TEXT: 1
  Rendezvous
  Rendezvous
  TTTTTH E
  H E
  H E
  H E
  H E M
   M
   M
   M
   MIND
  IND
  IND
  IND
  IND’’’’’ SSSSS E E E E EY E
  Y E
  Y E
  Y E
  Y E T T T T THEATRE
  HEATRE
  HEATRE
  HEATRE
  HEATRE I I I I INTRODUCTORY
  NTRODUCTORY
  NTRODUCTORY
  NTRODUCTORY
  NTRODUCTORY K
   K K
   K KI T
  I T
  I T
  I T
  I T
  © 1999 White Wolf,
  Inc. All rights reserved.
  Reproduction without
  the written permission of
  the publisher is expressly
  forbidden, except for the
  purposes of reviews.
  White Wolf and Vam-
  pire the Masquerade are
  registered trademarks of
  White Wolf, Inc. Mind’s Eye Theatre and Laws of the Night are trade-
  marks of White Wolf, Inc. All characters, names, places and text herein
  are copyrighted by White Wolf, Inc. The mention of or reference to any
  company or product in these pages is not a challenge to the trademark or
  copyright concerned.  Check out White Wolf online at http://www.white-
  wolf.com, alt.games.whitewolf and rec.games.frp.storyteller.
  Printed in U.S.A.
  DDDDD U E
  U E
  U E
  U E
  U E     T O
  T O
  T O
  T O
  T O     MATURE
  MATURE
  MATURE
  MATURE
  MATURE     THEMES
  THEMES
  THEMES
  THEMES
  THEMES,  ,  ,  ,  ,  READER
  READER
  READER
  READER
  READER     DISCRETION
  DISCRETION
  DISCRETION
  DISCRETION
  DISCRETION     I S
  I S
  I S
  I S
  I S     ADVISED
  ADVISED
  ADVISED
  ADVISED
  ADVISED.....
  
  2
  Laws of the Night
  Laws of the Night
  Welcome to Mind’s Eye Theatre. Mind’s Eye Theatre is a roleplaying
  game based on Vampire: The Masquerade. It is a game in which you play
  the part of a vampire, much as if you were acting in a movie. Vampire: The
  Masquerade describes the dark, compelling world in which your vampire
  exists. What happens next is up to you.
  This booklet is a simplified version of the live-action rules for Vampire:
  The Masquerade. It gives you just the highlights of the vampire’s world, but
  enough to start experimenting with play. Try it out. If you like it, look for
  Laws of the Night, available in most book, hobby and comic shops.
  When you’re ready, we’ll be waiting for you.
  WWWWWHAT
  HAT
  HAT
  HAT
  HAT     I S
  I S
  I S
  I S
  I S M
   M
   M
   M
   MIND
  IND
  IND
  IND
  IND’’’’’ SSSSS E E E E EY E
  Y E
  Y E
  Y E
  Y E T T T T THEATRE
  HEATRE
  HEATRE
  HEATRE
  HEATRE?????
  This game is probably unlike anything you have played before. I t doesn’t
  have a lot of the usual trappings of games, such as cards, dice or a playing board.
  It’s far more like the make-believe of childhood or the popular “How to Host
  a Murder” than what most people think of when they imagine “games.” We call
  this style of game Mind’s Eye Theatre at White Wolf. Other groups and games
  have called it live-action roleplaying (or LARP).
  Playing Mind’s Eye Theatre is like being in a movie. You and your friends
  are the characters, but there is no script. You don’t sit around a table describing
  your actions — you get up and do them. There may be a framework or setting
  that determines the parameters of the world around you, but you and the others
  around you are creating the story as you play. The “director” of this movie is
  the Storyteller. The Storyteller creates the stage and the minor characters that
  the players interact with to tell this story.
  CCCCCHARACTERS
  HARACTERS
  HARACTERS
  HARACTERS
  HARACTERS
  When you play this game, you take on another persona, a character —  in
  this case, a vampire. Your character can be from any walk of life, age, creed, race
  or sex. The only limit is your imagination. When you create your character, you
  decide what she says or does. You decide where she goes and what choices she
  makes. During the game, you speak and act as your character, unless you’re
  resolving a rules dispute or talking to the Storyteller. Because most of what a
  Mind’s Eye Theatre player perceives around him depends on the other
  players, all players must be vivid and expressive.
  While the characters may direct the story through their actions, the story
  can react in ways that direct the characters. For example, a character decides
  she wants to create a coffeehouse with space for people to perform, and she
  invites another vampire to sing for an evening — here, the characters are
  directing the story through their actions. However, the story reacts — the
  Storyteller tells the characters that the performance has aroused some suspi-
  cious attention. It seems that the performer reminds a reporter of another
  famous human singer, who just happened to die at the same time the character
  became a vampire. Thus is a story built in Mind’s Eye Theatre.
  Creating a character for Masquerade is easy, and it takes just a few
  minutes. Only a few things are necessary to define the basic capabilities of a
  character, and when they’re done, you can start playing. There’s another phase
  to creating a character, though. A character is, by and large, like a person, and
  
  3
  Rendezvous
  Rendezvous
  people aren’t just flat cardboard cutouts with a few numbers to represent what
  they can do. People have pasts, likes and dislikes, goals and dreams — all the
  intangible things that make a person into what other people see when he walks
  into a room or talks to them. It’s not much different from all the care that an
  actor takes when creating a character for a movie.
  Characters are the heart and soul of the story. Without them, all the efforts
  of the Storyteller would be for nothing, and there would be no stories to tell.
  TTTTTH E
  H E
  H E
  H E
  H E S S S S STORYTELLER
  TORYTELLER
  TORYTELLER
  TORYTELLER
  TORYTELLER
  The Storyteller is the one who creates the world that the players move
  through. She creates a skeletal framework of setting and plot, then turns the
  characters loose to put flesh on its bones. More than that, she acts as an
  impartial judge when the rules are questioned, describes scenes that can’t be
  staged and even plays the parts of antagonists or other people with whom the
  characters interact. A Storyteller’s word is law in the game.
  Storytelling is a demanding task. A Storyteller must oversee the events to
  be certain that people have a good time, that the rules are being followed and that
  the story is running smoothly. Sometimes she must create new elements for the
  story on the spur of the moment or adjudicate between several quarreling players.
  In spite of all this responsibility, it can be very satisfying to watch the players
  create something remarkable with the plot elements given them.
  Example: Matt, Chris, Allison and Cynthia have gathered to play Mas-
  querade. Matt, Chris and Allison are players — Matt plays Rick, a Nosferatu
  smuggler; Chris is playing Marcus, a Ventrue computer hacker; and Allison
  plays Dana, a Toreador art dealer. Cynthia is the Storyteller, and has set a scene
  in motion for the characters. The characters are confronting a mortal antique
  dealer who has been selling pieces once owned by Dana’s missing sire. Allison,
  as Dana, struggles to cover her rage long enough to get some information from
  the man. Chris, playing Marcus, finds it better to hang back in the shadows in
  case his companions need help; while Matt, speaking as Rick, tries to appeal
  to the mortal’s greed first and then his fear of the law if that doesn’t work.
  Ultimately, though, it is Cynthia (who is playing the mortal) who decides how
  the dealer reacts to the characters, what information will or won’t be gained,
  and if the characters’ actions succeed or fail.
  EEEEE LEGANTLY
  LEGANTLY
  LEGANTLY
  LEGANTLY
  LEGANTLY S S S S SIMPLE
  IMPLE
  IMPLE
  IMPLE
  IMPLE
  This game was designed to be easy to play and easier to start. Character
  creation takes only a few minutes. The basic rules are simple, and they cover
  most of the encounters a new player will enter. Even very new players who have
  never played Masquerade or LARP before will find that this game takes little
  effort to pick up.
  TTTTTH E
  H E
  H E
  H E
  H E O
   O O
   O ONLY
  NLY
  NLY
  NLY
  NLY R R R R RULES
  ULES
  ULES
  ULES
  ULES T T T T THAT
  HAT
  HAT
  HAT
  HAT M
   M
   M
   M
   MATTER
  ATTER
  ATTER
  ATTER
  ATTER
  These are the most important and immutable rules of MET, the ones that
  keep your game and your players safe from folks who either don’t care that
  you’re playing a game, or who take the game way too seriously. Always
  adhering to these rules will also keep your game amenable to law enforcement
  and other non-players.
  
  4
  Laws of the Night
  Laws of the Night
  NNNNN OOOOO T
   T T
   T TOUCHING
  OUCHING
  OUCHING
  OUCHING
  OUCHING. N
  . N
  . N
  . N
  . NOOOOO S S S S STUNTS
  TUNTS
  TUNTS
  TUNTS
  TUNTS.....
  That means none whatsoever. You never actually strike or grapple with
  another player. It’s far too easy for things to get out hand in the heat of the
  moment. Save the stunts for your imagination. If you can imagine you’re a
  centuries-old vampire, then you can sure imagine you’re swinging on a
  chandelier or leaping across rooftops.
  NNNNN OOOOO W
   W
   W
   W
   WEAPONS
  EAPONS
  EAPONS
  EAPONS
  EAPONS.....
  No matter how careful you are. Whether it’s to prevent some fool from
  skewering himself on your new dagger, or to make sure the police don’t think
  you’re a threat, weapons of any sort are forbidden. Even fake or toy weapons
  (lightsabers, laser pens, squirt guns) are not allowed. Use item cards instead.
  NNNNN OOOOO D
   D
   D
   D
   DRUGS
  RUGS
  RUGS
  RUGS
  RUGS     O R
  O R
  O R
  O R
  O R D
   D
   D
   D
   DRINKING
  RINKING
  RINKING
  RINKING
  RINKING
  Drinking and drugs do not inspire peak performance, and players who
  are so impaired are a threat to other players and the game. It’s one thing to
  play a character who is drunk or stoned, but another thing entirely to actually
  come to a game under the influence. At best it’s tasteless; at worst it’s illegal.
  Don’t do it.
  IIIII TTTTT’’’’’ SSSSS O
   O O
   O
   ON L Y
  N L Y
  N L Y
  N L Y
  N L Y     AAAAA G
   G G
   G GA M E
  A M E
  A M E
  A M E
  A M E
  If a character dies, if a rival gets the upper hand, it’s just a game. You and
  the rest of the players are doing this for fun. Taking things too seriously, or
  taking character issues into real life, will only spoil everyone’s enjoyment.
  Remember, playing a game should be fun — if you’re not having fun, it’s time
  for a reassessment.
  Leave the game behind when the session’s over. This is only a character
  you are playing, not a real person. When the game is over for the night, it’s over.
  Take out your fangs and go back to the real world.
  BBBBB EEEEE M
   M
   M
   M
   MINDFUL
  INDFUL
  INDFUL
  INDFUL
  INDFUL     O F
  O F
  O F
  O F
  O F O
   O O
   O
   OTHERS
  THERS
  THERS
  THERS
  THERS
  Not everyone around you is playing the game. You want to ensure that
  your game and your players are welcomed. Frightening people and getting the
  local law enforcement called on you is not the way to do it. Behave yourself and
  don’t get carried away so everyone can continue to have fun.
  HHHHH A V E
  A V E
  A V E
  A V E
  A V E F F F F FU N
  U N
  U N
  U N
  U N
  Not “Win.” Not “Go out and conquer everyone else.” Just have fun,
  because in MET, it’s not about how the game ends, but what happens along
  the way.
  TTTTTH E
  H E
  H E
  H E
  H E W
   W
   W
   W
   WORLD
  ORLD
  ORLD
  ORLD
  ORLD     O F
  O F
  O F
  O F
  O F D
   D D
   D
   DARKNESS
  ARKNESS
  ARKNESS
  ARKNESS
  ARKNESS
  On the surface, the World of Darkness is not too much different from our
  own. People are born, grow up, work and die every day. Plants grow, as do
  skyscrapers. The same newspapers are sold on the street corner, and television
  is the same vast wasteland. Below the surface, however, is a much darker
  element, one that is fed by the violence and despair which the monsters need
  to fuel themselves. It is far less simple than throwing a coat of black paint over
  the veneer of our world. The monsters in the World of Darkness are all too real.
  This is the world that the vampires call home.
  
