playing members of a pack is that everyone has an important job at one time or another.

Plot

  Plot describes the events of a story and their sequence. It's the tale's basic plan, including all the complications you can throw in to make it interesting. When brainstorming for a game, many Storytellers begin by sketching out the various steps in the plot then filling in other details. In this sense, storytelling is much like writing a script; you set up the scenes, and the players fill in the dialogue. Other Storytellers start by developing the villains and then write a plot from that point. Whatever methods work best for you, you must remember some things about plots and plotting.
  First of all, while you may want the story to be linear, players seldom follow a set pattern of reactions. You may have all your causes and subsequent effects set up perfectly, but your players could easily decide to jump ahead from scene three to scene seven in your cunning plan, so try to make events somewhat open-ended when developing the plot. Outlines are one useful tool for accomplishing this goal. The players will still come up with ideas you'd never considered, but being flexible will help when they want to spend two hours of game time on a wild goose chase.
  One way to remain accommodating to player whims and still have a linear story is to set up some major events of the game to have occurred before the characters show up on the scene. Using this tactic is a particularly good way to build mysteries; the priceless artifact is missing before the player characters stumble on the scene, and you've got a lovely set of details on who took it and how. Now it's up to the characters to backtrack and discover what really happened. They've got freedom to decide whom to question first while you have most of the facts of the mystery easily at hand, no matter where they start.
  Don't forget that plots also build up to suspenseful events, followed by a major resolution and climax, winding down with a denouement. Then things may begin all over again. The plots of your chronicle should be continuous overlapping cycles, where the characters are always involved in one mess or another and the players are always excited to find out what comes next.
  To get an idea of how the cycle might run, let's look at the plot of one adventure, that's designed to be finished in one sitting. The Storyteller, Wayne, has three players in his game whose characters — all Children of Gaia — form a small pack along with two Storyteller characters. At the start of the game, Buck's character, Francis Turning, comes home to find the body of the pack Theurge (Storyteller character) dead and covered in blood. The Theurge's bone necklace, which is a powerful fetish, is missing, and all the mirrors in the house are smashed. This scene is the hook to get everyone involved in the game, and it's a major event of the story. Wayne's counting on Francis to contact the other characters and get them together. Wayne also jots down some minor events that may or may not occur, depending on the players. Maybe the police show up, if the characters hang around too long. Or, if the characters try to drag the body out the front door, the neighbors see and cause a panic. Then again, one of them might remember seeing some "scraggly looking fella" hanging around the apartment. That admission can give the players enough clues to start suspecting that the Theurge's murderer might have one of the Black Spirals who's been causing regular trouble in their protectorate. Tracking down the Hive would be another major story event, and it would probably be the climax of that particular adventure.
  Some Storytellers find it useful to make detailed notes before a game; others prefer just to wing it. If you're new to storytelling, try plotting a few different ways and find out what works best for you.

Pacing

  Unfortunately, you can't really learn good pacing unless you run games. Pacing is how fast or slow you move things along in your scenario, and it's an important technique from start to finish in a game. Shoving the players down a rapid list of events to your stunning conclusion is an easy mistake to make. If your players are confused or they seem to be struggling with all their might to stop and talk to Storyteller characters, you might be moving too fast. If, on the other hand, they're provoking each other or anyone they meet constantly for no apparent reason, just to make something happen, they're probably bored. In that case, it's time to speed things up a bit.
  At the beginning of a chronicle, you encounter the sluggish problem of getting characters together. Using, the ubiquitous tavern set-up is probably not the best solution unless you've got a band of thirsty Fianna in the offing. Consider starting the adventure with a bang, literally. Begin with some action! Perhaps the characters — even ones from different tribes — have sensed that something is not quite right in a certain forest. They all come to investigate and end up fighting and killing a bloodthirsty Wyrm-beast together, which is a sure-fire way to form some bonds of friendship. In a similar vein, if all the characters are young, say that they've just been gathered to their home sept for the first time when a host of Black Spirals drops in and slaughters everyone except them.
  The survivors can then band together out of sheer desperation, and your problem of how to let them make contact is solved. Feel free to encourage players to develop relationships between their characters. If two characters are siblings, for instance, this connection makes things easier.
  While you certainly want to have those marvelous roleplaying experiences where the players' characters have deep, meaningful conversations with Storyteller characters, don't forget to keep the action going strong. Enemies are everywhere! The werewolves probably have no more than a few moments of peace in a given scenario, and so you should let the characters savor those times as much as the players wish... while getting ready to launch the DNA ambush in the next scene.
  Another thing to remember is to take a break before moving into the heavy action. Let everyone get a drink and make a pit stop. You don't want players to get up and leave the room haphazardly when the big battle starts. Taking a break can also help pacing, especially if the characters have gotten way off course in their investigations. It gives you time to evaluate and regroup.
  Once the loosely connected scenarios start developing into a cohesive chronicle, you'll feel more at ease balancing low-key games with action-packed ones. Having glorious battles is great fun when you play a 10-foot tall flesh-and-blood chainsaw. But don't forget the spiritual aspects of werewolves, too. Once you've all gotten comfy gaming with each other, decide what works best for you and the players. Maybe you'd prefer having a perfect balance of battle and action with dreamquests and missions of the heart. Perhaps your players are genuine combat monsters who want 90% war and minimal introspection.
  Or maybe they're a group of sentimentalists who want to roleplay every little tragedy and triumph deeply. Whatever the case, don't forget to solicit advice from the players about how things went. They're your best source for improving the pace of future games.

