Page 151 - World of Darkness
P. 151
Chapter 7: Combat
Chapter 7: Combat
What would a Storytelling game be without conflict? Storytelling is predi-
cated on dramatic and entertaining events. The essence of drama is conflict,
whether it’s a struggle with one’s own flaws or an outward competition be-
tween characters. The most extreme form of conflict is combat. Two or more
characters fight, seeking to do harm or to kill each other. In the World of
Darkness, a bleak place where the health and happiness of others is taken for
granted or utterly dismissed, violence is pervasive. All too often problems are
While Cadmus, victor, solved with violence. It might be a random mugging, a simple argument gone
While Cadmus, victor,
stared at his great prize, out of control, the result of road rage, or the frustration of an unfulfilling life
stared at his great prize, vented on whomever gets in the way. Add to that reality the existence of
The conquered beast, strange and hidden beings that prey upon an unsuspecting humanity and vio-
The conquered beast,
a voice came to his ears,
a voice came to his ears, lence is a fundamental part of life.
From whence he did This chapter is dedicated to rules for combat, from throwing punches in a
From whence he did
not know, but heard it bar to drawing a knife in an alley to opening up with a shotgun in a board-
not know, but heard it
say, room. While people certainly struggle with each other in the World of Dark-
say,
“O son of Agenor, ness, some fight back against the things that stalk them. In turn, those crea-
“O son of Agenor,
why look at ruins tures almost certainly wage secret wars among themselves.
why look at ruins
Of monsters you’ve
Of monsters you’ve
destroyed? You too shall Describing the Scene
destroyed? You too shall
be be
A serpent in men’s Part of the Storyteller’s job is to make sure that players have an
A serpent in men’s
eyes!” Cold terror came accurate mental picture of the environment and events surrounding
eyes!” Cold terror came
their characters. The Storyteller describes the setting, weather, time
At him, he pale and of day, lighting and the actions of any supporting characters involved
At him, he pale and
trembling stood with hair in the scene. This responsibility is crucial to combat situations, when
trembling stood with hair
As stiff as frost. players need to know the dangers their characters perceive and the
As stiff as frost.
options from which they may choose.
— Ovid, The Metamor- During combat, the Storyteller describes the changing environ-
— Ovid, The Metamor-
phoses ment after each turn. Once all players have acted, the Storyteller
phoses
explains what each character sees and feels. They may all have ac-
cess to the same information or each may have his own perspective
on events. These descriptions should be as detailed and creative as
possible. This is the Storyteller’s chance to show off her narrative
talents and to turn a series of dice rolls into a dramatic, amusing and
entertaining story for the benefit of all.
Combat Turns
Combat scenes can sometimes be extremely confusing, because so much
goes on at one time. Keeping all the actions and repercussions straight is a
challenge. Combat almost always progresses through a series of three-second
turns. The system for handling combat turns is further divided into two basic
stages: initiative and attack. This division helps the Storyteller track charac-
ters’ actions and their results. (For the other measurements of time that can
pass in your game, see “Time” on p. 120.)
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Chapter 7- COMBAT