  5
  Rendezvous
  Rendezvous
  WWWWWHAT
  HAT
  HAT
  HAT
  HAT     I S
  I S
  I S
  I S
  I S     AAAAA V V V V VAMPIRE
  AMPIRE
  AMPIRE
  AMPIRE
  AMPIRE?????
  Vampires have been fixtures in myth and legend since time immemorial.
  Sometimes they’ve been monstrous creatures that swooped out of the darkness
  to ravish innocent virgins and steal babies from their cradles. Other times
  they’ve been predators of incredible beauty and sensuality, enchanting men
  and women offering seductive death in return for a little nip. The vampires of
  the World of Darkness are all these things and more. There is enough about
  them that is similar to the vampires of myth and cinema, but more than enough
  that is different to cause some fatal errors for would-be hunters. The Kindred,
  as many call themselves, are sentient, with some faint similarities to their
  mortal selves, but as different from mortals and myth as night from day.
  • Vampires are immortal. While it is possible to kill a vampire, he will not
  age or die of natural causes. He does not need water, food or air. For all intents
  and purposes, he is a corpse.
  • Vampires require the blood of the living to survive. While vampires
  are corpses, they still require nourishment to sustain themselves, and as the
  stories say, the blood is the life. Not only does it preserve their bodies, blood
  allows vampires to perform amazing supernatural feats of healing, strength or
  speed. A vampire need not kill her prey; some take only a little blood, then hide
  the evidence of their feeding. A vampire may close any wounds she makes with
  her fangs by simply licking the wounds. By and large, most vampires seek
  human blood, although some choose to drink animal blood. Some whisper
  fearfully that elder vampires must hunt their younger brethren for feeding,
  unable to gain sustenance from human blood any longer.
  • Anyone who dies from a vampire’s bite will become a vampire. The
  world would be overrun with vampires if this statement were true. Those bitten
  and drained by vampires in the course of feeding simply die. It takes a very
  special process, known as the Embrace, to create a vampire. To be Embraced,
  the victim is drained of blood to the point of death and then fed a bit of vampire
  blood, which brings about the transformation.
  • Vampires are burned by sunlight. True. Vampires must avoid sunlight
  or risk death. Vampires are nocturnal creatures, and most find it difficult to stay
  awake during the day, even out of the sunlight.
  • Vampires are repelled by garlic and running water. False. Myths and
  nothing more.
  • A cross or other holy symbol can burn or repel a vampire. Generally
  untrue. The symbol itself is of little power. It is the faith of the person who
  wields the symbol that the vampire must fear.
  • Vampires will die from a stake through the heart. While they cannot
  die from such wounds, vampires are immobilized by wooden stakes, arrows and
  the like that pierce the heart until the item is removed.
  • Vampire are monsters, demonic sprits possessing walking corpses.
  False… and true. Vampires are not demons in the classic sense of the word. They
  begin as mortals, and receive the Embrace, which turns them into vampires. At
  first, most new vampires think and act much as they did when they were mortal.
  The Embrace does not immediately change them into sadistic monsters. The
  
  6
  Laws of the Night
  Laws of the Night
  hunger for blood, however, soon starts to impress itself on a vampire’s thoughts
  and actions. She must become a predator to satisfy the predator within her
  (called the Beast), and to do so, she must feed on her former species.
  Over time, the vampire adopts a new set of attitudes and behaviors — she
  is thinking as a predator, a hunter. She is now different from mortals around
  her, so she avoids them or walls herself away from them. She finds her existence
  depends on secrecy and control, so she learns how to conceal and manipulate.
  She knows her fellow Kindred must be the same as she, so her trust in them
  diminishes or fades altogether. As she watches the mortal world move on and
  change around her while she remains unchanging, as the things and people she
  loved grow old and fade to dust, she slowly ceases to care. Feeding becomes
  easier, routine. Human life loses value until mortals simply become annoying
  insects, useful as food or servants, but of little other value.
  Such a change does not happen overnight or even in a few years. Some
  vampires struggle to maintain some semblance of their human morality, to the
  scorn of other Kindred. In the end, however, it does happen, as the decades roll
  by. Vampire elders, centuries old, are some of the most jaded, paranoid and
  thoroughly unfeeling creatures imaginable — in short, monstrous. Perhaps
  still not classic demons, but at point, who can tell the difference?
  TTTTTH E
  H E
  H E
  H E
  H E E E E E EMBRACE
  MBRACE
  MBRACE
  MBRACE
  MBRACE
  The Embrace is the process by which a new vampire is sired, or created. It
  is almost never given lightly. Some vampires Embrace to find companionship,
  others to have conspirators or dupes for schemes, others to “give back” something
  to Kindred society. Potential childer may be watched for weeks, months, even
  years, without ever realizing that they are being evaluated for immortality.
  To Embrace a new vampire, the sire drains her chosen victim of blood,
  similar to a normal feeding. However, when the victim has been drained to the
  point of death, the sire places a small amount of her own vampiric blood in the
  victim’s mouth. Even a drop or two can finish the process. The Embrace can
  even be given to a dead mortal, provided the body is still warm.
  The new childe reawakens, but his heart does not beat nor does his blood
  circulate. He is now one of the living dead. He wakes suffering a ravenous
  Hunger, his first acquaintance with the monster (or the Beast) that has also
  been awakened in him. Over the next few weeks, the young vampire, usually
  under the tutelage of his sire, undergoes a series of subtle (and not-so-subtle)
  transformations. He learns to use the powers granted by his blood, such as
  speed or how to understand animals. He learns of the raging Hunger inside
  him and how to rein it in. He learns to hunt, often a difficult proposition, as
  need begins to force him to prey on his former species. He is now a vampire,
  and a much larger world awaits him.
  OOOOORIGINS
  RIGINS
  RIGINS
  RIGINS
  RIGINS     O F
  O F
  O F
  O F
  O F     THE
  THE
  THE
  THE
  THE V V V V VAMPIRES
  AMPIRES
  AMPIRES
  AMPIRES
  AMPIRES
  Vampires believe themselves descended from Caine, the first murderer.
  Caine was cursed by God with vampirism and exiled from his people, forced
  to wander in search of blood. During his wanderings, he was said to have
  encountered a mighty sorceress named Lilith, who had been Adam’s first wife.
  
  7
  Rendezvous
  Rendezvous
  She taught him many secrets — most particularly, how to use the blood in his
  veins to work magical power, and how to create others like him.
  TTTTT H E
  H E
  H E
  H E
  H E A A A A ANTEDILUVIANS
  NTEDILUVIANS
  NTEDILUVIANS
  NTEDILUVIANS
  NTEDILUVIANS     A N D
  A N D
  A N D
  A N D
  A N D     T H E
  T H E
  T H E
  T H E
  T H E C C C C CLANS
  LANS
  LANS
  LANS
  LANS
  At first, Caine refused to create others, believing they would be a plague
  upon the world. In time, however, he grew lonely and created three childer.
  These childer then created 13 vampires, who quarreled no differently than
  mortal children in sibling rivalry. The young vampires fed carelessly and used
  mortals as puppets. The outraged Caine forbade any further creation and
  gathered his brood into a great city of his own making, where vampires and
  mortals coexisted in peace.
  Soon, however, the vampires were squabbling among themselves again, and
  again used mortals as their pawns. Finally a great cataclysm destroyed the city —
  some claim it was the Great Flood of Biblical fame which destroyed the place.
  Caine and his first childer vanished into the wastes, never to be heard from again.
  Caine’s grandchilder, now free from any restraint, began to create with abandon.
  The 13 became known as Antediluvians, and their childer, created in their
  images, inherited their magical gifts and curses. Thus were formed the clans.
  TTTTT H E
  H E
  H E
  H E
  H E D
   D
   D
   D
   DA R K
  A R K
  A R K
  A R K
  A R K A A A A AGES
  GES
  GES
  GES
  GES
  The clans spread across the world, sowing discord in their wake. Though
  each successive generation was weaker than the last, they made up for it in
  numbers. In Babylon, Crete, Greece, Rome and Egypt they ruled from the
  shadows, with the unwitting mortals as food and foot soldiers in their endless
  petty wars with each other. In these fights of vampire against vampire, clan
  against clan, was born the great Jyhad of the modern era.
  The Kindred reached their worst excesses in the Middle Ages. Many
  ruled church and crown openly, not bothering to hide themselves or their
  natures from mortals. King, churchman or peasant — none was safe from the
  notice of the vampires. Finally, humanity had had more than enough. The
  Church began a great Inquisition to root out the horrors in their midst. Even
  the mightiest vampire lord found himself at the mercy of their hunters when
  the sun was high. It was during this tide of blood and fire that the Masquerade
  was born, and a sect calling itself the Camarilla came to pass, seeking to hide
  and thus protect vampires from human notice.
  As time passed, the New World was discovered and science had its great
  awakening. Mortals slowly turned away from superstition, relegating vampires to
  tales of childhood myth. But though hidden, the vampires were still quite real.
  Nights of open battle were replaced with subtle maneuverings of mortal pawns
  and sudden ambushes. The expanding cities became the new battlefields, and
  webs of intrigue were methodically woven by the players of the Jyhad. The games
  had changed — subtle, methodic, but certainly no less deadly.
  TTTTT H E
  H E
  H E
  H E
  H E M
   M
   M
   M
   MODERN
  ODERN
  ODERN
  ODERN
  ODERN N
   N
   N
   N
   NIGHTS
  IGHTS
  IGHTS
  IGHTS
  IGHTS
  In these nights, the Jyhad continues still — Kindred against Kindred, clan
  against clan, sect against sect. Skyscrapers stand in for castles, swords are traded
  in for guns, and stockbrokers, police officers and rock stars replace soldiers and
  priests. Insults traded in the streets of Florence during the Renaissance may
  come to an explosive end in a corporate takeover. The murder of a favorite
  childe during the French Revolution might finally be avenged in the streets of
  
  8
  Laws of the Night
  Laws of the Night
  Los Angeles. The modern cities, swelling with their mortal populations, are
  the battlegrounds of choice for feeding and powermongering.
  As the millennium approaches, many vampires speak of Gehenna, a night
  equivalent with the Biblical Apocalypse. On this terrible night, the Antediluvians
  will rouse themselves from wherever they’ve slumbered away the centuries and
  devour all the younger vampires. Some Kindred claim this presages the end of the
  world. Some vampires strive to learn about Gehenna so they can prevent it, some
  simply await it, some consider it only a myth to frighten the young, and some go
  wild, thinking that they might as well go out with a bang. Those who do believe
  in Gehenna think that the day is not so far away — perhaps only a matter of years.
  TTTTTH E
  H E
  H E
  H E
  H E C C C C CAMARILLA
  AMARILLA
  AMARILLA
  AMARILLA
  AMARILLA
  The Camarilla dates back to the years of the Inquisition, as humanity
  turned its collective eye on all things suspicious, including vampires, during
  the Middle Ages. A sort of vampiric United Nations, which claims every
  vampire under its aegis, the sect was created to protect vampires from the
  Inquisition and uphold the Traditions of Caine. Its greatest work was the
  principle of the Masquerade — a massive, global conspiracy of sorts, meant to
  deceive humanity about the monsters in its midst, and thus avert another
  purging. In these times of nuclear devices, powerful governments and enor-
  mous populations, the Masquerade has become both guiding principle and
  ironclad policy. Today, the Camarilla concerns itself with the Masquerade,
  maintaining harmonious relations between Kindred and kine, and thwarting
  the Sabbat, a rival sect.
  The Camarilla is the most populous sect, and thereby the most powerful.
  It is comprised of six clans, each with its own culture and agenda hold full
  membership in the sect: Brujah, Malkavian, Nosferatu, Toreador, Tremere
  and Ventrue. The Gangrel were once of the sect, but left in recent months for
  reasons they do not discuss. Vampires from the other clans may join, but they
  are often suspect, and largely powerless.
  Beginning characters are assumed to be Camarilla vampires and one of the
  sect’s major clans:
  Brujah — Once warrior-scholars, now a loose collection of anti-social
  rabble who fight anything that could interfere with their freedom.
  Malkavian — These bizarre vampires, all warped by insanity, are feared
  for their strange insights.
  Nosferatu — A loathsome collection of misshapen monsters who hide in
  the sewers and subterranean warrens.
  Toreador — Artists and art-lovers, this clan seeks beauty and passion
  from unlife.
  Tremere — The secretive, insular clan of vampire warlocks who practice
  blood magic of their own creation.
  Ventrue — A clan of aristocrats and business leaders who consider it their
  duty to lead the Camarilla.
  …and one more
  Gangrel — The solitary, nomadic shapeshifters who prefer the wilder
  lands to the cities.
  