Conflict

  Conflict drives a story; it gives the characters reason for thinking and acting certain ways. If your story has no conflict, it's going to be a bore. Conflict doesn't necessarily mean quarrels with a villain, although that type of conflict is probably the most common. It can also refer to a character's inner moral struggles or clashes of interests and opinions with others. The following list details some of the more common threads of conflict in storytelling Werewolf: The Apocalypse. As you're reading this list, though, don't forget that conflict has to be more personal than "good versus evil." As a Storyteller, your task will be to set up conflict in such a way that it has enough meaning for the characters to pull them completely into your tale.
  Good conflicts don't always involve pitched battles against monsters of ultimate evil. Conflict can take many forms. The struggle to survive in hostile environments (wild, urban or even Umbral), clashes with a band of rivals rather than outright enemies and the battle between wilderness and technology are all possibilities. The obstacles can be lethal or merely dangerous, overcome with violence or through cunning. Enemies might be of the Wyrm, of the Weaver, of humanity or even friends gone bad. Werewolf brims with the possibility for political struggles, vicious brawls in the street, tempestuous relationships and almost every sort of conflict found in literature and cinema. Your options are virtually limitless.

Climax and Resolution

  To quote one professional script-writer, climaxes and resolutions should be "organic," evolving out of what has come before. It's important to remember that the characters should be the ones responsible for drawing the scenario to the climax and resolution. If you suddenly have the invincible Storyteller character show up and save the day, snatching the fun from the player characters, your troupe will be pissed. Instead, try letting the players discover a way out. Now, the characters need not always triumph. Werewolf is naturally a game chock full of Pyrrhic victories, and Gaia's warriors are constantly on the defensive against impossible odds. But the triumphs and the tragedies should generally be the result of what the characters did or did not do, not Storyteller deus ex machina.
  James Joyce sometimes referred to the climax of the story as an "epiphany," a point in the tale where things suddenly make sense or come together. For example, the werewolf pack might finally figure out that Endron Oil is behind the plot to steal their land, and so they make plans to go kick the company's butt. Thus they come to their epiphany and then resolve their problem. The cool fight settles the score once and for all.
  Time permitting, don't forget to allow the characters to do some mopping up of a more personal interest after the major events of the game. If Thomas Lovejoy of the Uktena dies in the final battle, let the characters give him a burial and eulogy in order to celebrate his life and final victory, if they so desire. Have everyone say something about Thomas and his great achievements. Such individual resolutions help strengthen the bonds of the pack (and the players) with opportunities for roleplaying and character development.

Getting in the Mood

  Mood should convey emotion. It's the overall feeling and tone set for your story or chronicle; it comprises the little things you and the players can do to put just the right edge and creative touch onto a session of Werewolf. Can you have an okay game without the proper mood? Sure, but if you can get the tone just right, mood can bring a so-so game up to the level of a great adventure.
  So how do you capture that mood and, more importantly, sustain it? Experienced Storytellers may be more familiar with the little things that help set mood, but here's a handy list of suggestions for everyone to consider.
  Music and Sound
  At its heart, Werewolf is about the clash of the Wyrm, Weaver and Wyld, where corruption meets pattern in the presence of the untamable Garou. And they're not quiet about it! Each of these branches of the Triat has its own aspects of sound and silence. Conveying these elements to your players can really help set the mood. For example, think gritty, static industrial rock music for the background of a game set in the city's heart. Change the songs to something more ethereal for adventures in the wilderness. You may also waul to make a "soundtrack" for your games, something that reflects the characters' tribes and personalities, or the atmosphere of their home caern.
  Lights
  Nobody should ruin their eyes reading in the dark, but having low-level lights or candles can really set a nice tone, particularly for roleplaying and discussion. Then, when the claws come out, you can brighten the room up a bit.
  Props
  Even with a tabletop game, props can be fun. Instead of telling players what happened at the monthly moot, consider it a golden opportunity for roleplaying, with each player holding a nifty wooden goblet when it's her chance to speak in turn. Other mood-setting props might include maps, letters or dossiers representing the characters' research (complete with "photos" cut from magazines or the Internet). Glass Walker fans will love you for all those computer printouts.
  Food
  Most gamers must have their snacks. If you've got the resources and the time, why not try something the werewolf characters might particularly enjoy? Even buffalo and venison are not the rare commodities they used to be. And if grilling vegetables in the wok is more your thing, that's okay too. Humans, like wolves, are social creatures, and often a meal enjoyed together with your players provides a relaxing forum for discussing the game or future plans for the chronicle.
  Outdoor Gaming
  Nothing quite compares to a Storyteller weaving his tale over an open fire while a cool forest wind settles over the troupe. You can almost imagine the distant howls of the werewolves in such surroundings. So get out of the gaming den at least once in the life of your chronicle and check out nature's bounty. Most state and national parks have safe facilities for camping or cooking out, so nobody has an excuse for not appreciating the pleasures of playing outside. But with that said, remember to keep things sane. Unless you're involved in a sanctioned LARP, in an approved area, don't really draw knives on each other, or get into an all-out brawl. The park authorities would not be happy to hear that you were "fighting back the Wyrm" when they mop up your accidents.
  Visiting the Local Nature Center or Zoo
  Obviously, it's impossible to inspect a werewolf up close and personal; this is a game, and big hairy half-wolf, half-human monsters don't really exist. But wolves certainly do, and they're well worth any time spent in observation. How can you describe the posturing of the four-legged Ahroun or possibly comprehend a lupus character unless you've seen some wolves? Many zoos and nature centers all around the world have habitats for these great animals.
  And if you can't get to the zoo, consider watching wolf videos, listening to wolf howls on the stereo (which also make good background sound for a game, provided there's no cheesy music attached) or reading up on wolf behavior.
  Attention to Dialogue
  The best roleplaying sessions are almost like improvisational plays; everyone's fully in character, and conversation flows naturally from each player's lips. Making that the case in your chronicle is easier said than done, though. Storytellers can get the ball rolling by having some ideas for what their Storyteller characters might say in the course of a session. When developing Storyteller characters, be they friends or foes, take a few minutes and write down something about how these people talk. Do they use slang, or are they always precise and popular in conversation? Think about the ways you can make Orlov the Silver Fang sound completely different than Three Eye the Black Spiral Dancer before you run the game.

