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It's notable that the Guides not only go through the crunch but also have chapters with suggestions of how you might fluffwise justify having one nWoD Mage order here or an cWoD tribe of Werewolves there for both New and Classic World of Darkness games.
So if you for example really miss Clan Tzimisce in Vampire: The Requiem or think Requiem did the Nosferatu better but you still wanna run Vampire: The Masquerade, have a look in the Vampire Translation Guide and you'll get separate chapters covering both the fluff and the crunch for porting them over from Masquerade into Requiem or vice versa.
Expect lesbian stripper ninjas, katanas and trenchcoats, magical gays, a more traditional XP system and loot drops from everyone you kill. It's a good laugh and might make for the ideal supplement if you're into that sort of game. Unfortunately White Wolf started to take itself way too seriously since and we'll never see a supplement like this one again. Since the advent of Chronicles of Darkness only a few core books have been released specifically for that ruleset: Dark Eras A page behemoth of a tome detailing a variety of historical settings in which you can play Chronicles of Darkness.
From the advent of the world where you play werewolves babysitting humanity so that it won't get eaten by the monsters of the wild, all the way up to to werewolves in the New York of the 70s. Contains settings for every gameline out there, but they are rather fixed: so if you want to play a Hunter during the Great War or a Mage during the fall of Constantinople you're out of luck.
Hurt Locker A book on pain and violence, as well as a half-dozen templates to make normal mortals a bit more attuned to violence.
It takes a rather mature take on violence and injury You can defuse a violent situation by getting punched in the face then telling your attacker that he just hurt a fellow human being and that he must feel terrible about it. The Contagion Chronicle[ edit ] Formerly referred to as The Crossover Chronicle, this series will add a new set of chronicle hooks, potential settings, and cross-template factions geared specifically around allowing parties composed of multiple types of supernatural beings to cooperate without killing each other.
Details on the metaplot are fuzzy right now, but the basic premise seems to revolve around the various supernatural being forced to form new alliances with each other in the hope of fighting against the mysterious force known only as the Contagion, which is threatening to destroy the fabric of reality itself.
Vampire: The Requiem 13 Clans with fleshed out, restricting histories become 5 clans with vague, open-ended histories and multiple Bloodlines sub-clans. The Camarilla becomes 5 Covenants with mutually exclusive goals. Arguably the biggest difference is that you can't just make someone a Vampire by draining them and feeding them your blood, now you have to permanently spend a dot of Willpower to do it.
An alternate setting in ancient Rome also exists, which contains a history of the Carmarilla and how it collapsed with the rest of the Roman Empire. Additionally, a new set of antagonists in the form of the Strix, which are demonic owl-like creatures bent on purging every last trace of Humanity from vampire society to the point where even a Humanity 0 vampire is too human for them and can possess corpses and vampires to lash out at mortals and undead alike.
Werewolf: The Forsaken A slightly more "balanced" version of Werewolf. You can't run around in 8-foot tall invincible war-form all the time, and you see humans as a flock of idiotic sheep that you have to protect from malicious spirits due to a vow sworn by your ancient ancestors as punishment for divine patricide.
The "adjustments" resulted, possibly intentionally, in the average werewolf no longer being a match for the average vampire, a criticism invariably met with statements regarding the relative level of coordination between werewolf packs and vampire coteries. It is written in novel format for ease of reading, played over Skype.
Mechanically simplified and involving more magic usage than M:tAsc , M:tA's biggest criticism is that it doesn't have as compelling a plot — specifically, the revised political landscape is the most frequent target of attack.
You're a scorned mockery of humanity, most likely abandoned by your creator, left to fend for yourself in a world that wants you dead.
You're perpetually dazed and confused, always trying to pick up the ways of humans, but that's not happening because you have a disquieting aura that makes every sentient being in the world eventually hate you and the places you stay in will turn into an uninhabitable hellhole if you linger too long, so you can never make real friends and have to live as a nomad.
Only five books long, but it pretty much covers all the bases. Surprisingly, it's actually rather optimistic since in theory you can make like Pinocchio and become a true human under the right circumstances. Changeling: The Lost No longer are the Changelings faeries, but humans kidnapped by the True Fae and twisted into something not quite mortal. Managed to do the exact opposite of its predecessor and sell enough copies that they extended the series instead of cutting it short.