  9
  Rendezvous
  Rendezvous
  TTTTTH E
  H E
  H E
  H E
  H E S S S S SABBAT
  ABBAT
  ABBAT
  ABBAT
  ABBAT
  The Camarilla’s bitter rival is the dread sect called the Sabbat. Created
  during the Inquisition by angry youth who refused to submit to their sires’ wills,
  it has changed into something much deadlier over the years. The Sabbat
  believes quite firmly in the doctrine of social Darwinism, with its own unique
  additions. Vampires are the highest creatures on the food chain, the ultimate
  predators, and as such, they should lord outright over the humans, not attempt
  to hide behind some pitiful Masquerade. They hold human life in little value,
  and this attitude spawns actions that are considered monstrous and horrific by
  human standards. Many outraged Camarilla vampires consider the Sabbat the
  personification of everything evil in vampires, and hunt them accordingly.
  The Sabbat claims two clans — the shadowy Lasombra and the twisted
  Tzimisce. The Lasombra, a clan of kings which claims nobility of Spain and
  Italy as some of its best children, are feared for their control over shadows and
  their supreme abilities as manipulators. The Tzimisce, scholars and sorcerers
  hailing from Eastern Europe, are feared for their infamous cruelty. They
  rumored to have the power to shape and mold flesh and bone, whether their
  own or others.
  TTTTTH E
  H E
  H E
  H E
  H E T T T T TRADITIONS
  RADITIONS
  RADITIONS
  RADITIONS
  RADITIONS
  The Traditions are considered the inviolate rules of Kindred existence, and
  they have been the basis of all vampiric laws since the time of Caine. Most
  vampires follow them out of habit, whether because they are common sense
  suggestions or necessary for survival. For Camarilla vampires, these are ironclad
  laws, and to flout them risks death.
  TTTTT H E
  H E
  H E
  H E
  H E F F F F FIRST
  IRST
  IRST
  IRST
  IRST T
   T T
   T TRADITION
  RADITION
  RADITION
  RADITION
  RADITION:  T
  :  T
  :  T
  :  T
  :  TH E
  H E
  H E
  H E
  H E M
   M
   M
   M
   MASQUERADE
  ASQUERADE
  ASQUERADE
  ASQUERADE
  ASQUERADE
  Thou shalt not reveal thy true nature to those not of the Blood. Doing so
  shall renounce thy claims of Blood.
  TTTTT H E
  H E
  H E
  H E
  H E S S S S SECOND
  ECOND
  ECOND
  ECOND
  ECOND T
   T T
   T TRADITION
  RADITION
  RADITION
  RADITION
  RADITION:  T
  :  T
  :  T
  :  T
  :  TH E
  H E
  H E
  H E
  H E D
   D
   D
   D
   DOMAIN
  OMAIN
  OMAIN
  OMAIN
  OMAIN
  Thy domain is thy concern. All others owe thee respect while in it. None
  may challenge thy word in thy domain.
  TTTTT H E
  H E
  H E
  H E
  H E T
   T T
   T THIRD
  HIRD
  HIRD
  HIRD
  HIRD T
   T T
   T TRADITION
  RADITION
  RADITION
  RADITION
  RADITION:  T
  :  T
  :  T
  :  T
  :  TH E
  H E
  H E
  H E
  H E P
   P
   P
   P
   PROGENY
  ROGENY
  ROGENY
  ROGENY
  ROGENY
  Thou shalt sire another one with permission of thine elder. If thou createst
  another without thine elder’s leave, both thou and thy progeny shall be slain.
  TTTTT H E
  H E
  H E
  H E
  H E F F F F FOURTH
  OURTH
  OURTH
  OURTH
  OURTH T
   T T
   T TRADITION
  RADITION
  RADITION
  RADITION
  RADITION:  T
  :  T
  :  T
  :  T
  :  TH E
  H E
  H E
  H E
  H E A A A A ACCOUNTING
  CCOUNTING
  CCOUNTING
  CCOUNTING
  CCOUNTING
  Those thou create are thine own childer. Until thy progeny shall be released,
  thou shalt command them in all things. Their sins are thine to endure.
  TTTTT H E
  H E
  H E
  H E
  H E F F F F FIFTH
  IFTH
  IFTH
  IFTH
  IFTH T
   T T
   T TRADITION
  RADITION
  RADITION
  RADITION
  RADITION: H
  : H
  : H
  : H
  : HOSPITALITY
  OSPITALITY
  OSPITALITY
  OSPITALITY
  OSPITALITY
  Honor one another’s domain. When thou comest to a foreign city, thou
  shalt present thyself to the one who ruleth there. Without the word of accep-
  tance, thou art nothing.
  TTTTT H E
  H E
  H E
  H E
  H E S S S S SIXTH
  IXTH
  IXTH
  IXTH
  IXTH T
   T T
   T TRADITION
  RADITION
  RADITION
  RADITION
  RADITION: D
  : D
  : D
  : D
  : DESTRUCTION
  ESTRUCTION
  ESTRUCTION
  ESTRUCTION
  ESTRUCTION
  Thou art forbidden to destroy another of thy kind. The right of destruction
  belongeth only to thine elder. Only the eldest among thee shall call the blood hunt.
  
  10
  Laws of the Night
  Laws of the Night
  AAAAA L L
  L L
  L L
  L L
  L L     T H E
  T H E
  T H E
  T H E
  T H E R
   R R
   R REST
  EST
  EST
  EST
  EST
  There are other clans who prefer to stay out of the way of sect politics.
  They may barter their services to the Camarilla and Sabbat, or find it
  convenient to do business with them, but by and large, they keep their own
  counsel.
  Assamites — A deadly clan of vampire assassins which lairs in the Middle
  East.
  Giovanni — An insular, and incestuous, family of financiers and necro-
  mancers dating back to the Renaissance.
  Followers of Set — This dark clan believes itself to be descended from the
  Egyptian god Set.
  Ravnos — Deceivers, charlatans and tricksters, with Gypsy blood in their
  veins.
  SSSSSTATUS
  TATUS
  TATUS
  TATUS
  TATUS
  Vampires are very traditional and hierarchical creatures. The Camarilla
  in  particular has a number of positions ensconced by tradition and Tradition.
  Predators always maintain an elaborate system of etiquette to keep them from
  tearing each other apart on sight, and the Kindred are very polite to each other.
  Vampires define territory, or turf, as domains, which usually consist of cities
  and outlying suburbs. Each domain is ruled at a single mighty elder, a prince.
  The Prince — The ruling vampire of Camarilla-held territory is called the
  prince. A prince may be of any Camarilla clan; the only true requirements for
  the job is that one be able to seize power and fend off all other claimants. Such
  power is usually the province of the elders. The prince has the power to
  establish, grant or strip domains, to declare certain areas off-limits for hunting,
  or to call a blood hunt on those who violate the Traditions. The prince (the
  title is used for both male and female leaders) is the guardian of the Traditions
  in a Camarilla city, and all who wish to continue make this a high priority.
  Princes tend to control city-sized domains; thus there is a Prince of
  Chicago, a Prince of Atlanta, or a Prince of London. Many times she has lived
  in the area for decades, giving her ample time to build a solid power structure
  and to know the city’s workings inside and out.
  TTTTT H E
  H E
  H E
  H E
  H E J J J J JYHAD
  YHAD
  YHAD
  YHAD
  YHAD
  For untold centuries, vampires have struggled against each
  other for power. Leaders, nations and armies have all been used
  as pawns in the secret war, and vampire talons can be found
  touching history in many places. Such struggles take place under
  veils of secrecy, as demanded by the Masquerade, but occasion-
  ally cause ripples in the mortal world. A political coup, a family’s
  “bad luck” or a social trend may be the most visible sign of a
  titanic struggle between two quarreling elder vampires. Few
  things are safe when the elders use mortals and young vampires
  as chess pieces. Indeed, such pawns may be completely unaware
  that they are so manipulated.
  
  11
  Rendezvous
  Rendezvous
  Princes often hold “court” or at least support islands of calm in the midst
  of the Jyhad’s seas. Such places are called Elysium, and they are frequently held
  in places of art or culture, such as museums, nightclubs, hotels or colleges. Here
  the Kindred may discuss art or philosophy, speak with the prince or their clan’s
  representative to the primogen, or simply find some respite from the nightly
  struggles. No violence may be visited upon Elysium, nor may any art be
  destroyed. However, in these halls, bullets are exchanged for cutting insults
  and Kindred broker for influence in the city, discussing their holdings among
  mortals no differently than collectors talking of their prizes.
  The Primogen — The prince is often served by a council of advisors made
  up of powerful elders of the various clans, collectively called the primogen.
  While a prince’s rule in theory is absolute, in practice a prince who does not
  heed her primogen often finds herself deposed in short order. The primogen are
  formidable forces in their own right.
  The Elders — These are vampires who have existed for 300 years or more.
  Many have mastered a number of powers and have extensive holdings built
  through centuries of schemings. Ruthless, deadly and paranoid, the elders
  would do anything to hold onto their gains, including crushing younger
  “upstart” vampires and destroying their rivals. Few things are more dangerous
  than an elder on the warpath.
  The Ancillae — Between the inexperienced neonates and the jaded
  elders stand the ancillae. Between 100 to 300 years old, most serve as aides and
  agents for the courts or elders. They are often just getting a taste of the power
  wielded by the elders, and like mortal adolescents, are quite ready to take on
  the night on their terms. They walk a perilous line, however — the elders stand
  quite ready to crush them if they reach too high, and being mistaken for
  neonates relegates them to the lower strata.
  The Neonates — These are the lowest in rank, young vampires often just
  released from their sires’ care, ready to make their way in the world. Most are
  misused as pawns in the schemes of the elders. Such callous treatment,
  combined with the modern world’s emphasis on individuality, causes great
  friction between the generations. A young vampire who grew up during the
  ‘80s is unlikely to empathize with an elder prince who still believes in the
  divine right of kings.
  Most beginning characters are presumed to be neonates. Vampire elders
  are far more powerful than characters created here, and are beyond the scope
  of this book.
  CCCCCHARACTER
  HARACTER
  HARACTER
  HARACTER
  HARACTER C C C C CREATION
  REATION
  REATION
  REATION
  REATION
  Now that  you’ve been introduced to the Kindred and their world, it’s time
  to enter in. It’s time for you to create a character, your means of walking in the
  world of the vampire.
  Character creation consists of a few basic choices — clan, ranking of
  Traits and Disciplines. Every vampire also starts with 10 Blood Traits and five
  health levels. These can fluctuate as a vampire becomes hungry, feeds, is
  injured or heals herself.
  
  12
  Laws of the Night
  Laws of the Night
  When you create your character, the choices are quite easy. Start with
  thinking a little bit about what might be fun and interesting to play, and find
  a general concept of what you want your vampire to be like. Who was your
  character before he or she was Embraced, and why did it happen? Was she a
  coroner who learned too much and was Embraced to protect the Masquerade?
  A debutante picked by a smitten vampire? A gang member saved from death
  by his leader? What about an accountant or computer whiz tapped by an elder
  who can’t understand the modern world?
  Now consider your character’s clan; this gives a lot of detail about the
  character’s strengths, weaknesses and general outlook on unlife. Would your
  character be a secretive, traditional Tremere? A skulking Nosferatu? A sullen,
  solitary Gangrel? After choosing the clan, write down the clan’s Aptitude,
  Advantage and Weakness. They’ll be good to have handy while you play. Note
  the Disciplines as well.
  Now you get to choose the character’s Traits. Characters in Mind’s Eye
  Theatre have three Trait categories — Physical, Social and Mental — which
  define their strong and weak points. Prioritize the categories as Primary (seven
  Traits), Secondary (five Traits) or Tertiary (three Traits). Each category can
  only have one rating. So, if you think your character would be intelligent and
  fairly able to take care of herself but not a social butterfly, your Traits would
  be Mental (Primary), Physical (Secondary) and Social (Tertiary).
  Next you choose your character’s Disciplines. Each clan teaches three
  Disciplines to its members, but some vampires may prefer to specialize in one
  over another. Disciplines come in two levels — Beginning and Intermediate.
  A starting character may choose one of three Discipline schemes:
  • All three clan Disciplines, taking three Basic-level powers, one for each
  Discipline.
  • Two clan Disciplines, taking one Basic level and one Intermediate level
  in each.
  • Two clan Disciplines, taking one at the Basic level for each Discipline,
  with two Traits left over to apply to your Trait categories.
  You’re just about done. Write down your Blood Traits (10) and health
  levels (five), and make up some details about the character. What is her name?
  How does she dress and act? Does she dislike another clan? Does she still have
  ties to her mortal life? In Mind’s Eye Theatre, the players depend on each
  other’s actions to perceive the setting around them, so take some time to think
  about how you’ll portray your character to others. When your character is
  finished, you’re ready to step out into the world of eternal night.
  TTTTTH E
  H E
  H E
  H E
  H E C C C C CLANS
  LANS
  LANS
  LANS
  LANS
  As the stories tell it, Caine had 13 grandchilder, who went on to Embrace
  in abandon, creating vast broods of Kindred in their image. These Kindred bore
  the magical gifts — and curses — of their foreparents. Thus the Nosferatu pass
  on the curse of their disfigurement, or the Ventrue their extreme tastes in blood.
  Clans are a combination of family, social group and school. The Brujah
  teach their childer to fight and the Disciplines that gift them with inhuman
  