Working with a Theme

  Theme is synonymous with purpose and the general idea behind the story; it's basically what your overall game is about. The theme of most fairy tales, for example, is the triumph of goodness over evil. Themes should evolve over time and give meaning to the actions and events of the story. They can form the underlying ideas behind your plots, but themes should never dominate every aspect of the tale you're telling. In other words, themes are great guidelines, but they're poor substitutes for character ingenuity and Storyteller inspiration. The following are some themes to keep in mind as you make plans for the early sessions of your Werewolf game. By no means are they the only ones that apply to Werewolf games. Hopefully, you have some ideas of your own by now for themes that you'd like to use.
  Science Out of Control
  Whether they're stereotypical Glass Walkers or oddball lupus with a strange Weaver affinity, characters in a chronicle with this theme deal with high tech and bizarre scientific hocus-pocus. Storytellers might craft games that are more cyberpunk in nature, or they could follow the route of Jules Verne and Edgar Rice Burroughs, taking the characters to strange new Umbral worlds where things are really peculiar. Be careful, though, not to toss the characters into a different Realm every single game; for all the weird-ness they may seek, they're still Gaia's warriors.
  Young and Scared
  This theme is great for novice players and characters alike. For whatever reasons, the characters are alone. They have no elders to guide them through those rough first days of life as a werewolf, and it seems like the poor kids find gobs of trouble everywhere they look. Eventually, they'll learn how to survive (or die trying), but the pups have to take care of themselves for now. If you use this theme, don't forget that being young and innocent can bring the joy of discovery as well as the threat of danger.
  Marked by Destiny
  Some powerful spirit — perhaps a character's personal totem, or maybe even Gaia herself — has marked the pack for something special. The characters have been set up to fulfill an epic prophecy and to accomplish great and wonderful things for the Garou. Yet the characters are clueless! They may be reluctant heroes, worried about the progression of fate. Or perhaps they're willing but powerless in the maelstrom of tribal politics. This theme is complex, with potential for many different kinds of adventures.
  Keepers of Tradition
  Then again, maybe a spirit or totem has charged the characters specifically to prevent some destiny that is hurtling toward the werewolves. Maybe they've been challenged to preserve the status quo in Garou society and prevent outsiders and their influences from disrupting werewolf traditions. Of course, this duty would bring lots of interesting dilemmas to the pack in dealing with septs in and out of their tribe who are opposed to their view. And don't think that this theme calls for nothing but old, grumpy werewolf characters. A young, energetic pack might just be what the spirit or totem is seeking.

Setting

  Whether the game occurs in the heart of the big city or in the darkest plains of the tundra, spend some time constructing an interesting setting for the pack. What does the characters' home look and smell like? What Kinfolk, contacts and allies are nearby? Why do the characters love this place and want to protect it? What is the form of the caern, and who is its spiritual protector? Get some help from the players. Brainstorm with them about the bawn and any special features they'd like to see. Talk about positions they might hold in the sept, and take time to lay out any other details of the sept's political structure; that's part of setting, too. Finally, when games take place at the sept, call on your best techniques of mood to help the players really visualize what home sweet home means to the characters.
  Why is a rich, detailed setting particularly important in Werewolf: The Apocalypse? Just consider the nature of wolves. They're territorial beings that rely on all their senses. When constructing settings, it's a good idea to think not only about how the places look, but also about how they smell, sound and taste. Secondly, if you make the players care about the setting, they'll be much more inclined to take threats to it seriously.

