THE DARK AGES AND VAMPIRE. . Gehenna threatens all, slowly advancing like a dark ride niny Glehtcentus,the Transylvania Chronicles a wholeptiketa. Mosquerade, Vampire the Dark Ages, World of Tarkness and Mage the Dark Tide Rining, Transylvania Chronicles I Son of the Dragon The GNF SUL. Transylvania Chronicles 2 - Son of the onatnakchiter.tk Uploaded by. Rodrigo Marques Carvalho. WOD - Vampire - The Dark Ages - Ashen Cults. Uploaded by.
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The Transylvania Chronicles cross over with Vampire: The Masquerade and Dark Tides Rising Includes: The Springboard for a four-part epic chronicle An. Transylvania Chronicles I: Dark Tides Rising is the first book in the four-volume, century-spanning PDF: $ The Transylvania Chronicles crossover with Vampire: The Masquerade and span years of Cainite and mortal history. The Transylvania Chronicles cross over with Vampire: The Masquerade and span years of Cainite and mortal history. Players now have a chance to make.
I hope this was helpful. If you have questions or need advice, use the comments. This is true for both player and non-player characters. Princes at least the ones with a Talent for the job should have a natural air of authority that makes people do their bidding. This is especially true for characters who manage to remain in charge for a long time and I mean long in vampiric terms.
I have some useful tips to design characters that way and how to make visible the difference between talented, retainable princes and those who will make a fall before long. This explanation got a bit wordy and social-science-nerdy.
Essentially you find two categories of crime lords in fiction: Godfather-style rulers of their organization who for some reason inspire an unusual level of respect, loyalty and devotion in their partners and underlings and Jabba-the-Hutt-style crime lords who rule over their organizations with an iron fist.
Characters like Gus Fring show characteristics of both categories. How do they do it? His system works because everybody fears him. But if you think about it, characters like him are existing in a precarious situation. They rule by money and fear. And you have other thugs who do your bidding because they fear you. So as soon as you show a bit of a weakness you run out of money, for example , everyone will turn against you. In fiction, characters like Jabba often experience a painful downfall.
They might be brought down by their enemies in a moment of weakness and some of their retainers might even desert or betray them, but most will stick with them through thick and thin.
What is it that makes them inspire such loyalty? First off, let me say that in many sociological theories, the concept of Action is the basic term from which you derive your concept of a society. How do people act? What determines their actions? And how do they inter act and coordinate their action and thus: How do they form societies? Shortly put, Habermas distinguishes two basic form of actions: In modern societies, both types of actions are found and thus give them a dual nature.
Lifeworld describes aspects of societies and groups that coordinate interactions of people via their social relations. Understanding, trust, honesty, respect and so on are elements of lifeworld. System describes formalized rational rules that regulate interactions of people.
One could say that lifeworld is a very basic form of organization of a group or society.
Small, closely knit, loosely organized groups can manage themselves lifeworld -style. In fact, your RPG-group probably manages itself lifeworld -style. Whenever a decision has to be made, you communicate to reach a common understanding of your individual interests and try to reach consensus. So lifeworld is managed via social relations. The bigger and the more organized a group or a society gets, the more system -style coordination is going on. It gives itself formalized rules, structures and hierarchies and so on.
When a decision has to be made, it is done according to the rules. In a modern society, you need both.
Ideally, system serves as a fallback for lifeworld. For example, if you have a dispute with your neighbour about that tree in his garden that somehow affects yours, the two of you should try to solve this lifeworld -style: Communicate your interests and reach a consensus, maybe some compromise.
If the two of you fail to reach a consensus, the system comes along with its formalized rules i. The problem is that formalized rules are — by their nature — designed to cover most of the cases, but can never cover all of them. The system makes bad decisions sometimes, but always comes to a decision, even when all those particular interests are so complex that no consensus can be reached.
A last bit of theory before I go back to the crime lords. The colonization metaphor here works like this: Much like colonial powers did with their colonies.
Series: Dark Ages - WoD
This essentially means that once the system is in place, it tends to not only serve as a fallback but to become the predominant way of doing things. So the system tends to organize everything according to its own logic. Small time groups of criminals manage themselves lifeworld -style, via social relations.
Trust is a very important concept. Large criminal organizations like cartels and the like manage themselves system -style. Hierarchies, a chain of command and so on are very important here.