  13
  Rendezvous
  Rendezvous
  speed and strength, while the Tremere schools its young in sorcery, mind
  control and scholarship. Some clans are tightly bound, with a distinct
  hierarchy that brooks no outside influence, while others are loose confedera-
  tions bound only by their common blood. Some hold to solidarity, while others
  will happily stab each other in the back as readily as any other Kindred.
  When creating a character, the player must choose one of the Camarilla
  clans. Each clan’s description provides an Aptitude (a particular task at which
  the clan excels), an Advantage (an area of supernatural or societal influence)
  and a Weakness (a curse the clan has borne through the ages). Each clan’s
  blood is predisposed to three Disciplines, which it teaches its members.
  CCCCC HARACTER
  HARACTER
  HARACTER
  HARACTER
  HARACTER C C C C CREATION
  REATION
  REATION
  REATION
  REATION Q
   Q Q
   Q
   QUICK
  UICK
  UICK
  UICK
  UICK C C C C CHART
  HART
  HART
  HART
  HART
  • C
  • C
  • C
  • C
  • CHOOSE
  HOOSE
  HOOSE
  HOOSE
  HOOSE     AAAAA     CLAN
  CLAN
  CLAN
  CLAN
  CLAN — W
   — W
   — W
   — W
   — WRITE
  RITE
  RITE
  RITE
  RITE     DOWN
  DOWN
  DOWN
  DOWN
  DOWN     THE
  THE
  THE
  THE
  THE A A A A APTITUDE
  PTITUDE
  PTITUDE
  PTITUDE
  PTITUDE,,,,,
  AAAAADVANTAGE
  DVANTAGE
  DVANTAGE
  DVANTAGE
  DVANTAGE     AND
  AND
  AND
  AND
  AND W
   W
   W
   W
   WEAKNESS
  EAKNESS
  EAKNESS
  EAKNESS
  EAKNESS.....
  • C
  • C
  • C
  • C
  • CHOOSE
  HOOSE
  HOOSE
  HOOSE
  HOOSE     AND
  AND
  AND
  AND
  AND     PRIORITIZE
  PRIORITIZE
  PRIORITIZE
  PRIORITIZE
  PRIORITIZE T T T T TRAITS
  RAITS
  RAITS
  RAITS
  RAITS — R
   — R
   — R
   — R
   — RANK
  ANK
  ANK
  ANK
  ANK     YOUR
  YOUR
  YOUR
  YOUR
  YOUR T T T T TRAIT
  RAIT
  RAIT
  RAIT
  RAIT
  CATEGORIES
  CATEGORIES
  CATEGORIES
  CATEGORIES
  CATEGORIES (P
   (P
   (P
   (P
   (PHYSICAL
  HYSICAL
  HYSICAL
  HYSICAL
  HYSICAL, S
  , S
  , S
  , S
  , SOCIAL
  OCIAL
  OCIAL
  OCIAL
  OCIAL, M
  , M
  , M
  , M
  , MENTAL
  ENTAL
  ENTAL
  ENTAL
  ENTAL)  )  )  )  )  AND
  AND
  AND
  AND
  AND
  PRIORITIZE
  PRIORITIZE
  PRIORITIZE
  PRIORITIZE
  PRIORITIZE     THEM
  THEM
  THEM
  THEM
  THEM     A S
  A S
  A S
  A S
  A S P
   P P
   P PRIMARY
  RIMARY
  RIMARY
  RIMARY
  RIMARY (7), S
   (7), S
   (7), S
   (7), S
   (7), SECONDARY
  ECONDARY
  ECONDARY
  ECONDARY
  ECONDARY (5) 
   (5) 
   (5) 
   (5) 
   (5) O R
  O R
  O R
  O R
  O R
  TTTTTERTIARY
  ERTIARY
  ERTIARY
  ERTIARY
  ERTIARY (3).
   (3).
   (3).
   (3).
   (3).
  • C
  • C
  • C
  • C
  • CHOOSE
  HOOSE
  HOOSE
  HOOSE
  HOOSE D
   D D
   D DISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES — E
   — E
   — E
   — E
   — EACH
  ACH
  ACH
  ACH
  ACH     CLAN
  CLAN
  CLAN
  CLAN
  CLAN     GIFTS
  GIFTS
  GIFTS
  GIFTS
  GIFTS     ITS
  ITS
  ITS
  ITS
  ITS
  MEMBERS
  MEMBERS
  MEMBERS
  MEMBERS
  MEMBERS     WITH
  WITH
  WITH
  WITH
  WITH     THREE
  THREE
  THREE
  THREE
  THREE D
   D D
   D DISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES;  ;  ;  ;  ;  YOU
  YOU
  YOU
  YOU
  YOU     MAY
  MAY
  MAY
  MAY
  MAY     CHOOSE
  CHOOSE
  CHOOSE
  CHOOSE
  CHOOSE     FROM
  FROM
  FROM
  FROM
  FROM
  YOUR
  YOUR
  YOUR
  YOUR
  YOUR     CLAN
  CLAN
  CLAN
  CLAN
  CLAN’’’’’SSSSS D
   D D
   D DISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES     B Y
  B Y
  B Y
  B Y
  B Y     ONE
  ONE
  ONE
  ONE
  ONE     O F
  O F
  O F
  O F
  O F     THE
  THE
  THE
  THE
  THE     FOLLOWING
  FOLLOWING
  FOLLOWING
  FOLLOWING
  FOLLOWING
  METHODS
  METHODS
  METHODS
  METHODS
  METHODS:::::
  • A
  • A
  • A
  • A
  • AL L
  L L
  L L
  L L
  L L     THREE
  THREE
  THREE
  THREE
  THREE     CLAN
  CLAN
  CLAN
  CLAN
  CLAN D
   D D
   D DISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES,  ,  ,  ,  ,  TAKING
  TAKING
  TAKING
  TAKING
  TAKING     THREE
  THREE
  THREE
  THREE
  THREE B B B B BASIC
  ASIC
  ASIC
  ASIC
  ASIC-----
  LEVEL
  LEVEL
  LEVEL
  LEVEL
  LEVEL     POWERS
  POWERS
  POWERS
  POWERS
  POWERS,  ,  ,  ,  ,  ONE
  ONE
  ONE
  ONE
  ONE     FOR
  FOR
  FOR
  FOR
  FOR     EACH
  EACH
  EACH
  EACH
  EACH D
   D D
   D DISCIPLINE
  ISCIPLINE
  ISCIPLINE
  ISCIPLINE
  ISCIPLINE.....
  • T
  • T
  • T
  • T
  • TW O
  W O
  W O
  W O
  W O     CLAN
  CLAN
  CLAN
  CLAN
  CLAN D
   D D
   D DISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES,  ,  ,  ,  ,  TAKING
  TAKING
  TAKING
  TAKING
  TAKING     ONE
  ONE
  ONE
  ONE
  ONE B B B B BASIC
  ASIC
  ASIC
  ASIC
  ASIC-----LEVEL
  LEVEL
  LEVEL
  LEVEL
  LEVEL
  POWER
  POWER
  POWER
  POWER
  POWER     AND
  AND
  AND
  AND
  AND     ONE
  ONE
  ONE
  ONE
  ONE I I I I INTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE-----LEVEL
  LEVEL
  LEVEL
  LEVEL
  LEVEL     POWER
  POWER
  POWER
  POWER
  POWER     I N
  I N
  I N
  I N
  I N     EACH
  EACH
  EACH
  EACH
  EACH.....
  • T
  • T
  • T
  • T
  • TW O
  W O
  W O
  W O
  W O     CLAN
  CLAN
  CLAN
  CLAN
  CLAN D
   D D
   D DISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES,  ,  ,  ,  ,  TAKING
  TAKING
  TAKING
  TAKING
  TAKING     TWO
  TWO
  TWO
  TWO
  TWO B B B B BASIC
  ASIC
  ASIC
  ASIC
  ASIC-----LEVEL
  LEVEL
  LEVEL
  LEVEL
  LEVEL
  POWERS
  POWERS
  POWERS
  POWERS
  POWERS,  ,  ,  ,  ,  WITH
  WITH
  WITH
  WITH
  WITH     TWO
  TWO
  TWO
  TWO
  TWO T T T T TRAITS
  RAITS
  RAITS
  RAITS
  RAITS     LEFT
  LEFT
  LEFT
  LEFT
  LEFT     OVER
  OVER
  OVER
  OVER
  OVER     T O
  T O
  T O
  T O
  T O     APPLY
  APPLY
  APPLY
  APPLY
  APPLY     T O
  T O
  T O
  T O
  T O     YOUR
  YOUR
  YOUR
  YOUR
  YOUR
  TTTTTRAIT
  RAIT
  RAIT
  RAIT
  RAIT     CATEGORIES
  CATEGORIES
  CATEGORIES
  CATEGORIES
  CATEGORIES.....
  • W
  • W
  • W
  • W
  • WRITE
  RITE
  RITE
  RITE
  RITE     DOWN
  DOWN
  DOWN
  DOWN
  DOWN     HEALTH
  HEALTH
  HEALTH
  HEALTH
  HEALTH     LEVELS
  LEVELS
  LEVELS
  LEVELS
  LEVELS (5) 
   (5) 
   (5) 
   (5) 
   (5) AND
  AND
  AND
  AND
  AND B B B B BLOOD
  LOOD
  LOOD
  LOOD
  LOOD T T T T TRAITS
  RAITS
  RAITS
  RAITS
  RAITS (10).
   (10).
   (10).
   (10).
   (10).
  • G
  • G
  • G
  • G
  • GIVE
  IVE
  IVE
  IVE
  IVE     YOUR
  YOUR
  YOUR
  YOUR
  YOUR     CHARACTER
  CHARACTER
  CHARACTER
  CHARACTER
  CHARACTER     AAAAA     NAME
  NAME
  NAME
  NAME
  NAME     AND
  AND
  AND
  AND
  AND     THINK
  THINK
  THINK
  THINK
  THINK     ABOUT
  ABOUT
  ABOUT
  ABOUT
  ABOUT     THE
  THE
  THE
  THE
  THE
  DETAILS
  DETAILS
  DETAILS
  DETAILS
  DETAILS     O F
  O F
  O F
  O F
  O F     HOW
  HOW
  HOW
  HOW
  HOW     SHE
  SHE
  SHE
  SHE
  SHE     DRESSES
  DRESSES
  DRESSES
  DRESSES
  DRESSES     O R
  O R
  O R
  O R
  O R     WALKS
  WALKS
  WALKS
  WALKS
  WALKS,  ,  ,  ,  ,  O R
  O R
  O R
  O R
  O R     ANY
  ANY
  ANY
  ANY
  ANY
  MANNERISMS
  MANNERISMS
  MANNERISMS
  MANNERISMS
  MANNERISMS     O R
  O R
  O R
  O R
  O R     QUIRKS
  QUIRKS
  QUIRKS
  QUIRKS
  QUIRKS     SHE
  SHE
  SHE
  SHE
  SHE     HAS
  HAS
  HAS
  HAS
  HAS.....
  BBBBB RUJAH
  RUJAH
  RUJAH
  RUJAH
  RUJAH
  The Brujah clan traces a proud lineage back to the Golden Age of Greece,
  and claims that once their line boasted scholars, philosophers and warriors.
  That said, the clan today seems very far-flung from its heritage, more like a mob
  than an organized clan. While their elders still seek study and thought, the
  