Who's Who in the Sept

  Just for quick reference, here's a handy list of people you should detail for the home sept or other important septs that the characters visit.
  Major positions in a sept include:
  Council of Elders: A sept's ruling body
  Grand Elder: Usually a Philodox; the werewolf who speaks for the council
  Warder: Caern's chief guardian; usually an Ahroun
  Guardians: Assistants to the Warder
  Master of the Rite: Chief of all ceremonies and rites; usually a Philodox or Theurge
  Gatekeeper: Liaison to other septs; monitors the moon bridge
  Keeper of the Land: Maintains the health of the caern and bawn
  Master of the Challenge: Oversees all challenges, not just martial ones
  Lesser positions include:
  Master of the Howl: Leads the Opening Howl for moots; usually a Galliard
  Caller of the Wyld: Invokes honors to the sept's totem; usually a Theurge
  Truthcatcher: Often held by a Philodox; mediates disputes and judges crimes
  Talesinger: Often a Galliard; leads the storytelling
  Wyrm Foe: Leads the revel to conclude moots; usually an Ahroun

From Story to Chronicle

  When players start begging for more frequent games, calling on the phone to give you their septs' intimate history or appearing on your doorstep at 4 AM with a ream of in-character stories, congratulations. You're well on your way from transforming a set of loosely related Werewolf games into a bona-fide chronicle. Now, you've got more work ahead. It's time to start making ties between one-shot games, connecting stories and mapping out some long-term goals for the characters and the villains.

Weaving Stories Together

  One technique that writers use to connect story lines is to picture their overall tale as a series of climaxes Events build up to each climax, get resolved and then move ahead from there. Most novels have at least three major climaxes and possibly a couple of lesser ones. Let's say that Wayne has been running a Werewolf: The Apocalypse game as just a few random sessions for a mixed pack of characters that he wants to transform into a full-fledged chronicle. His present theme is "Young and Scared," but he wants to move toward a "Marked by Destiny" theme as well. He comes up with two or three key events, which will ultimately advance his metaplots, along with a number of "filler" stories between the key events. Wayne also realizes that more fillers may be needed, especially as charactcrs develop their own needs and interests, and that's fine. The last thing he wants is for the players to feel like they're being pushed along by his rigid agenda.
  But how does the Storyteller develop a metaplot? Well, after about four scenarios, the pack has made some definite enemies in Pentex. So Wayne decides that, perhaps by the end of the eighth episode of the chronicle, some sort of major showdown with Pentex will occur. That's a pretty good first climax, with the metaplot being something to the effect of "characters become enemies of Pentex." Cleaning up loose ends after that mess will be fun, too. But all the while, the Pentex face-off is shaping up, Wayne wants to start building on a lesser but equally intriguing story, a challenging quest for one of the individual characters that might be metaplot number two. He runs a solo adventure for her and brings in some important Storyteller characters. Then, a few of the other pack members get involved as well. So just when the werewolves think they're going to have some peace after kicking Pentex's ass, they've suddenly got a quest to keep them busy. And then Wayne starts plotting side adventures for other characters in the pack, and so on. What eventually happens is that Wayne has one or two major story threads plus two or three minor ones going on at any given time, overlapping a bit, all building to climaxes set about five or six episodes apart. Thus, the characters never get a moment's real peace... and the players are never bored.
  Storytellers must consider two major things in transforming a set of loosely connected stories into a real chronicle. First of all, remember that Storytellers should like the characters and be inspired to run adventures for them. If you wait until six or seven games have passed and things are taking a turn toward becoming a chronicle before you tell a player that his character is boring, you'll be sorry. Worse, if you don't tell him how you feel and yet run cool solos for everyone except him, you'll be in for even more unpleasantness. If you see that your players want a cohesive chronicle rather than just a series of pickup games, do everyone a favor and get comfy with both the players and the characters.
  The second issue is that of time and energy. Running a chronicle takes more time and inspiration than the five or 10 minutes spent on a Friday-night werewolf bash. And nothing is wrong with you or your players if the heavy-dice-rolling approach is what you want. Go for it! But if the players are howling for a chronicle, be aware that their needs will be more sophisticated. They'll be looking to you to satisfy their roleplaying, rather than number-crunching urges.

Memorable Antagonists

  By this point, you'll have noted that conflict is a key element in a good chronicle. The bad guys, antiheroes, villains or whatever you choose to call them are often central to conflict, and yet, poor conceptualization of antagonists can ruin even the best of plots and settings. Antagonists should be believable, intimidating and genuine while still less important than the players' characters.