However, in criminal organizations, one of the two essential steering media of the system is not available: What this system of rewards and punishments actually does is to serve as a substitute for trust in lifeworld. In lifeworld , you reach a consensual decision and you need to trust the other person to act according to this decision.
So, as a crime lord, you need to substitute law with something else. Crime lords like Jabba try to substitute it with fear. They forget that the system is a fallback for lifeworld , and they organize everything according to system logic. So they implement their own regiment of punishments and continue to run their organization system -style.
Vito Corleone uses punishment, too, but only as a fallback. He tries to avoid implementing this regiment of punishment, whereever he can, because violence and fear become less effective over time, if you use it inflationarily. So he rather tries to apply the lifeworld -variant of it, wherever he can — trust — and only uses the system -variant as a fallback.
With that, we have a tangible difference between Jabba and Vito Corleone. Jabba works with purposive rational action and runs his crime organization system -style, Vito Corleone uses communicative action and tries to run his organitation lifeworld -style, wherever he can.
That means that he strives to maintain and cultivate social relations between himself and his retainers. That way, money and favours etc. Princes in Vampire RPGs have a similar problem. When their domain reaches a certain level of complexity mainly dependent on how many vampires live there , they need to implement system -style structures in order to maintain control over it. Vampires have their traditions but this is not law in the sense of a steering medium. The traditions rather codify norms.
But they are not a set of rules by which day-to-day night-to-night interactions are regulated. So you can play them Jabba-style — system -style — and have them rule with an iron fist, utilizing violence and fear as a substitute of law, or you can play them Corleone-style trying to build a lifeworld network of trust and social relations with themselves as the epicenter. My hypothesis is that doing it system -style like Jabba will make the rule of a prince more susceptible to crisis, meaning that their rule over their domain will be shorter rather than longer.
When playing princes or other authority figures in Vampire decide whether or not they are long-term figures of influence or will only be around for some hundred years. To put it differently, decide whether they have a talent for this job or not. Characters that you want to portray as untalented princes should run their domains with a carrot-and-stick-approach.
They offer rewards for services and punishments for everything else. When someone questions their authority, they threaten openly. Everyone of their associates and underlings is just an asset to them. If you want to play their downfall, remember the precarious balance their power relies on: So power comes with a bonus power of all those that fear you. If your power declines, some stop to fear you, so you lose their part of your power bonus, which will make more people stop fear you and so on.
Make players see the avalanche effect of the downfall of princes like that. A good examples for characters like that in TC is Nova Arpad. Play her like that, and players will hate her and fear her and will be very satisfied to see her go down when her time comes. Characters that you want to portray as talented princes should be played in a way that they form and cultivate close social relations to those under their rule. Imagine a strict but benevolent patriarchial figure.
They take care for their own, they actually value loyalty and trustworthiness. When someone double crosses them, they punish, even harshly.
But they never explicitely use the threat of punishment to make people do their bidding. Never ever use the metaphor of favours as a currency for those characters.
I have provided for you and cared for you and given you opportunities. Why do you deny me this small thing? Keep in mind that none of this has to be real. These characters can be cold blooded bastards who — when push comes to shove — would throw anyone under the bus in the blink of an eye. In TC, Radu is a good example for a character that should imho be played like this.
Later, he can be revealed to have meant none of it, if you wish. In later parts of TC, it would be cool to be able to have Sascha Vykos say something to the characters along the lines of: The material presented in the Transylvania Chronicles is great. However, it leaves quite a lot of room to manoeuvre. This is great, too, but it means that you will have to adjust and adapt several parts of the story right from the beginning.
A general recommendation is to read all four books, first, if you plan on running the full chronicle. Some of these problems can be prevented by tweaking small things in earlier parts of the story. Octavio and Anatole.
This change from Octavio and Anatole is very important for the story. There seems to be a bit of paradox in this. Why does Kupala grant visions to someone who tries to prevent him from rising again? This paradox is partly solved when Anatole takes over. So the solution for the paradox is: But Anatole is a much better recipient of his visions.
So you see, this moment of passing on the torch from Octavio to Anatole is one of the major turning points in the main story arc. For me as the Storyteller this means two consequences:.
And that brings us to the problem: The way this part of the story is presented in the books, chances are high that your players and their characters will not deem the whole business important. There are many reasons for this, the main reason being that Octavio and Anatole as characters are virtually identical.