It completed its run with nine books and a long-awaited web enhancement. Hunter: The Vigil Hunter, without the ridiculously overpowered gifts. You're just an average Joe with more information than other people, and on occasion ties to people with some special toys that let you use powers that can border on the supernatural themselves. For instance, you might channel the power of your demonic heritage to smite people with hellfire, you might have bullets that are extra-effective against vampires, or you might have access to religious rites that bless your weapons with the power to hurt ghosts.
That, and you can break every conceivable human moral code without going insane, provided you can justify it in light of your "Vigil. Well-known for its antagonists - Slashers - who are the World of Darkness take on serial killers. Once again had "lite" versions of all the other supernaturals, which tended to be more singularly powerful than the real thing, but not as versatile or player-character-friendly. Geist: The Sin-Eaters People who die and have ghosts decide to resurrect them, getting stuck with said ghost riding shotgun to said person's body and giving them all manner of powers depending on the way the first party died, all to accomplish the ghost's goals.
However, I vaguely remember there being a PDF-only spin-off from the unprinted material. It had to do a lot with science-fiction and the World of Darkness in space.
Anybody remember the name of this so I can locate it? Each mirror serves, Rebecca understands, as a warning or a temptation. And sometimes she is not sure which is which. Rebecca sees what she could be, and Rebecca knows that all of these things are in some way true, that all of them exist, in the way you know things in dreams that havent been spelled out and yet were always like this: you always had wings, or your father is a snake, or your fingers were forever made of wood.
And the figure who wore Rebecca like a skin folds her up and puts her in a box. And the opposite mirror: shes got the shaved head now, and shes got magic in her hands.
She floats in the perfect blue sky, and the white silk she wears flutters up around her body and reveals she is neither he nor she but both. Her hands and eyes sparkle, and she turns and swoops onto a third-world village full of men and women and children who try to shoot her with automatic rifles; the bullets dissolve before they hit her skin.
She should be horrified. When she sees what she does to the children. When she sees what little chance those people had. And she tries to think about that.
World of Darkness: Mirrors - Bleeding Edge
But this other thought comes up: what must it be like to be 6 like that, to be changed like that? To have lightning and plagues come at your whim? Another left turn: shes made of patchwork pieces, stapled together, red welts and scars with bluish edges, watery mismatched eyes, and the field of flowers in which she stands wilts around her feet; she turns and runs, and each step kills a patch of foliage; and she runs from something many-legged and many-mouthed, that slobbers poisons on the ground, and she cannot outrun it.
It bears her down on the ground and she disappears into the flowers, and they die in a growing patch of black around her and the thing looks like its eating.
Series by cover
And in this one, shes still patchwork but now shes doing the eating, chasing down a man made of clay, the many-legged things working at her command. She catches the man, bears him down, kills white flowers and summer grass, poisons the ground, makes the very air around her go dark, and then the whole air goes dark. The black angel descends from above her on a dozen insectwings, its calfs head and its lions head and its asss head screaming something silent and terrible, its arms holding spears wreathed in lightning, and she is not surprised; she kneels her knees creating spreading decay on the ground, intersecting with decay already made by the chaos of running feet and she offers it a head of clay and flesh, torn off with her pare hands, and steaming viscous fluids run from her mouth that drip to the ground and burns holes in it.
And the thing blesses her, and she is pleased Rebecca feels nothing at all at these images; that worries her more in some respect than simply wanting it. She watches herself stand there and the spider crawls into her mouth, and she clutches at the thing, and writhes, but more follow, and swarms of the things invade her through her mouth, nose, eyes, ears; cobwebs seep from her skin and cocoon her, make whats left of her eyes milky and empty.
And then mandibles erupt from her mouth and her legs wither as new legs, four, six, eight erupt from an abdomen that distends, and she screams again, but its a scream of hunger and rage Rebecca turns from this picture.