Putting Meat on the Bones

  When designing antagonists, start by considering a few basic concepts. Who (or what) ultimately pulls their strings? Are they powers unto themselves, or are they just working stiffs on a bigger villain's payroll? Are they supernatural in origin? If so, what powers do they possess, and how will these powers affect the werewolves physically and psychologically? What motivations do the antagonists have. Is your antagonist just a fanatical, berserk monster for the climactic fight sequence, or is he the cunning DNA scientist you mean to be a long-term, powerful enemy?
  Next, put together a few key stats and descriptions. Think about things beyond the antagonist's physical appearance. Obviously, you should know that this week's antagonist, GalKorr the Unspeakable Servitor of the Wyrm, is 14 feet tall with poisonous fangs and a jade-green scaly hide, but push your description a few steps further. What does GalKorr smell like? This detail would be of particular note to the werewolves. Can it speak, and if so, what sound does his voice make? Does it have any vaguely anthropomorphic features such as matted tufts of hair or huge, sagging mammary glands? What is it about GalKorr that makes it so unbelievably grotesque that the characters (and maybe the players) will remember it even after carving its heart to mush?
  If you're making up an antagonist that you want to last for several sessions (and soon you will be), you'd do well to spend even more time working on background material. Let's look at an example, Dr. Betsy Rook, a scientist at DNA. You sit down to write an adventure for your troupe and decide that they'll need to rescue Martha, a Kinfolk who's been taken to a Weaver-infested DNA stronghold. Martha's worth the trouble because she's carrying a child and because no werewolf in his right mind would want a bunch of Weaver-spawn messing with his kid (or his honorably mated partner, for that matter). Anyway, you decide to be quite cruel to the characters and have them be mere patsies for DNA: Martha is just bait for this maze of tests that DNA has built for use on werewolves. The characters come in ready to kick Weaver ass, and they have to navigate their way through the unbreakable maze, coaxed and wheedled by some patronizing bitch on the public address system. Maybe they get out with Martha safe and sound, but they've got an enemy in Dr. Rook. So why is Dr. Rook such a rotter? Why does she humiliate the werewolves?
  Well, what if Dr. Rook has good reasons for researching these sick aberrations? Perhaps someone dear to her went a little nuts after being attacked by werewolves (or "wild dogs," as it was billed in a local paper). She might want revenge, or she may need answers to help her loved one and see that no one else is ever hurt like that. And don't forget practical motivations. The good doctor might just want the information for scientific posterity. On the other hand, Dr. Rook might just have a sadistic streak that needs feeding from time to time... In any case, when you know that you want to develop a villain who'll be around for a couple of stories, take the time to flesh her out as much as the more sympathetic Storyteller characters in the chronicle. You'll find that doing so makes the antagonists memorable long after their initial introduction.

Antagonists Versus Enemies

  Some of the best stories have both adversaries and enemies. But what's the difference? Aren't both obstacles to the characters' goals? How can an adversary sometimes be an ally?
  Adversaries may be dark reflections of the heroes or just champions of a differing — though no less noble — cause. They're antagonists because they're often competitors, fighting for the same resources, lands or interests as the characters. In Werewolf, many tribes are adversarial, although they're not necessarily full-blown enemies. The Get and the Furies may try to tear each others' heads off at a moot, but they are allies in an all-out war against the Weaver or the Wyrm, albeit grumpy ones. One way to think about adversaries is that they could be the players' characters in a long-term game in a different world or setting.
  Enemies, on the other hand, have much fewer redeeming qualities. They may be portrayed in shades of gray as adversaries are, but those shades are much darker. Maybe they've got a good reason for doing terrible things, but that's no real justification. Chances are, your troupe would not want to roleplay enemy characters, unless it was a one-shot adventure (such as using expendable fomori or other Wyrm and Weaver pawns, which could be great fun). Enemies can and should be complex, but they may lack the delicious moral quandaries that adversaries suggest for the chronicle.
  A good game has both adversaries and enemies in a healthy balance. One word of caution, though: It's much more difficult to turn an enemy into an adversary than to do the reverse. Few players will be happy if you have the utterly evil enemy suddenly start acting like she's overcome with remorse or guilt (think of it as the "Darth Vader Syndrome"). If you want to do so, take the time to make such a shift through a logical sequence of events. The same is true for adversaries who become enemies. If they make a shift to a darker side of life, show the players that there are interesting and valid reasons for such an unfortunate change of heart.

Final Touches

  Just remember this: Antagonists are probably the most common purveyors of conflict to appear in chronicles, and they can make or break a good plot. One common mistake is overusing antagonists or bringing them out from behind the curtain too soon in your chronicle. If, for example, you're going to have two or three major antagonists, don't let them all tip their hands at once. Keep some things secret. Likewise, don't make them too predictable. When you're describing the approaching Pentex First Team, the last thing you want is for the players to say, "Look, it's Delta Bob and his goon squad. Don't forget they're all carrying cans of pepper spray! Battery-powered fans at the ready, packmates!"
  You get the picture.

A Word on Experience

  Awarding experience points and Renown is a balancing act. If you don't give enough, the characters will progress so slowly that it may be years of game time before they attain any rank. And let's face it; some of those higher-level Gifts are pretty cool! However, you run the risk of turning even good players into twinks and having a boring game to boot if you give too much. In short, it's fine for characters to grow and develop constantly, but it's also nice for them to realize that they aren't invincible.
  When characters are ready for advancement in rank, make sure they follow the tribe's general procedures for challenges. Take this opportunity to reinforce the fact that each werewolf is a member of a pack, and that the pack is greater than the sum of its individual members. The higher the rank of challenge, the harder the tests should be. These tests could easily form the central events of an entire story arc.