  14
  Laws of the Night
  Laws of the Night
  youth are by and large rabble more interested in destruction. Punks, gangbangers,
  revolutionaries, criminals, idealists and loose cannons of all kinds fill the
  ranks. Their passion for their causes and the fury of battle also provokes their
  tempers to fine hair-triggers, and many’s the poor fool who has insulted a
  Brujah at the wrong moment and released a frenzy like a whirlwind.
  The Brujah remain in the Camarilla tenuously at best. Many of the youth
  defect to the anarchs on a regular basis to strike at the elders ensconced in the
  halls of power. Even those squarely in the Camarilla’s camp routinely test the
  limits of a prince’s patience with their rebellious acts. Still, the clan’s reputa-
  tion allows them to get away with a great deal more than more “civilized” clans
  might be permitted. They remain warriors unequalled, with anger that only the
  suicidal rouse.
  Aptitude: One Trait they may use in challenges of combat. While they
  may have mostly forgotten their scholar sides, the Brujah are still warriors
  without peer.
  Advantage: Brujah, no matter where they are from, gravitate toward the
  street and the disenfranchised of society. Once per story, a Brujah wanting “the
  word on the street” may spend a Social Trait and ask the Storyteller a yes-or-
  no question about the current situation, which must be answered truthfully.
  Weakness: The Brujah have a propensity for hot tempers. They lose two
  Traits when attempting to resist frenzy.
  Clan Disciplines: Celerity, Fortitude, Presence
  GGGGG ANGREL
  ANGREL
  ANGREL
  ANGREL
  ANGREL
  If vampires are the ultimate predators, then the Gangrel are perhaps the
  closest to that nature. They reject the conventions and barriers of society,
  preferring more solitary existences in the forests and mountains. How they
  manage to avoid the werewolves who also share that territory remains a
  mystery. Some whisper that there is some sympathy between the two groups,
  as both are shapeshifters of one sort or another. As in mortal legends, Gangrel
  have the ability to shift form into a wolf or bat.
  Like the Brujah, Gangrel are some of the fiercest warriors seen among
  vampires. Their battle rage, however, stems from animalistic instinct, making
  them ferocious in battle and a tide of horror to their enemies. Most find even
  the company of other Cainites tedious and prefer that of animals. Although
  the Gangrel recently chose to break away from the Camarilla, they still attend
  courts and maintain interests in the sect.
  Aptitude: One Trait they may use in challenges relating to the outdoors
  (a park counts, a street doesn’t).
  Advantage: Gangrel are natural hunters; by spending a Mental Trait
  when hunting, they will automatically succeed, unless there is absolutely no
  prey to be found.
  Weakness: Gangrel develop animals features over time, such as tufts of
  fur, slitted eyes, batlike ears, even talons and beastlike teeth.
  Clan Disciplines: Animalism, Fortitude, Protean
  
  15
  Rendezvous
  Rendezvous
  MMMMM ALKAVIAN
  ALKAVIAN
  ALKAVIAN
  ALKAVIAN
  ALKAVIAN
  Unpredictable, seemingly without rhyme or reason, often terrifying —
  this sums up the Malkavians. The clan’s members range in age from children
  to the elderly, may be of any race or creed, and have come from all strata of
  society. There is only one constant — all are without exception incurably
  insane. Some were deranged prior to their Embraces, while those who were not
  are quickly “fixed” soon after. Such madness might be anything from homi-
  cidal rage to delusions of grandeur to a quiet, insidious bent that manifests as
  unnervingly bright eyes and bizarre snippets of wisdom.
  Many Kindred shun the madmen, fearful of their whims and the strange
  events their presence seems to inspire. Others, however, suspect that behind
  the rantings and fits are eyes that have become exceptionally clear through
  madness — and some fear that the truth is more disturbing.
  Aptitude: One Trait they may use in challenges involving trickery. This
  may be to see through another’s attempt to trick them, or their own efforts to
  deceive others.
  Advantage: Even in madness, there may be found insight. Once per story,
  a Malkavian may make a Mental Challenge. If she wins, she may ask the
  Storyteller one yes-or-no question for insight regarding the current situation,
  which must be answered truthfully.
  Weakness: Every Malkavian is incurably insane. Before the night
  begins, the Storyteller has the player choose a number from one to six,
  using any favorite method. The number chosen represents how often the
  Malkavian risks falling into a fit brought on by her derangement. While in
  the fit, the Malkavian may do nothing except writhe and babble, not even
  to defend herself.
  Clan Disciplines: Auspex, Dementation, Obfsucate
  NNNNN OSFERATU
  OSFERATU
  OSFERATU
  OSFERATU
  OSFERATU
  Vampires are called “the Damned,” and nowhere is this more reflected
  than in the loathsome visages of the Nosferatu. Unlike other vampires, the
  Embrace somehow warps these unfortunate wretches, leaving them with all
  manner of disfigurements. Shunned by their “fairer” brethren, unable to
  interact with mortals, the Nosferatu prefer the safety of the sewers and hidden
  places, finding companionship with each other.
  However, talent develops in adversity — the Nosferatu are survivors bar
  none. Few know the secret ways of a city like they, and fewer still know the
  secrets. Refining the talents of skulking and eavesdropping to fine arts, the
  Nosferatu barter what they learn to those not too proud to deal with them.
  Lastly, centuries of shared abused and stigma have produced tight bonds
  among the clan. Not for them the petty bickering and one-upmanship of the
  other clans. To mess with one is to take on the entire clan, and the Nosferatu
  know where the bodies are buried….
  Aptitude: One Trait they may use in challenges involving stealth. The
  Nosferatu are natural sneaks, and add this bonus Trait to their total on any
  challenge involving hiding, moving silently and other forms of sneakery.
  
  16
  Laws of the Night
  Laws of the Night
  Advantage: Nosferatu are masters at finding information and uncovering
  secrets. Once per story, a Nosferatu may make a Mental Challenge. If she wins,
  the Storyteller may bestow a piece of information relating to a single subject.
  Weakness: Whether due to a curse placed on the clan by Caine himself,
  or by some other reason now lost to antiquity, every last Nosferatu is loathsome
  to look upon. Any Social Traits they have are only useful during challenges
  involving intimidation.
  Clan Disciplines: Animalism, Obfuscate, Potence
  TTTTT OREADOR
  OREADOR
  OREADOR
  OREADOR
  OREADOR
  Hedonists. Artistes. Poseurs. Degenerates. All of these have been used to
  describe the Toreador at one time, but these barely scratch the surface.
  Toreador can be elegant or flamboyant, ludicrous or genius, visionary or jaded,
  depending on their moods. Whatever they are, be certain that they aren’t
  anything by halves. A Toreador is defined by her passion — whatever she is,
  whatever she does, it is marked by her aesthetic zeal.
  Eternal life is a gift to be savored and treasured. Many Toreador were artists
  in life — poets, sculptors, musicians, performers — while some were preserved
  for their beauty, but with little else to mark them. They love their high society,
  but let others worry about the business aspect of court. Whether as a hostess
  with the mostest, an opera singer capping 70 years of rehearsal, a composer, a
  writer or a witty debutante, every Toreador knows her place in Kindred society
  is to inspire culture, grace and, of course, passion.
  Aptitude: One Trait they may use in perception challenges. Toreador are
  naturally detail-oriented, whether to create or to criticize, and may use that
  talent to spot a hidden wall safe or hear leaves rustling outside.
  Advantage: The Toreador glide through the night, attracting a following
  of friends, lovers, hangers-on and groupies wherever they go. Many of these
  mortals are unaware that their patron, or muse, or friend is a vampire. Some
  may occasionally have useful information, but most will not. If nothing else,
  though, they are handy sources of blood. Once per story, a Toreador may
  completely replenish her Blood Traits if she has access to her herd.
  Weakness: These artists and art-lovers can become entranced with the
  beauty around them, to the point of insensibility. When a Toreador encoun-
  ters something truly beautiful (which might be a single perfect rose, a lovely
  face or sunrise on a clear summer morning), he must win a Mental Challenge
  with the Storyteller or become enraptured. He will remain entranced with the
  thing for one scene or until it withdraws. Only severe distractions can rouse the
  entranced vampire, such as being elbowed by a neighbor or being attacked.
  Clan Disciplines: Auspex, Celerity, Presence
  TTTTT REMERE
  REMERE
  REMERE
  REMERE
  REMERE
  The insular, secretive Tremere are neither particularly liked nor trusted,
  but that’s exactly how they like it. Even among vampires, the Tremere name
  is synonymous with treachery. Rumor has it that the Tremere were once a cabal
  of mortal wizards who wrested the secret to immortality from unwilling
  Kindred. Such deeds sealed the clan’s reputation; even today, many vampires
  would like nothing better than to wipe the Tremere from the earth.
  
  17
  Rendezvous
  Rendezvous
  Whatever their past, the Tremere continue to hold a place in the Camarilla
  for their instrumental work in supporting the Masquerade and battling the
  Inquisition. They have proven themselves as both dangerous enemies and
  potent allies. The Tremere still practice a version of the arcane arts they knew
  in life, and the “warlocks” offer their magical services to the Camarilla. One
  might well wonder if the Camarilla serves the Tremere equally well….
  Aptitude: One Trait they may use in challenges of scholarship.
  Advantage: Childer are taught early on to depend upon the clan and
  themselves, and to trust no outsiders. Once per story, a Tremere may call upon
  her clan superiors for aid and expect to receive some kind of answer or assistance.
  The Storyteller has final word on what aid will come from the Tremere.
  Weakness: Every Tremere is loyal to the clan through tightly controlled
  bonds of blood. Early in her Embrace, a Tremere is forced to drink the mixed
  blood of seven clan elders, creating mystic links between all the clan members,
  especially the elders and the younger Kindred. If she is ordered by a superior to
  do something, she is down two Traits in any challenges to refuse it.
  Clan Disciplines: Auspex, Dominate, Thaumaturgy
  VVVVV ENTRUE
  ENTRUE
  ENTRUE
  ENTRUE
  ENTRUE
  Regal to the core, the Ventrue are the lords of the Camarilla. It was Clan
  Ventrue who first conceived of the Camarilla, who founded and led the sect
  during its first perilous days, and who now leads the most populous vampire sect
  on earth through its darkest nights. Since time immemorial, the majority of
  princes have been Ventrue. The Ventrue would have it no other way, of course.
  After all, in the fine tradition of noblesse oblige, the Ventrue believe it their
  duty to lead the other clans.
  In nights past, Ventrue were chosen from nobles, merchant princes or
  other powerful people. In these more modern nights, the clan seeks its newest
  from old-money families, politicians and the corporate movers and shakers.
  Like the Toreador, they enjoy eternal life and its fruits, but prefer not to waste
  it in “idle hedonism.” The burdens and privileges of leadership are theirs alone.
  So it has been, so it shall always be.
  Aptitude: One bonus Trait they may use in challenges to lead or command
  others. Whether they were former nobility or corporate giants, all Ventrue are
  used to giving orders and seeing them obeyed.
  Advantage: Most Ventrue are well-off, if not wealthy. Even those who
  aren’t can call on their clanmates for assistance. Once per story, the character
  may access a large amount funds (such as from a trust fund, laundered money,
  Swiss bank account or corporate ownership). The Storyteller has final word on
  how much money the character may acquire.
  Weakness: Coming from royalty, wealthy families or financial kingpins, the
  Ventrue have simple tastes — only the best, including the blood they drink. A
  player must choose a specific type of blood that her character feeds on exclu-
  sively, such as virgins, blond men, children, clergy, etc. Only this specific blood
  type will satisfy her; the character will drink nothing else, even if starving or in
  desperate need. If she tries, her body reflexively vomits it back up.
  Clan Disciplines: Dominate, Fortitude, Presence
  