She sees a spider on the floor in front of her, as if its challenging her. She stamps on it, moves on. Ahead and to the right: shes herself, broadly. She walks up to herself armed with a flashlight and a shotgun cocked under one arm, flashes herself in the face, and then leaps to the other side of a vaulted corridor that gives the impression of being a very long way underground but which conforms to the same shape as the Hall of Mirrors. The reflection appears ready to face Shes got her back pressed against the damp black bricks, and shes sweating as a shadow appears around the corner, ready to defend herself but terrified, and the shadow waits, and the reflection waits, and then the shadow darts out with a bloodied arm holding a bloodied butchers knife, thrusts it up through the soft flesh of the reflections chin into her brain and her eyes widen and she drops the shotgun and torch and twitches, and the lights go out in those stillwide eyes and the woman holding the knife frees it and lets Rebeccas reflection, suddenly drenched in blood from the face down, slump to the floor Rebecca puts her hand to her throat, licks her lip, and turns around.
Someone comes up behind her, a clean-cut young man who Rebecca recognizes as Steve, stupid unfaithful bastard Steve, and hes holding a gun. She turns around and stabs him with such force it goes straight through the bone in his forehead, and she pulls it out and stabs him again and stabs him again, even though hes dead and forever surprised. Holding him by the throat, deftly wielding the tip of the knife, she gouges out his eyeballs and pops them into her mouth one by one, each time chewing so the vitreous humor dribbles out of the corner of her mouth.
The mirrorimage looks up at Rebecca and smiles at her with a mouth filled with black blood and other fluids Rebecca retches. But at the same time, shes thought about stabbing Steve at night more than once, in her darker moments, him and Jackie who she trusted and But she does not run, does not try to avoid seeing what she is seeing.
And now, each time, each mirror brings with it a terrible fascination, and the dawning of something terrible. Like this one, around a right turn, where she is naked with a big man, and hes kissing her and touching her tenderly, and shes liking it, but he gets bigger as she watches and enjoyment turns to pain as the man grows hairier and his mouth extends into a muzzle and his hands turn to massive claws, and he tears her to shreds and eats her as she cries out in fear and in something else And now, its twin, and this time, its Rebecca who becomes a wolf, and pursues a 8 man she had been laughing with and teasing he looks over his shoulder, its Steve again, black-eyed, bloody, but Steve chases him through woods and over a gray stony bluff until he falls and she pounces and eats him, piece by piece, and oh what big teeth she has as she howls at the moon.
And here Rebecca wonders what Steves flesh would taste like. To the left: in this mirror, Rebecca is standing paralyzed with terror at something out of view, and she breaks and runs, and now Rebecca can see it, a howling wisp of angry face and wringing hands that rub together much faster than hands should, twitch, twitch, twitch, and she trips and its on her and it screams in her face and forces her mouth open and climbs in.
And it wears her, like a coat, and she moves awkwardly, like the legs are not hers and her eyes are blank and white, and she returns to the mirror and beats against the other side of it with her fists and screams mindlessly at Rebecca. And Rebecca stands and stares, and waits for her to go away, before she turns round and sees Herself again, getting up from the car wreck that propelled her through the windshield and sent her flying twenty feet, and the screaming wispy thing is all around her; without knowing what shes doing, she grasps at it and kisses it, pulls it close to her, swallows it whole.
She convulses and begins to laugh, and looks at her fingers, sees the wisps of death that surround them, as she stands among the wreckage and the bodies.
Survival is everything, thinks Rebecca. Life is everything. She knows enough that death is something to be scared of, but it oc- curs to her that in this world, if she has the will she does not have to die, or at least, not completely. At the same time, aiming for survival carries terrible risks Three turns later: Rebecca, black-lipped, black clad, rings in her ears and nose, a little solid-black upside-down star tattooed on her forehead, turns and raises a hand and a man Steve again, but Steve with scars and tattoos he does not have, and a knife he does not know how to use falls to his knees, weeping, face in hands.
And then she lifts his chin and smiles into his face, and vomits fire on him. He writhes, and clutches at his face. And other men, who have just come into the room, stop and pause and she lifts her hands, and they run, each of them, rather than face what they have just seen in her eyes She catches her breath.
Shes seen so many of these things.
World of Darkness: Mirrors PDF spin-off: What was the name?
This one does not surprise her. Around the very next corner, the next mirror to the last one: Rebeccas hair is cut brutally short, messily, like it was done with a combat knife, and shes in fatigues, and she beats a monster who stands in front of a door to ash with a chair leg. She opens the door; Rebecca gets a glimpse of a dozen snarling faces, claws; and the reflection stands in the middle, takes off her jacket, saying something brief and pressing something in her other hand, blasting them all to nothing Rebecca is left looking at herself again, slumped against the mirror, shoulder and face against shoulder and face.