He has some sort of fit, the white of his eyes is showing, he delivers his prophecy and is confused and useless, afterwards. This is a huge problem. You have a fundamental change in a functional element of the story, but the two characters who embody that fundamental change only differ marginally from each other.
This is no good. On top of that, Octavio as represented in the books is a flat and uninteresting character.
Transylvania Chronicles 1 - Dark Tides Rising.pdf
The authors provide very little background for him and most of it is unusable as role playing hints. Apart from his visions, he has next to no character, no agenda. But still he has no agenda whatsoever apart from these visions. So even without the similarities to Anatole, Octavio is just not good enough for one of the two most important NPCs of the Transylvania Chronicles.
Anatole works better. They provide a little more background and personality for him in the Transylvania Chronicles, and he is featured in many other publications e. So clearly the most necessity for change lies with the character of Octavio. He needs to be changed to differ from Anatole and to gain personality and substance as befits a crucial NPC. I recommend giving him motive, a hypothesis about the above mentioned seeming paradox and a unique mode of prophecy.
What drives him, apart from these visions? What does he think about the situation in Transylvania, about Cainite politics etc.? What kind of a guy is he?
What does he think about his visions? Does he trust them? And so on and so on… A hypothesis about the paradox: The above mentioned seeming paradox of Kupala granting visions to someone who wants to thwart him is a nice opportunity to create a certain mood and feeling to the story.
One might say: I like my Malkavians clever and perceptive as hell Hannibal Lecter is a good benchmark. So if you want to use Octavio, let him have some plausible hypothesis why Kupala grants him these visions.
Something like that. A unique mode of prophecy: In the books, both Anatole and Octavio receive their visions in short fits which leave them dazed and confused in the immediate aftermath. I recommend using it for Anatole, because the characters will actually witness more of these moments of Anatole, sometimes in situations where timing is important. With Octavio you have a little more room to move in, so I recommend changing the way his visions are received.
Whatever your imagination comes up with is fine, it only should be distinct from what Anatole does.
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Maybe something involving the soil? Because Kupala is bound to the land? Maybe he drinks a concoction of blood and dirt in order to entice a vision…. This sounds contradictory to what I said above. Because the change is important. This change can happen inside one character. But it has to be visible. Let the players and their characters experience this change. Have them witness several moments of epiphany, when Anatole finally realizes he has made false assumptions about his visions all along.
This is what I did. My initial thoughts were to simply create a complementary character to Anatole. Anatole is male, Malkavian, a fitful and passive visionary he receives visions and he is a stranger in Transylvania. So I thought a good starting point would be a female non-Malkavian who actively seeks visions and is native to the region. With the Kupala-connection, I quickly decided to have a koldun sorceress of Clan Tzimisce to replace Octavio.
Such a person could use her powers of blood magic to gain visions from Kupala, compelling him to reveal himself through powerful rituals. To work out the details, I browsed the web hunting for inspiration, looking for ancient slavic or romanian goddesses or other mythical figures. Such trinities of women are ubiquitous in European mythology, often in roles of prophecy or fate.
In germanic mythology, you have the Norns , as well as the trinity consisting of Frigg , Freyja and Hel. In Greek mythology, you have the Moirai , whom the Romans called Parcae. Quite often, these three women are represented as a young woman, a middle-aged woman and an old woman, representing three qualities: I changed the names somewhat to make them easier to pronounce and remember, and made them children of the Tzimisce Methuselah Byelobog.
This is what I came up with:. As mortals, the three were sisters. Triplets, in fact. Lists with This Book. Community Reviews. Showing Rating details. Sort order. Mediocre, mediocre, mediocre.
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These stories spin tales of the Lost, of those abducted and enslaved by fairies.
Those who escaped, but whose captors will stop at nothing to find them. These fairies summon forth the Huntsmen, primordial hunters who understand nothing but pursuit and capture. The Huntsmen are unstoppable monsters, and the Lost can only look to each other for respite, rare comfort, and rarer trust.
Within this retrospective, those artists and images depict the ever-changing face of magick.Other editions. Then that group of people can turn into a mob. If two players insist on playing a Tzimisce and a Tremere, make them promise to cooperate with each other and not try to alienate the other character constantly by killing her clan mates etc.
They rule by money and fear. What determines their actions?
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