Classic Werewolf Stories

  The following selections are story seeds to use once you've conquered the delightful problem of how to get players together. These seeds are meant for one or two sessions of the game, and they may or may not reflect the theme you eventually want to develop. That said, some essential chronicle "bits" may coalesce from these sessions — things like long-term antagonists, interesting allies and characters goals — if you and the players are lucky.

Prelude and First Change

  The joy and pain of the First Change is different for every werewolf, and even veteran players can enjoy it. For new players, it's essential to roleplay their character's prelude and First Change. Think about what it would really be like, emotionally and psychologically, to find out that you were almost entirely different from the folks next door. Moreover, imagine the added burdens of having such a serious mission and a host of none-too-loving relatives. This seed is a good one with which to start a chronicle.

Rites of Passage

  Like the First Change, the Rite of Passage story is a fine one to run in the early days of a chronicle. These Rites ideally should be keyed to the specific characters (and tribes) in the game. You may want to let all the characters take part in the same Rite or divide them into two groups, giving everyone a bit more individual attention. Choose tasks that are pertinent to the tribe in question. A Get's Rite of Passage may involve bringing in the head of a Wyrmish horror or surviving a night in a bad neighborhood without using his claws. A Black Fury's might involve defending a Kinfolk woman and child, by using wits and claws. The Uktena youngster perhaps has to return to the pack with a piece of previously hidden knowledge. And so on.

Fighting the Wyrm

  Werewolves represent much, much more than death and carnage; they're spiritual, creative and passionate creatures. But hey, they are awfully well equipped for dealing destruction. And nothing should bring out that killing instinct more than facing the Wyrm and all its depredations.
  Perhaps, once upon a time, the Wyrm was a force in balance with the Weaver and the Wyld, but such isn't the case now. Be they subtle or forthright, the Wyrm and its minions will probably cause a lot of misery in the characters' lives, so use them with a good will. Fights with the minions of the Wyrm make great one-shot adventures for those days when you haven't had the time to prepare a detailed game.

Fighting the Weaver

  Ever seen a piece of fabric on a loom? It can be a work of art that's spontaneous in its beauty. In her madness, however, the Weaver spins static, unyielding webs that constrict the Wyld in all its forms. Don't make the mistake of ignoring the potential threat of the Weaver. From quick clashes with Pattern Spiders to a long-running battle with the devious scientists of DNA, the Weaver poses a threat almost as dire as the Wyrm. Stories involving the Weaver should be rigid and focused. Everything in the Weaver's world is but one thread in a tapestry, and Storytellers should think about plots involving the Weaver's minions as having interconnections and multiple layers.

Of Wolves and Humans

  Wolves are a slowly dwindling species. True, they're making comebacks in some parts of the world, but their territory is vanishing in the swell of humanity. Stories can easily involve conflicts between werewolves and their wolf allies against the encroachment of humans. Consider the ensuing problems if a ranching family buys up the 10,000 acres of land that's home to a Red Talon pack. How will these lupus react? How can the characters' pack help? This kind of story should be highly charged. Don't forget that werewolves are neither just wolf, nor just human.

Bloodsucking Leeches

  Wyrm-taint, urban expansion, parasitism, age-old vendettas, competition for resources, depraved appetites... Reasons abound for why vampires and werewolves are natural enemies. As your chronicle progresses, you might choose to make some exceptions, but the de facto rule when a werewolf meets a Leech is for death-dealing to commence. These two societies oppose one another over most facets of their very existence and means of survival. Tensions should (and do) exist on a martial level, but don't forget that a social and intellectual conflict goes on here. And if a Leech dares to sink its fangs into, say, a Kinfolk, that'll be cause for a nasty encounter or two.

The Enemy of My Enemy

  Common threats make strange allies. This type of story is useful in getting certain tribes or packs to put aside their enmity for a time in order to fight a greater threat. You can still have fun with the occasional snappy responses between characters (which the players should enjoy) or even a quick fight for dominance before the big nasty enemy shows up.

Life in the Pack

  Sometimes, you and the players need a light-hearted break. If so, consider a "day in the life of the pack" tale. These kinds of stories revolve around what it's like to hunt for food, raise the young ones or even say farewell to an elder leaving on a last honorable quest.

Kinfolk

  Kinfolk are marvelous hooks for adventures, especially for injecting some grains of romance into the chronicle. What werewolf wouldn't defend her mate, children or siblings? And some Kinfolk characters just seem to crave long, painful suffering. While you shouldn't overuse Kin, they work well as victims of the Wyrm or Weaver that need rescuing or curing. Vengeful Kinfolk make surprisingly cunning enemies too, since some know important details about werewolves.

Moots

  Moots are one of the events that strengthen the bonds of the pack. Just to recap, moots involve a sequence of events: the Opening Howl, the Inner Sky (dealing with tribal spirits), Cracking the Bone (business), the Stories and Songs segment and the Revel. An enjoyable game to run between big adventures is a sept moot wherein the characters report on what they've accomplished and what their next big goal is going to be.

Mysteries of the Past

  Who says that all the enemies and challenges have to come from the present? Consider what might happen if the werewolf pack stumbles on the sealed tomb of an old, hitherto unknown Wyrm creature? Not only would they have complications from fighting the dread creature, they'd also have to explain how they freed the thing in the first place.

