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____"Safe
as Houses" is an introductory story for Vampire: The Masquerade.
It is designed to give new players and Storytellers a taste of
the Kindred's dark world and illustrate a few of the game systems
in action.
____Some
material is presented in boxes below - this text can be read
directly to the players, as it describes what their characters
sense in a given situation. In some sections of the story, the
Storyteller must improvise her own setting detail or character
dialog. Don't be afraid - wing it! This kind of improvisational
drama is what Vampire is all about.
____"Safe
as Houses" is a brief story, one that takes place in one
or two nights of game time. It can be played through in two hours
or less, depending on how much detail and character interaction
the Storyteller introduces. In the story, the prince finds that
a mortal she wishes to Embrace has gone missing. She turns to
the characters for their assistance, promising rewards and favorable
consideration among the elder Kindred of the city. Once it becomes
evident exactly who the kidnapper is, the characters must track
down that individual and rescue the prince's prospective childe.
This story is a bit more linear and closely constructed than
most Vampire stories Storytellers and their players usually tell,
but that's okay - this is only the first step. Soon you will
be creating your own stories with as much or as little structure
as you wish.
____A
note to Storytellers: Arbitrating a story may seem like a daunting
task, especially for the first time. It is! But the rewards of
telling a good story outweigh that risk, so don't worry about
it - just sit back and enjoy. If a detail becomes important that
isn't mentioned here, make it up. If a character needs to say
something that isn't presented in the dialog box, improvise.
A storyteller should think of herself as a movie director or
producer, coordinating all the elements of the story around her
players' characters, who are the main characters in the "film"
being played out.
Part One: Call to Duty
____The agents and servants of the Kindred prince have
contacted you all. It would seem that she has a favor to ask
of you. This is a grand opportunity; most Kindred see the prince
only from afar, if at all, and many of the vampires in the city
have said that the prince rewards loyalty greatly. Indeed, you
are surprised that you have even been considered, given that
there are likely at least a few Kindred more suited to help the
prince than you are - after all, you are simple neonates, new
to the unlife of vampires.
____In
any event, the prince has sent an impressive black limousine
to gather you, for she does nothing without style. As the last
of you enters the car, the driver informs you that your coterie
should be in the prince's presence within ten minutes |
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[Note: Storytellers
may wish to take the opportunity to have the players introduce
their characters to each other at this point. Players may also
wish to converse "in character" about the events that
await them. This should be encouraged - let the players run with
it!]
____The
limousine pulls up before a mansion best described as palatial:
Wrought iron gates open into a lavish, rolling estate, at the
center of which stands the prince's opulent home and haven. One
would think that the home of such an important person would be
better guarded, but you each get a sense that there are unseen
security measures at work here.
____The
chauffeur pulls the car into the driveway and opens the door,
motioning you toward the daunting double doors of the prince's
home. As the last of you exits the vehicle, he pulls away, taillights
vanishing into the night. |
____At
this point, the characters should enter the mansion, where they
are greeted by the prince's manservant, Standish. No Traits are
provided for Standish; if the players are foolish enough to act
hostile toward him, he will communicate this to the prince, who
will deal with them accordingly. The Storyteller is encouraged
to portray Standish in a manner that provides the best interaction
with the players' characters. Perhaps Standish is haughty and
condescending, or maybe he is furtive and sniveling - whatever
makes for the most interesting interaction. Play out the exchange
between Standish and the characters, and have him call upon the
prince briefly thereafter.
____While
Standish is gone, describe the lavish appointments of the prince's
mansion. Detail the sensory information the players pursue. Is
there a priceless painting on the wall? How do the velvet cushions
of the couches feel? Does classical music waft into the room
ever so softly? Is there a cloying hint of death and decay in
the air?
____Before
too long, Standish returns, ushering the characters into the
prince's sanctum.
____Before you, behind an enormous desk of aged mahogany,
sits a dark-haired woman with a piercing gaze. She is strikingly
beautiful, but her beauty has an edge, like the deadly beauty
of a shark or coiled viper. She wears a smart designer business
suit, and she rises as you enter the room.
____"Greetings,
my dear friends," she purrs, lulling you into a sense of
trust and complacency. "Please have a seat. We have much
to discuss. Standish, some refreshments for our guests?" |
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