  18
  Laws of the Night
  Laws of the Night
  TTTTTRAITS
  RAITS
  RAITS
  RAITS
  RAITS
  Traits measure the raw potential of a character, and are possessed in some
  measure by every living thing. Traits in Mind’s Eye Theatre are measured in
  the following categories:
  Physical — This measures a character’s physical prowess, such as her
  stamina, dexterity or sheer strength. A Physical Primary indicates a strong,
  sturdy or very nimble character, while Physical Tertiary might mean the
  character is weak, willowy or even clumsy. This Trait is used in challenges of
  combat, lifting, running, skill with the hands, etc.
  Social — Social Traits describe a character’s charm and presence. A
  Social Primary character is charming, expressive or is just a good people person.
  A Social Tertiary might mean someone who is introverted, shy or doesn’t
  enjoy being around other people. This Trait is used in challenges of command,
  seduction, performance or coercion.
  Mental — This Trait is the measure of the character’s mental strength in
  wits, cunning, reasoning and general brains. A Mental Primary is a likely a
  studious sort, or one with a great deal of instinctive thought and quick wits. A
  Mental Tertiary is more likely to be less concerned with thought, have a bad
  memory or just never went to school. This Trait is used in challenges of
  perception, trying to remember information or puzzling out clues.
  Trait categories are prioritized Primary, Secondary and Tertiary. A
  Primary rating gets 7 Traits, a Secondary receives 5, while Tertiary has 3.
  Traits can be spent in order to gain certain benefits or powers. A Trait
  spent is considered gone for the rest of the night. Think of it as using up some
  of your energy to get a task done.
  DDDDDISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES
  ISCIPLINES
  Disciplines are the gifts of the blood, the supernatural powers which mark
  a vampire for what she truly is. These are the legendary abilities from myth and
  cinema — mind control, shocking strength and speed, transforming into a wolf
  or bat, otherworldly charisma. It is these gifts that give vampires their truest
  edge in the world of the night. When performed, though, many of these
  Disciplines create effects that are obviously out of the ordinary. Such things
  can risk the Masquerade, if they are witnessed by mortals, and many princes
  take great exception with those vampires who are so careless.
  Each Discipline is given at two levels — Basic and Intermediate, what
  most vampires know. The powers of the elders exceed what is described here,
  making them truly potent, as well as truly terrifying, to their younger brethren.
  AAAAA NIMALISM
  NIMALISM
  NIMALISM
  NIMALISM
  NIMALISM
  This Discipline allows vampires to control animals, whether the beasts of
  field and forest or the ones that lurk in all their hearts.
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Feral Whispers — By looking into the eyes of any animal larger than an
  insect and making some related sound (like growling or hissing), the vampire
  
  19
  Rendezvous
  Rendezvous
  is capable of communicating with the creature and understanding what it
  replies to him.
  The Beckoning — By uttering a howl or other animal noise, a vampire
  can summon animals to his side. The animal must exist in the area (summon-
  ing cobras in the Midwest is rather futile), and it will respond as fast as its
  mobility will allow (a caged animal may not be able to come immediately). A
  Social Trait must be spent for each type of animal summoned (one Trait for all
  the rats in an area, another Trait for all the dogs). When the animals arrive,
  they will obey the vampire’s commands as long as they are not too dangerous.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Quell the Beast — The vampire touches his subject or gazes into her eyes,
  and calms the inner fire of emotion. Without this fire, the subject is lethargic.
  A Physical Challenge is required if the victim is unwilling. Once the challenge
  is won, the player must engage in a Social Challenge in order to use this power.
  Whether the vampire chooses to intimidate the subject or soothe him, the
  victim is apathetic for the rest of the evening, unwilling to exert himself or be
  socially forward. This power lasts for the rest of the evening. Alternately, a
  vampire may use this on another Kindred who is frenzying to calm him. A
  Physical Challenge is necessary for the unwilling target, plus the Social
  Challenge. If the challenge is successful, the frenzying vampire simply snaps
  back to normal lucidity.
  Shape of the Beast — With this power, a vampire’s spirit may possess the
  body of any animal larger than an insect. To do so, the vampire must gaze into
  the eyes of the animal and spend two Social Traits to move into the animal
  body. While in the body of the animal, he may not use any other vampiric
  powers, but he may use the animal’s natural abilities, like claws, poison or
  wings. Once in the animal, the vampire may move freely about until daylight,
  when his spirit returns to his own body. If the animal is injured during
  possession, the vampire body suffers equal injury. If the animal dies, the
  vampire is thrust back into his own body and falls into torpor. At any time
  before daylight, the vampire may choose to leave the animal body for his own.
  Few know what happens to the spirit of a vampire if his body dies while he
  possesses an animal.
  AAAAAUSPEX
  USPEX
  USPEX
  USPEX
  USPEX
  Vampires with this power enjoy perception and sensory ability far beyond
  that of normal ken.
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Heightened Senses — The vampire’s senses become razor-sharp, even
  superhuman. She may hear sounds beyond normal ken (such as a dog whistle),
  and her sight acuity is doubled. She may be able to identify scents like a wild
  animal, or she can read print on a page by touch. This power lasts as long as the
  vampire chooses. However, if she is subjected to sudden sensory overload
  (blinding light, deafening music, strong smells), she loses the sense in question
  for the rest of the game.
  Aura Perception — The vampire can see the invisible rainbow “aura”
  that surrounds all living things. To use this power, the vampire spends five
  
  20
  Laws of the Night
  Laws of the Night
  minutes studying his target, then the players engage in a Mental Challenge
  (which may not be retested or relented). For each success, the player may ask
  his target one yes-or-no question relating to the target’s physical or emotional
  state, which must be answered truthfully. Permissible questions include: “Is she
  a vampire?” “Is he lying?” “Is he insane?” “Is she injured?”
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  The Spirit’s Touch — With this power, the vampire can read the psychic
  and emotional impressions left on objects or places. A simple touch can unlock
  a flood of memories, sensations and emotions. To use Spirit’s Touch, the
  player touches the object and spends a Mental Trait for a turn of concentra-
  tion. Each time this power is used, the vampire receives several moments of
  images and impressions, which may include distorted pictures, sudden flashes
  of passion, voices, or insights into emotionally stressful events that included
  the object (such as murder, childbirth or a passionate affair). What informa-
  tion has been passed on is up to the vampire to interpret; the Spirit’s Touch
  does not give lists of names and dates.
  Telepathy — The vampire may attempt to read others’ minds or commu-
  nicate without speaking. To read the minds of others, the vampire must be able
  to see her target, while the player engages him in a Mental Challenge (a willing
  target may choose to relent). If she wins, the vampire establishes a mental link,
  which allows her to scan the target’s surface thoughts if she chooses or speak
  to him mentally. If the vampire wishes merely to communicate she need only
  spend a Mental Trait. In order for two-way communication, the other vampire
  must have Telepathy and spend a Mental Trait as well; the open link lasts for
  as long as both parties wish.
  CCCCCELERITY
  ELERITY
  ELERITY
  ELERITY
  ELERITY
  This is the legendary supernatural swiftness that all vampires are said
  to possess.
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Alacrity — The vampire gains an extra action per turn, and her rate of
  movement is considered doubled.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Rapidity — The vampire’s rate of speed is tripled, and she receives two
  extra actions in a turn. In challenges of speed, you may use a new symbol, called
  the Bomb. The Bomb is made with a closed fist, the thumb sticking up. The
  Bomb defeats Rock and Paper, but is defeated by Scissors (the fuse is cut).
  DDDDD EMENTATION
  EMENTATION
  EMENTATION
  EMENTATION
  EMENTATION
  This Discipline, the gift of madness’ insight, seems to work best among the
  twisted Malkavians. Others have learned it, but it seems to do strange things
  to the mind. Whether one must be insane to learn it, or it causes insanity to
  those who learn it has not been determined, and few wish to experiment.
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Passion — With this power, the vampire can manipulate his target’s
  emotions, either driving her to fever pitch or dulling even her greatest passions
  
  21
  Rendezvous
  Rendezvous
  to mere whispers. The player engages his target in a Social Challenge; with a
  success, he may enhance or dull the target’s emotions as he pleases. With
  heightened emotions, the target becomes jittery, manic, full of wild energy
  that she has trouble controlling. If her passions are dulled, she becomes listless,
  apathetic, and unable to motivate herself. The target should roleplay the
  changes for the next full hour. This power is not cumulative, nor can a target
  have both dulled and enhanced emotions at the same time.
  The Haunting — The vampire may slowly drive his target to madness
  with strange waking nightmares that are invisible to all but her. This power is
  enacted by spending a Blood Trait and engaging in a Social Challenge with the
  victim. If successful, the victim sees bizarre images out of the corner of her eye,
  hears voices, suffers sensations such as heat and cold with no visible source.
  These may stem from her own inner fears, or may simply be monstrosities
  without rhyme or reason. The Storyteller should describe the effects to the
  victim. The Haunting lasts for one hour, during which the victim should
  roleplay the effects.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Eyes of Chaos — The Malkavian can discern knowledge from watching
  the seemingly random fall of events. By sitting quietly and studying events as
  they unfold around him, he may see patterns that others cannot, and by these
  patterns gain insight into what may happen next. To use this power, the player
  sits by himself for 10 minutes, considering the events and circumstances
  around him, not speaking to anyone. At the end of 10 minutes, he finds the
  Storyteller and makes a Mental Challenge. If he succeeds, the vampire gains
  insight into the current situation and can predict some possibilities of what
  might happen next. For the next hour, he cannot be surprised.
  Voice of Madness — Madness is a gift, and the Malkavians want to share
  it with everyone around them. This power, which brings the inner demons
  howling to the fore, is one way to do so. The Malkavian spends a Blood Trait,
  then spends five minutes talking to the victim, attempting to drive her into
  frenzy. After five minutes of talking, the player makes a Social Challenge with
  his target. If his target loses, she falls to a blind, panicked frenzy for the next
  10 minutes. This frenzy may be curbed by spending two Mental Traits or with
  other abilities.
  DDDDDOMINATE
  OMINATE
  OMINATE
  OMINATE
  OMINATE
  With this power, a vampire may sway others to his bidding, or even
  control their minds outright. Using this power requires eye contact (thus the
  blind are unaffected).
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Command — The vampire may issue a single one-word command (“Go!”
  “Stay” “Silence!” and the like are acceptable; “Die!” is not) to another being.
  Unless the victim can succeed in a Mental Challenge against the vampire, he
  must obey the command. The victim must understand the vampire’s language.
  Mesmerism — The vampire may make hypnotic suggestions to her
  victim. These suggestions may take effect immediately (“Follow that car!”) or
  may be triggered to certain events (“Start crying when Donata enters”). The
  
  22
  Laws of the Night
  Laws of the Night
  command may not be blatantly self-destructive. After making the suggestion,
  she makes a Mental Challenge with her victim. If she succeeds, the victim must
  obey. Both the trigger and the suggestion must be clear and easily understand-
  able, and the vampire and victim must speak the same language.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Forgetful Mind — The vampire may “wipe out” pieces of the target’s
  memory (such as that the vampire fed from her). After meeting her victim’s
  gaze and declaring which memory she wishes to erase, the vampire’s player
  makes a Mental Challenge. If she succeeds, the target “forgets” the vampire for
  one hour. To make the forgetfulness permanent, the vampire must spend a
  Mental Trait. The victim, however, will have a gap in her memories from the
  mind-wipe.
  Possession — With this power, the vampire may completely move her
  consciousness into another’s mind. This power works only on mortals. The
  vampire spends three Blood Traits and goes to a Mental Challenge with her
  victim. If the challenge succeeds, the vampire’s body falls comatose, and the
  consciousness is now in the mortal’s body. While possessing the body, the
  vampire may make the victim do anything, including harm himself. Should
  the mortal die, the vampire is immediately ejected back into his own body.
  FFFFF ORTITUDE
  ORTITUDE
  ORTITUDE
  ORTITUDE
  ORTITUDE
  Vampires with this power develop remarkable resiliency to wounds and
  damage, to the point that they must be hacked apart if they are to be killed. This
  power is always considered to be “on.”
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Endurance — The vampire’s resistance to pain and injury is remarkable.
  With this power, he can ignore one wound per scene.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Resilience — The vampire may even shrug off the pain and damage from
  aggravated wounds, such as fire and sunlight. By spending a Physical Trait, he
  may reduce aggravated damage to simple damage.
  OOOOOBFUSCATE
  BFUSCATE
  BFUSCATE
  BFUSCATE
  BFUSCATE
  This is the power to mystically conceal and disguise oneself, whether with
  illusions or shadows.
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Cloak of Shadows — By remaining still and relying on available shadows,
  the vampire can blur the lines of his form and make it difficult for people to
  
  23
  Rendezvous
  Rendezvous
  notice him. When no one is watching him, he can use the natural cover and
  shadows to fade away. As long as he remains completely silent and unmoving
  in a shadowed place or behind some sort of cover, nobody can spot him. Players
  should cross their arms across their chests to indicate that no one can see them.
  This concealment vanishes immediately if the vampire moves, speaks or
  interacts with his environment in any way.
  Unseen Presence — The vampire can not only fade out of sight, but may
  now wander in his invisible form. When a vampire wishes to use this power,
  he must step out of the sight of others, whereupon the player may use the sign
  for Obfuscate to show his character is not visible. Once concealed, the vampire
  may move about at a walking pace and be unnoticed. As long as the vampire
  does not speak, make loud noises or interact with the environment, he can
  remain unnoticed. Should he knock over a vase, attack someone, open a door
  or talk aloud (even a whisper), he automatically becomes visible.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Mask of a Thousand Faces — With this power, the vampire can cause
  others to see him not as he truly is, but as someone different from his true
  physical appearance. A simple Mask is bland and unassuming; few people
  could recognize him later. By spending a Mental Trait, the character may tailor
  his features and other things, such as voice or even scent. A Mask of a Thousand
  Faces remains until the character falls asleep, is knocked torpid or is killed.
  Vanish From the Mind’s Eye — A vampire may fade completely from
  view, even if in full view of others. The player announces his intention, then
  makes a Mental Challenge against each onlooker. If he succeeds, the vampire
  vanishes, as if he had never been there. Any losses the player may rebid against
  in the next turn. This power works much like Unseen Presence with a few
  extras — the vampire may move about unseen, but may also speak and still
  remain hidden. Interacting physically with the environment, screaming or
  attacking someone will cause this power to fail. The player should cross his
  arms over his chest to indicate his character cannot be seen.
  PPPPPOTENCE
  OTENCE
  OTENCE
  OTENCE
  OTENCE
  Vampires with Potence are feared in combat, and with good reason. This
  is the “strength of 10 men” that vampires of legend are said to possess.
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Might — The character gains two bonus Traits for any strength-related
  Physical Challenges.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Vigor — The character gains four bonus Traits for any strength-related
  Physical Challenges, and may also use the Bomb during challenges. The Bomb
  symbol is made with a closed fist, the thumb sticking up. The Bomb beats Rock
  and Paper, but is defeated by Scissors. If a vampire uses Vigor to strike another
  character in combat, the damage is aggravated.
  
