So Many Characters…Great Mind’s Eye Theatre™ games draw huge crowds, andentertaining stories can go on for a long time indeed. Suchepic stories can give birth to a lifetime of memories, and youdon’t want those memories to be ones of mismanagement,incompatibility and headache. But what’s a Storyteller todo? Managing either a long-running chronicle or a chroniclethat’s absolutely packed with interesting characters is adaunting task even for an experienced Storyteller.But it’s not impossible.

So Much TimeDark Epics for Mind’s Eye Theatre gives you everything youneed to sustain a chronicle for a long time, or to manage ahuge group of players effectively and efficiently. New streamlinedrules for mob-combat, power crossover and tabletop conversion(to name a few subjects) have been developed and tested bythe Camarilla, White Wolf’s official fan club.

So Many Characters…Great Mind’s Eye Theatre™ games draw huge crowds, andentertaining stories can go on for a long time indeed. Suchepic stories can give birth to a lifetime of memories, and youdon’t want those memories to be ones of mismanagement,incompatibility and headache. But what’s a Storyteller todo? Managing either a long-running chronicle or a chroniclethat’s absolutely packed with interesting characters is adaunting task even for an experienced Storyteller.But it’s not impossible.

So Much TimeDark Epics for Mind’s Eye Theatre gives you everything youneed to sustain a chronicle for a long time, or to manage ahuge group of players effectively and efficiently. New streamlinedrules for mob-combat, power crossover and tabletop conversion(to name a few subjects) have been developed and tested bythe Camarilla, White Wolf’s official fan club.

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CREDITS

Authors: Wade Jones (Nuts and Bolts), Steve McDonald (Plots), Randy Ochs (Nuts and Bolts), Duncan Wyley (Introduction, Logistics)Previously Published Material has appeared in Laws of the Night, Oblivionand Laws of the Wild.Development: Carl BowenEditing: Jasmine MilbergerArt Direction: Aaron VossInterior Art: Laura RoblesFront and Back Cover Design: Colleen DenneyLayout and Typesetting: Colleen Denney

SPECIAL THANKS TO:Steve Balfour for admitting that he had nothing more to say before it was too late

© 2001 White Wolf Publishing, Inc. All rights reserved. Reproduction without the written permission of the publisher is expressly forbid-den, except for the purposes of reviews, and for blank character sheets, which may be reproduced

for personal use only. White Wolf, Vampire, Vampire the Masquerade, Vampire the Dark Ages, Mage the Ascension, Hunter the Reckoning, World of Darkness and Aberrant are registered trademarks of White Wolf Publishing, Inc. All rights reserved. Werewolf the Apocalypse, Wraith the Oblivion, Changeling the Dreaming, Werewolf the Wild West, Mage the Sorcerers Crusade, Wraith the Great War, Trinity, Mind’s Eye Theatre Dark Epics and Laws of the Night, The Shining Host, Laws of the Wild, Laws of the Night Sabbat Guide, Laws of the Night Camarilla Guide, Time of Thin Blood and Oblivion are trademarks of White Wolf Publishing, Inc. All rights reserved. All characters, names, places and text herein are copyrighted by White Wolf Publishing, Inc.

The mention of or reference to any company or product in these pages is not a challenge to the trademark or copyright concerned.

This book uses the supernatural for settings, characters and themes. All mystical and supernatural elements are fi ction and intended for entertain-ment purposes only. This book contains mature content. Reader discretion is advised.

Check out White Wolf online athttp://www.white-wolf.com;PRINTED ON DEMAND

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CONTENTS

CHAPTER ONE: INTRODUCTION 4

CHAPTER TWO: LOGISTICS 18

CHAPTER THREE: NUTS AND BOLTS 44

CHAPTER FOUR: PLOTS 106

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5

IntroductionIntroduction

A SENSE OF SCALEA SENSE OF SCALEWhen you’re sitting at home with your friends playing Vampire: The Masquer-

ade, or any other tabletop game, the assembled group consists of your Storyteller and about half-a-dozen players, including yourself. Your characters interact with numerous Storyteller characters throughout the course of the game, all of whom are fi ltered through the imagination and portrayal of the Storyteller.

When you step into a live-action roleplaying game, however, everything changes. In a tabletop chronicle, your Storyteller represents all the roles that you encounter, be they pivotal to the story or not. Now, it’s possible that of the dozens of people milling about the venue, any could be a Storyteller character, could be vital to your character’s plot, could be irrelevant, could be… anything. Real one-to-one numbers represent the creatures of the setting, at least insofar as any given scene is concerned. You’re now face-to-face with the situation, and you no longer have a central single person presenting the worldview to you.

We all prefer different styles of gaming. Some prefer one-shot games involving immediate plots and resolutions. Some of us prefer smaller, more personal chronicles that focus on the characters and their internal issues and in which the external politics are merely a background to the central characters’ lives. Smaller games allow for more personal interaction between Storytellers, players, plots and the rules. If your chronicle consists of seven players and one Storyteller, it can be run like a tabletop game, describing the reactions of the World of Darkness and helping everyone through the challenges they perform. The feel is personal, the plots can be grand and world-changing, and the mechanics of the rules can be governed by the consensus of the players. In a game of this size, the Storyteller has a good idea of what each character is doing, and he can work on character development, personal horror and intriguing plot twists from each character’s past.

CHAPTER ONE: INTRODUCTION

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