Quests

  Multi-stage quests are great for structuring a long story arc. You could also use this story seed as a requirement for advancing in rank. Having the heroes seek out the Three Eldest Ancestor-Spirits of the Wendigo, or even something more tangible, can keep them busy for a number of sessions. Quests are a great opportunity to expand the chronicle from the grisly, everyday struggles to survive into a realm of wonder beyond grim reality. They are the key to the spiritual side of werewolf society that cannot be ignored, the heart of what channels the path of every hero's journey.

When Duty Whispers Low

  Not all duties are easy to carry out, and feel free to concoct adventures that tear at the characters' heartstrings as the game progresses. How hard would it be for their sept leader to command them to hunt down an old member of the pack (perhaps a player's retired character or a beloved Storyteller character) and dispatch her, because she's fallen to the Wyrm or the Weaver? It's easy to say that this kind of task needs doing, that it's a blessing to the victim and all that, but killing off a comrade is as hard as it gets.

Seeking the Young

  When the werewolf characters get some experience under their belts, maybe the pack elders send them out to find lost cubs. This story could evolve into a series of adventures both urban and rural. The characters could discover allies and enemies from different packs or maybe other denizens of the World of Darkness. Eventually, though, they should meet up with one or more innocent young werewolves and be prepared to act as mentors for the young ones.

Dirty Politics

  The Garou, for all their honor, aren't above political machinations. After all, they're in desperate straits and willing to do almost anything to preserve their lands and way of life. If your players are interested in politics, steer them toward such interesting goals as acquiring new territory for the sept, arranging lucrative intertribal marriages or taking over useful corporations. Such tactics aren't just for Glass Walkers anymore.

Appeasing the Spirit

  Perhaps the pack totem has deserted the characters for some mysterious reason, through no apparent fault of their own. The pack now needs to find out why their totem has gone into seclusion and what can be done to appease it and bring it back to the caern. This type of adventure calls for a lot of positive public relations, perhaps with other packs, tribes or spirits, and it gives the players a chance to do some puzzle solving and thinking. Hot tempers and ready claws will be less valuable here.

Storytelling Techniques

  You can use a variety of techniques (those "classic bits" from literature) to enhance your stories. Just be careful not to go overboard. This is still a roleplaying game, after all, not than a dime novel. With some elements, like the ringer, be careful that your creativity doesn't overbalance the game... or infuriate the characters too much.

Dreams and Flashbacks

  If you want to convey important information to characters, flashbacks to earlier events and well-crafted dream sequences are a means of doing so without always having Storyteller characters spill the beans. Decide whether you want the character (or characters) to be able to react in the dream or flashback, then describe in clear detail what scenes they see. Think about the source of the dreams or flashbacks. Was it a gift of a totem? Guidance from a vision quest? Also consider how explicit or vague you want the information to be. What you give them probably won't answer all their questions, but it should be enough to point them in the right direction.

Foreshadowing

  Foreshadowing is another way to give characters hints and suggestions of what events may be forthcoming in the chronicle. Ideally, foreshadowing is a subtle technique. You shouldn't have to beat the players over the head with this stuff. Let's say, for example, that you want to foreshadow the fact that the sept is heading toward disunity. Plant some rumors and whispers to this effect during each game. Maybe two caern Guardians get into a spat over how best to serve the Warder. It may be a minor argument, but it's a sign that things aren't going so well. Then, have more such tensions bubble up in the regular moot. All these signs should point out to the characters that all's not well at home, and maybe they should do something about it. Foreshadowing also works well with evoking certain moods. If you put on some gloomy music, you're letting the players know that the hours ahead won't be all sweetness and light.

Symbolism and Mystic Threads

  Werewolf: The Apocalypse is rife with myths and cultural symbols. Garou society is a complex melange of many different peoples, all with a rich oral and/ or written history. So delve into some of these times gone by. Use mythic poetry and epics to evoke mood and get stirred up to tell some stories. Depending on the werewolf tribe in question, you may want to use classic Greek, Slavic, Irish, Native American or Norse literature for inspiration. Also don't forget that you can link foreshadowing with symbolism. Consider what importance the name of a person or place might have, and what that importance implies for the characters. Meeting a traveler named Loki or Coyote on the highway just might mean something...

Alternative Settings

  If you've the time, energy and inspiration, consider setting the chronicle either in the historical past or near future. Maybe you want to run a game set in the American colonies during the Revolutionary War, where the characters are battling werewolves on the opposing political side as well as the Pure Ones and the Wyrm. Or, perhaps you want to advance the chronicle into a time when it really is Apocalypse now, with the Weaver's hard edges biting into the character's heads even as the Wyrm tries to chew up their hearts. Be sure to get players to okay this kind of major change before you charge ahead. They may want to construct alternative characters for the game. In the historical past, they may even want to play ancestors.