  24
  Laws of the Night
  Laws of the Night
  PPPPPRESENCE
  RESENCE
  RESENCE
  RESENCE
  RESENCE
  All vampires radiate a strange charisma that makes them fascinating to
  mortals. Vampires with Presence are more charismatic, drawing others to their
  sides without effort. They may even manipulate the emotions of others,
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Awe — The vampire lets her natural charisma shine, drawing attention
  everywhere she goes. All wish to be close to her and hear what she has to say.
  To use this power, a vampire must be in a Social Challenge. The player gains
  a bonus Social Trait to use in the event of ties. This power may be used only
  once during a challenge.
  Dread Gaze — By hissing, baring her fangs and allowing her more
  vampiric features to rise to the fore, the vampire can terrify mortals and even
  shake the resolve of other vampires. By making a Social Challenge against her
  foe, the vampire can strike terror into her victim. If she succeeds, the subject
  flees the vampire’s presence and tries to avoid her for the rest of the scene or
  hour. If cornered, the victim will still defend himself, but he will do his best to
  escape. Using this Discipline actually requires the player (in character) to hiss,
  bare her teeth and otherwise make her vampiric countenance known, so it is
  a rather obvious breach of the Masquerade.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Entrancement — Using this power, the vampire can make others feel
  friendly to her. They want to be near her, aid her and act as her friend. To
  use this power, the player makes a Social Challenge against her target. On
  a success the target is favorably disposed to the vampire for an hour. If the
  vampire takes a hostile action against the target, the Entrancement is broken
  immediately. The vampire may not use the power against the same subject
  for the rest of the evening.
  Summon — The vampire can call others to her location by simply
  thinking about them. She need not even see her victim; as long as she knows
  the person, he can be Summoned. To use this power, the vampire’s player goes
  to the Storyteller and tells him which person she wishes to Summon,
  informing him or any Trait bonuses she has for ties. The Storyteller then finds
  the target and performs the challenge in the player’s stead. If the challenge
  succeeds, the subject comes to the vampire. If the challenge fails, the subject
  manages to resist the call. In either case, the vampire has no way of knowing
  if she has succeeded until her target arrives.
  Once called, the subject tries to get to the vampire by whatever means
  possible, entirely believing that he comes of his own wishes and avoiding
  situations that would prevent him from getting to his destiny (like locked
  rooms and overprotective allies). The compulsion lasts until the victim
  manages to arrive and make his presence known to the vampire. The vampire
  can only Summon someone that she knows — at the very least, someone she
  has spoken with for five minutes. to
  
  25
  Rendezvous
  Rendezvous
  PPPPPROTEAN
  ROTEAN
  ROTEAN
  ROTEAN
  ROTEAN
  This power is proprietary to the solitary Gangrel, and they teach it very
  rarely to outsiders. When someone speaks of a vampire changing into a wolf
  or bat, she is most likely talking about a Gangrel.
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  Eyes of the Beast — The vampire can make his eyes able to see in absolute
  darkness. To use this power, the player need only declare his intent to use Eyes
  of the Beast, and at the end of the turn, the change is complete. However, the
  power causes the vampire’s eyes to glow an eerie (and very obvious) red, unless
  he takes steps to conceal them (most commonly with sunglasses). Using this
  power is also a rather obvious breach of the Masquerade.
  Feral Claws — Like a wolf or bear, the vampire has powerful claws capable
  of rending flesh. You can grow these claws at will with a simple effort; they
  sprout mystically from your otherwise normal hands and similarly retract when
  you desire. To grow these claws, the vampire must spend a Blood Trait and wait
  a turn as they sprout. These claws inflict aggravated damage.
  IIIII NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  NTERMEDIATE
  Earth Meld — Using this gift, the Gangrel can mystically sink into the
  earth and sleep within the ground. The vampire must spend a Blood Trait and
  be touching raw soil to Earth Meld — he cannot sink through stone, wood,
  concrete or other substances. Immediately he begins sinking eerily into the
  earth itself, taking only clothing and small personal possessions (such as a
  cellular phone). Sinking into the ground takes a full turn, during which the
  vampire may do nothing but descend. The power protects the vampire
  completely from daylight and allows him to sleep undisturbed. He remains
  unaware of what transpires around him, and while in this state, he cannot
  move, except to rise at will. If the patch of soil is disrupted in any fashion, the
  vampire immediately returns to complete wakefulness, shooting up to the
  surface and showering dirt in all directions.
  Shape of the Beast — The vampire may shift his physical body into that
  of a wolf or a bat, which looks like a normal animal but is actually undead.
  Shifting into animal form costs one Blood Trait and takes three full turns. The
  vampire remains in beast form until the next dawn, or until he decides to
  change back. Clothing and small personal possessions change with him. In this
  form, he is for all intents and purposes an animal with a vampire’s mind. He
  may speak to animals and be understood, but he cannot speak to other
  vampires unless they possess some form of understanding animals.
  TTTTTHAUMATURGY
  HAUMATURGY
  HAUMATURGY
  HAUMATURGY
  HAUMATURGY
  Thaumaturgy is vampire sorcery — rituals, spellcasting and blood magic
  — exclusive to the Tremere, who created and perfected it over centuries of trial
  and error. Rumor has it they hunt and slay those who attempt to steal their
  secrets.
  Thaumaturgy, by its nature, requires more to work than simple effort.
  Every thaumaturgical ritual requires the Tremere to spend time preparing the
  
  26
  Laws of the Night
  Laws of the Night
  casting and spend a Blood Trait. Five minutes of preparation is needed for Basic
  rituals, while 10 minutes are required for Intermediate rituals.
  BBBBB ASIC
  ASIC
  ASIC
  ASIC
  ASIC
  • Taste of Blood — By tasting the blood of another vampire, the Tremere
  may learn things such as the vampire’s generation, sire, or if his blood is tainted
  with drugs or alcohol.
  • Defense of the Haven — The vampire casts this ritual on his resting
  place before going to sleep for the day. His haven mystically darkens, prevent-
  ing any sunlight from entering.
  • Hand of Flame — The Tremere may light a mystical flame in his
  hand. While in his hand, this fire cannot be use to set anything alight, not
  even a candle or a book-page. It creates a pool of light by which to see, and
  may be quite useful for disturbing others. The caster is not burned by his
  own fire. A caster may “release” the fire to spark small fires (such as a
  candle; the fire is too small to set people ablaze), but must recast the spell
  if he wishes to re-light his hand.
  AAAAA DVANCED
  DVANCED
  DVANCED
  DVANCED
  DVANCED
  • Flame Bolt — The Tremere may throw gouts of mystical fire. Each
  fireball costs one Blood Trait to create in addition to the first Trait spent, and
  inflicts two levels of aggravated damage on the target.
  • Telekinesis — The vampire may levitate and move objects with the
  power of his mind. The amount of weight he can lift (in pounds) is five times
  his total Mental Traits. Living beings may attempt to resist being lifted by
  making a Mental test against the vampire.
  • Cauldron of Blood — With this frightening power, the vampire may boil
  his target’s blood inside his veins. Mortals attacked with this power die
  immediately in tremendous agony. Vampires lose take three health levels of
  aggravated damage and lose three Blood Traits each time this power is cast.
  BBBBB LOOD
  LOOD
  LOOD
  LOOD
  LOOD
  Vampires can use the blood in their bodies to perform a number of
  remarkable feats.
  Characters have 10 Blood Traits, representing how “full” they feel.
  Vampires spend Blood Traits to power Disciplines, boost their Physical Traits
  or heal wounds. They can replenish their lost blood by feeding on mortals.
  • Each night, when a vampire awakens, she spends a Blood Trait.
  • A vampire may spend blood to heal wounds. Each level of simple
  damage costs one Blood Trait, and takes one full turn of concentration to
  perform. Aggravated damage may be healed by spending three Blood Traits
  and taking a full day to rest.
  • Certain Disciplines require blood use.
  • A vampire may spend blood to give herself superhuman strength. By
  spending a single Blood Trait, she may add a bonus Physical Trait to her pool
  for the rest of the scene. If she wishes to add more, each additional Trait will
  cost her another cumulative Blood Trait (thus the second Physical Trait costs
  two blood, the third is three, etc.).
  
  27
  Rendezvous
  Rendezvous
  A vampire with no more blood in her body enters torpor.
  Vampires can regain blood by feeding on humans. Humans are considered
  to have 10 Blood Traits in their bodies. If a human is reduced to five or fewer
  Blood Traits, he is in dire need of hospitalization. If all the blood is drained from
  him, the mortal dies. More merciful vampires try to avoid killing their vessels
  by taking only one or two Traits from a victim.
  If a vampire has four or fewer Blood Traits in her system, she feels hungry.
  If she sees or smells blood, she must make a test against frenzy to maintain self-
  control. A vampire at two or fewer Blood Traits is ravenous; merely being in
  the proximity of a potential blood source is cause for a frenzy check. If she loses
  either frenzy test, she goes into a fit of hunger, where her only goal is to feed
  until she is sated.
  Vampires may feed from animals, but find such blood unsatisfying, and not
  nearly as nourishing. A cow or similar-sized creature has approximately five
  Blood Traits in its system.
  HHHHH EALTH
  EALTH
  EALTH
  EALTH
  EALTH
  Characters have five levels of health to represent how hearty they are —
  Healthy, Bruised, Wounded, Mauled, and Incapacitated. As wounds are
  accumulated, check the levels off on your character sheet. Be sure to note if the
  wounds are aggravated. Blood may be spent to heal wounds and thus gain back
  levels of health. When a character’s wounds sink below the health levels, she
  slips into torpor (see below).
  DDDDD AMAGE
  AMAGE
  AMAGE
  AMAGE
  AMAGE
  There are two kinds of damage a vampire can suffer — simple and
  aggravated.
  Simple damage occurs through such means as a punch, a knife wound
  or being shot. For vampires, such things are no longer the life-threatening
  injuries as they were in mortal days. While such wounds certainly hurt,
  they can be healed fairly easily by spending a Blood Trait and taking a full
  turn to concentrate.
  Aggravated damage is far more serious. These are the wounds that can
  eventually kill a vampire, and are caused by fire, sunlight or the teeth and claws
  of other supernatural creatures. A Storyteller may also deem other means cause
  aggravated damage, such as certain types of bullets, an explosion or particular
  Disciplines. Healing aggravated wounds requires spending three Blood Traits
  and a full day’s rest to recover.
  Unless the character is confronting something that causes aggravated
  damage, any damage done is considered to be simple.
  TTTTT ORPOR
  ORPOR
  ORPOR
  ORPOR
  ORPOR     A N D
  A N D
  A N D
  A N D
  A N D F F F F FINAL
  INAL
  INAL
  INAL
  INAL D
   D
   D
   D
   DEATH
  EATH
  EATH
  EATH
  EATH
  When a vampire loses all her health levels and/or Blood Traits, she enters
  a deep sleep called torpor. She is still “alive,” but is effectively comatose,
  incapable of moving or acting. To recover from torpor, the vampire must be fed
  at least one Blood Trait.
  If a vampire falls to torpor and takes one more aggravated wound, she
  dies again — permanently. This is called the Final Death, and there is no
  coming back from it; the vampire’s body crumbles to dust. A character who
  
  28
  Laws of the Night
  Laws of the Night
  has fallen to Final Death is gone from the game forever; the player must
  create a new character.
  RRRRRULES
  ULES
  ULES
  ULES
  ULES
  This game has often been compared to the make-believe games of
  childhood. However, when confronted with character conflict, most such
  games devolved into this:
  “Bang! I gotcha!”
  “Did not! I was hiding behind that rock!”
  “Were not!”
  “Was too!”
  So this game has rules to prevent such arguments. Rules are meant to
  resolve conflict between two characters that roleplaying can’t, or to find out
  if a character can do something.
  CCCCCHALLENGES
  HALLENGES
  HALLENGES
  HALLENGES
  HALLENGES
  When two characters come into conflict that roleplaying alone can’t
  settle (such as getting into a fight), or the Storyteller wishes to see if a character
  can do something, challenges are used to resolve the matter.
  Decide what sort of challenge is being enacted — Physical, Social or
  Mental. Once the challenge is decided, the players each bid one of the
  appropriate Trait and name the victory conditions. The players then go to a
  challenge, which is resolved using Rock-Paper-Scissors. The winner of the
  match wins the challenge and his victory condition takes hold.
  Example: Matt’s character, Rick, has just run into some trouble. A Brujah who
  thinks Rick tried to humiliate him in court has found him in an alley and thinks it’s
  payback time. Matt, speaking as Rick, tries to argue the point, but the Brujah won’t
  hear it. The Brujah’s player announces that he’s going to slug Rick. Matt says that
  Rick will dodge out of the way, and the two go to a Physical Challenge. The two shoot
  Rock-Paper-Scissors — Matt shows Rock, and the Brujah’s player shows Scissors.
  Rick casually sidesteps the Brujah’s clumsy swing and prepares for a little dirty fighting
  of his own….
  In the event of a tie, the players compare their Trait pools. Remember to
  add in any Trait bonuses you might have. The larger Trait pool prevails.
  When you lose a challenge, you also lose a Trait. This means you’ve lost
  some confidence in your abilities, and can’t call on them as fully. In combat,
  this may mean the character has suffered injury. Perhaps the character is tired,
  or becoming frustrated, or this is just out of her means to perform. Likewise, as
  you lose Traits, your pool for comparing Traits in the event of a tie gets smaller.
  All lost Traits are recovered by the beginning of the next game — consider that
  time to rest, heal and otherwise clear the head.
  Example: Rick and the Brujah are in their second round of combat. The
  Brujah’s player declares that his character intends to slam Rick into a nearby wall.
  Matt says his victory condition will be to get out of the way. The two go to a Physical
  Challenge — this time, both shoot Scissors. Now they compare Physical Trait pools.
  The Brujah is built for combat — he has seven Physical Traits, plus the bonus Trait
  
  29
  Rendezvous
  Rendezvous
  he receives for being in combat, for a total of eight Physical Traits However, he lost
  a challenge earlier, and is reduced to seven (including his bonus). Rick was intended
  to be more brains than brawn — he has only five, and no combat advantage. The tie
  goes to the Brujah, and Matt scratches off a Physical Trait on the character sheet, and
  marks the loss of a health level as well — the damage is considered simple. Rick isn’t
  in very deep trouble, but he is hurting and trying to find a way out of the situation.…
  You may choose to relent a test on occasion. Relenting on a challenge
  means you give up the challenge and accept the victory condition. You do not
  lose Traits by relenting in a challenge.
  Example: Rick is down to three Physical Traits after a couple more rounds of
  combat, as well as losing three health levels due to wounds (two are simple damage,
  the newest one was caused with the Potence power Vigor and is consequently
  aggravated). Now  Matt is trying to think of some way to get away as Rick can’t afford
  to take much more punishment or lose more Traits. The Brujah prepares for another
  swing, and Rick has an idea. The Brujah’s player calls for a Physical Challenge,
  saying he’s using Vigor, and Matt declares that he’s relenting, saying Rick appears
  too winded to make a concerted effort to get away. The Brujah swings and connects,
  causing Rick to take another aggravated wound (Matt marks the lost health level, but
  hasn’t lost more Traits), and Matt declares that Rick has apparently fallen back into
  the shadows with the punch. Once in the shadows, the badly wounded Rick calls on
  his Obfuscate, hoping to play dead and that the Brujah will lose interest in what he
  can’t see.
  Storytellers may also use challenges to see if a character can accomplish
  something. Sometimes, a character wants to try something a little more difficult
  than routine (such as picking a lock, hacking into a mainframe, creating a
  sculpture), and challenges are a way of measuring a character’s abilities.
  RRRRR O C K
  O C K
  O C K
  O C K
  O C K- P
  - P
  - P
  - P
  - PAPER
  APER
  APER
  APER
  APER- S
  - S
  - S
  - S
  - SCISSORS
  CISSORS
  CISSORS
  CISSORS
  CISSORS
  In case you don’t remember Rock-Paper-Scissors, or never
  played, it’s very simple. On the count of three, the contestants
  hold up one of three hand gestures — a closed fist for rock, a flat
  hand for paper, and two fingers up for scissors. Rock crushes
  scissors, scissors cuts paper, and paper covers rock.
  
  30
  Laws of the Night
  Laws of the Night
  Example: While Rick is having his problems, across town, Chris’ character is
  attempting to hack into a rival Ventrue’s company’s mainframe.  Cynthia, the
  Storyteller, asks Chris how he’s going about this action, and Chris describes where
  Marcus is  hacking from, what protections he’s using, etc. Cynthia asks Chris to make
  a Mental Challenge with her — Chris shoots Paper, Cynthia shoots Scissors. Chris
  asks to try again, so Cynthia has him wait five minutes, while he describes how
  Marcus is methodically checking firewalls and the like. At the end of five minutes,
  Chris and Cynthia go to a second Mental Challenge and shoot again — Rock for
  Chris, Scissors for Cynthia. Marcus apparently succeeds with flying colors this time,
  but Cynthia is making a mental note about the security that was alerted by Marcus’
  second attempt….
  TTTTTIME
  IME
  IME
  IME
  IME
  Time in Masquerade runs like regular time — an hour in Masquerade is
  still 60 minutes. The Storyteller may choose to advance time for the sake of
  gameplay, but always assume that the time shown by clock on the wall or your
  wristwatch is the same in and out of play.
  During situations like combat, however, time becomes more fluid to
  accommodate challenges or Disciplines.
  Turn — A turn usually lasts about three seconds, and is mostly used to
  adjudicate combat and dramatic situations involving split-second decisions.
  Unless a character has Celerity, he may only take one action per turn.
  Scene — A sequence of events in roughly the same time, such the above
  example of Rick in his back-alley rumble and Marcus at his corporate
  espionage. The scene will change for Rick when he leaves the fight, and for
  Marcus when he exits the mainframe.
  Session — One evening’s worth of playing Masquerade.
  Story — A story is an entire sequence of events in which the characters
  take part. It has a plot, a climax and a resolution.
  Example — In the movie Star Wars, each swing of Obi-Wan/Darth
  Vader’s lightsabers was one turn; the Death Star garbage disposal sequence was
  a scene; and the entire movie was a story.
  FFFFFIRE
  IRE
  IRE
  IRE
  IRE     AND
  AND
  AND
  AND
  AND S S S S SUNLIGHT
  UNLIGHT
  UNLIGHT
  UNLIGHT
  UNLIGHT
  Fire and sunlight are the vampire’s worst enemies, the things which can
  destroy her for certain. Direct sunlight inflicts one level of aggravated damage
  every turn. Indirect sunlight (the vampire is heavily cloaked or under overcast
  skies) inflicts one level of aggravated damage every two turns. This damage
  may be soaked only with Fortitude.
  Fire inflicts damage as per sunlight. Small/weak fires (a candle flame) or
  a sudden burn (a torch) inflict one level of aggravated damage every two
  turns. Large or intensely hot fires (a burning building, a propane torch)
  inflict one level of aggravated damage per turn. Again, this damage is
  soakable only with Fortitude.
  
  31
  Rendezvous
  Rendezvous
  FFFFFRENZY
  RENZY
  RENZY
  RENZY
  RENZY
  All vampires carry within them an inner Beast, a manifestation of the
  predator, which arises with the Embrace. For Camarilla vampires, struggling
  against the wild bestiality of the Beast is a hallmark of their existence. The
  Beast manifests during times of great emotional stress, leading to something
  called frenzy.
  If a vampire sees or smells blood when hungry, is confronted by sunlight
  or fire, or is enraged or humiliated, she must check to see if she frenzies. She
  makes a Mental Challenge with the Storyteller to see if she can control herself.
  If she loses, she flies into a frenzy. She must immediately attack the source of
  blood or provocation (if sent into frenzy by fear, she must immediately flee the
  scene). During this time, vampires are like wild animals — they will tear apart
  anything in their way, and they may ignore wound penalties until struck into
  torpor. The frenzy lasts for a scene, or until the source of the frenzy is removed
  (the vampire feeds, the opponent is killed, etc.).
  When acting out a frenzy, remember the rules from above — never strike
  or grapple another player, don’t run around foaming and screaming, don’t
  frighten non-players.
  Frenzy is considered shameful by Camarilla vampires, and something to
  be avoided. A vampire who frenzies too frequently may be put down by his
  fellow Kindred.
  SSSSSOCIAL
  OCIAL
  OCIAL
  OCIAL
  OCIAL I I I I INTERACTION
  NTERACTION
  NTERACTION
  NTERACTION
  NTERACTION
  Mind’s Eye Theatre does not depend on cards or dice to determine results
  of a characters attempt to seduce prey or argue with a prince in court. This
  game’s most striking feature is the intense social interaction that occurs
  between players or between players and Storyteller. Consequently, there are
  very few systems for social drama. Many times, it’s up to the Storyteller
  deciding whether the player has adequately performed. So a player, playing a
  vampire, does not simply inform the Storyteller he is seducing the mortal in the
  corner for a meal — the Storyteller will most likely play the mortal and make
  the player work for his character’s supper. Likewise, if a character wishes to
  persuade another vampire to help her, the player (speaking as the character)
  must convince the other character, who is likewise being played by another
  player, who has thoughts and feelings of her own. Challenges may occasionally
  be employed, but otherwise, the characters are on their own.
  With that comes a great deal of trust. When you enter the room as your
  character to start playing, you act as your character, speak as your character,
  and  to some extent think as your character. While Matt the player might know
  that it’s a bad idea to make a deal with a certain Toreador, his character Rick
  doesn’t know that the Toreador doesn’t have Rick’s best interests at heart. It
  would be cheating for Matt to use what he knows to influence Rick’s thinking.
  So, play along. Enjoy yourself. While you’re at the game, you’re a vampire
  — clever, strong and ready to take on the night.
  
  32
  Laws of the Night
  Laws of the Night
  SSSSSTORY
  TORY
  TORY
  TORY
  TORY I I I I IDEAS
  DEAS
  DEAS
  DEAS
  DEAS
  • Love Story — A character falls in love with a mortal or another vampire.
  If the beloved is a mortal, is the love returned, and does the vampire tell his love
  that he is undead? (Doing so would be a violation of the Masquerade, and is
  punishable by both parties’ deaths.) If the beloved is another vampire, does she
  return the love or merely see a convenient pawn? What if the romance is between
  clans, such as a hideous Nosferatu falling for a lovely Toreador? Would a Tremere
  defy clan orders to be with her beloved? What if the love is unrequited?
  • Runaway — Several key players in the city’s power structure have
  disappeared for no clear reason. Who will fill the void left behind? Will there
  be battles for power? And once someone scrambles to the top, how can he stay
  there? And what of the original holders? What drove them off in the first place?
  What if they return?
  • The Most Dangerous Game — Who hunts the hunters? There is a
  mortal in the city intent on purging the threat that he believes the characters
  represent. Perhaps he’s armed with the power of faith, perhaps he has some
  impressive weaponry or a lot of information on the characters. How do they
  avoid alerting other hunters? The characters must find a way to outwit or
  outfight this threat to their very unlives.
  • Unmasking at Midnight — The Masquerade has been seriously breached.
  The prince orders the characters to restore it before more damage is done, but
  someone is working against them, undoing their work as quickly as it’s accom-
  plished. Could it be Sabbat, attempting to thwart the Camarilla? Could it be a
  stubborn reporter with a powerful patron, intent on revealing “the truth”?
  
SOURCE: textdata/thevault/Storyteller [multi]/World of Darkness (WoD) [multi]/oWoD/Minds Eye Theatre/General/MET Introductory Kit.pdf