Ringers and Red Herrings

  Oh go ahead and let the Shadow Lords act like greedy, manipulative bastards. You know you want to. But what if they're not bad guys at all? Despite the stereotypes (and why are you trusting stereotypes anyway?), maybe their motivations are pure. Just don't let the players guess the truth right away! Red herrings and their relatives, ringers, are terrific fun to use in stories. A red herring is basically a story element that seems like one thing, but is really another, such as when a hero seems like a villain. It's something designed to throw the players off track of the real enemy or plot thread. For example, if the suave, debonair Shadow Lord shows up to court the Fianna lass, her relatives (played by your troupe) might go ballistic, thinking he's after something. And you should encourage their paranoia. But maybe what he's after is the demented Fianna warrior who betrayed the Shadow Lord's pack to Pentex. You can bet that the players' characters really would want to know about that! A ringer is a bit more complex. It's usually a character under "deep cover" who ultimately betrays the players' characters to an enemy, or who otherwise screws them over when they least expect it. The best ringers are planted early in a chronicle, and they don't surface until many games later.

As Time Goes By

  As the chronicle progresses — and we hope it has a long and successful run — you'll need to make sure that things don't get stale. Here are some pieces of advice to help you sustain a chronicle over the years.

Communication

  Talking — and listening — to your players is vital. Give them a fair hearing when they come to you with ideas, even if their plans don't always fit. Players often give you more inspiration than reading a dozen books. Make communication a constant in your chronicle, and you'll find yourself rewarded with great ideas and happy players.

Break Time!

  Don't be concerned if you get burned out on the chronicle eventually. The best thing you and your players can do at that point is to take an extended break. Maybe someone else wants to run a game, so you can have a chance to play (which keeps you in touch with what it's like to be on the receiving end). Then you can pick up the threads of the story and charge forward when you're ready. If it looks like things are winding down to the end of the chronicle, don't rush yourself in coming up with a powerful conclusion. Take the time you need to make sure that the last story arc is among the best.

Shared Storytelling

  One option that can help alleviate burnout is sharing the chronicle with a co-Storyteller. Perhaps you'd want to take over her character or a Storyteller persona for the duration. However, unless you divide all aspects of the chronicle neatly in twain, you will inevitably end up sharing some secrets with your co-Storyteller. On the other hand, maybe she has some ideas to take the characters in a totally different direction. Keep in touch with each other during your break and give her the same feedback you'd expect if you were in the hot seat. But don't slam her ideas or storytelling style just because they're not the same as yours.

New Players

  Inevitably, if you run a fun chronicle, new players will want to join. How are you going to handle this situation? It's better to have an answer to this question before it comes up. One possibility is asking the new player to use a Storyteller character. Doing so lets you, the old players and the new one give each other a tryout. If things go well, maybe the newcomer could then make up a regular character, adjusted in ability to be closer to the current pack than a beginning werewolf. When new players join the game, have them run in a solo or pair adventure, just to get a feel for how things run in your world. Sharing tales of past exploits might also get them caught up in the pack's action more quickly. While you should be cautious about letting just anyone off the street join a long-running chronicle, don't forget that new players can really bring new ideas and new life to the game.

Using Published Material

  Werewolf: The Apocalypse has a number of great supplements that can enhance your chronicle. That's not an advertisement, but rather a suggestion for inspiration. Remember, though, that no sourcebook is going to fit seamlessly into your ongoing chronicle. Rather, you'll have to spend some time considering what elements you'll want to use and which ones to omit. But sourcebooks can save you valuable time by giving ready-made character stats (always good for those unexpected fights or intimate conversations) and scenarios. Many also go into greater detail on various aspects of werewolf life. They can offer ideas for stories and interesting directions for your chronicle that go beyond the space limits of a core rulebook. One piece of advice: Unless you're sharing storytelling duties with a player, your troupe will have more fun if they don't read all the other sourcebooks. Remember that the element of surprise is important to telling a good story.

Crossover Games

  We saved the best of times — and the worst of times — for last. Done well, Werewolf: The Apocalypse crossovers with other World of Darkness games can be terrific fun. However, you must make sure that you know what you're getting yourself into. First of all, you need to have a firm grasp of the rules. Werewolf Gifts are different than vampiric Disciplines, True Magic and so on. The appendices of most core rulebooks have suggestions on handling crossovers, so give them a thorough read. Next, have some sort of reason that's plausible to your story for why the crossover occurs. Sure, Cassius the vampire might be a fine character, but why does he need to speak with the werewolves? Think it through carefully so that Cassius doesn't end up a greasy smear on the pavement before he's made his all-important soliloquy. Some connections, remember, are already part of the Garou cosmology, such as relations between the Silent Striders and ghosts, or the fae and the Fianna. Finally, and most importantly, keep in mind that only one set of cosmological beliefs, worldviews and themes should dominate. Since you're running Werewolf, it probably should be that of the Garou or some hybridized version that you've worked through carefully. For example, remember that the various supernaturals see damn near everything through a different lens. Verbena Life magic, the Discipline Obeah and the Gift Mother's Touch might all heal a wound, but the look and feel of each mystical feat should be quite different. The werewolf one should be completely understandable and natural, while the others are strange and maybe a little scary. Plus, the weirder you make things seem, the more confused even the experienced players of the World of Darkness will be. That's the fun for you: There's nothing quite like the look on a player's face when she realizes the cute kid her character has been teasing is really a mobile cadaver.