She turns, puts her back against the mirror, and slides to the ground. In front of her is plain wall, a door marked EXIT and next to it, a wooden chair. She stands up and grasps the chair by its back and swings it, and the mirror shatters; a tiny shard of glass grazes her cheeks, draws a tiny drop of blood she does not notice. The noise destroys the oppressive silence that ruled in here, and breaks something in Rebeccas head.
She rounds the corner and does it again, the first time bouncing right off, the second making sharp silvery glass rain to the floor, the shattering like music to her, and again, and again, and again, each mirror shes looked into falls to pieces, creating a carpet of shards, and in each shard an eye, part of a mouth, a finger.
Still wholly possessed by the need to destroy something, she turns the chair upside down, puts her foot against it, strains like mad to free a leg that comes away with a noise like a shriek, and she hefts it in her hand and heads for the exit. She opens the door. Its dark again outside. She was here all day. No one came, no one opened the place up. It was just her. And the mirrors. And Rebecca realizes she does not care. She hefts the chair leg in her hand and shouts out: Come and get me.
Come and get me! Five figures appear from nowhere, surrounding her. I dont have to be a victim, she says. You dont, says the woman in the middle, a short, dark-haired, birdlike woman dressed like a secretary.
This was part of the thing. You dont have to run. Its up to you, really. She does not trust them. She goes with them. She embraces the possibilities.
Index of /public/Books/rpg.rem.uz/World of Darkness/New World of Darkness/World of Darkness/
All rights reserved. Reproduction without the written permission of the publisher is expressly forbidden, except for the purposes of reviews, and for blank character sheets, which may be reproduced for personal use only. All characters, names, places, and text herein are copyrighted by CCP hf This book uses the supernatural for settings, characters, and themes. All mystical and supernatural elements are fiction and intended for entertainment purposes only.
Reader discretion is advised. Leather straps hold it to the wood. Is it alive? Does it matter? The drugs do an excellent job; lets just leave it at that. The hearts going to be hard to extract.
You need a rib-spreader, really, but you dont have a rib-spreader, because they dont sell those at Home Depot. So, you figure jigsaw. You can adjust the height of the blade so you dont cut into the heart. Just run the saw up through the middle, and then orbit the edges until you can pop off each half of the rib cage like a sewer grate.
If its stubborn, maybe the claw-end of a hammer. The eyes, they require a bit of finesse. Time to get culinary. A melon-baller might do the trick, but most of them are too small.
But but! The kind the pro soda jerks use? Thats the guy. Dig in an edge, and use it to clip the optic nerve. The tongue? The hands and feet? Good old-fashioned hacksaw.
For use with the World of Darkness Rulebook
Pliers for the teeth, hedge trimmers for the toes and fingers one chop yields five toes or five fingers, and economy of movement is always a good thing. The rest can all get cut apart with sharp shards of mirrored glass, just because you cant stop looking at your pretty face. Youre such a narcissist. Nice work! Is the body alive?
It isnt anymore, look at it that way. Are you done? They go into the pile. Wait, what pile?
The quivering, gelatinous pile of preserved limbs, brains, eyes, organs. Any time you want to build a new friend or lover, or slave, or nemesis you reach into the pile for the constituent parts, and find the new tools to piece him together.
Duct tape? Staple gun? Pink insulation to fill the parts where organs are missing? A cattle-prod to get the heart going? An MP3 player crammed in the throat so your new pal says all the right words?
See how important it is to have the right tools for the job? Introduction: Introduction: Manisa tool-using Man is a tool-using animal. Nowhere do animal. Nowhere do you findhimwithout you find him without tools; withouttools he tools; without toolshe is nothing, with tools is nothing, with tools he is all. Thomas Carlyle Carlyle Thomas Options are a good thing. Cutting into a body, as described above, will make use of many tools.
Take a road trip, and youll want multiple paths to your destination what if you want the scenic route? Or maybe mudslides have closed a main road. In a mirror, youll preen and primp, dressing differently for different occasions golf cleats, or kohl around the eyes, or a set of gold grills popped over the teeth. Thats what World of Darkness: Mirrors aims to be a big basket teeming with options for your World of Darkness games.
We like the Storytelling System, obviously; its meant to be simple, clean, not a lot of mess and tangle to get in the way of the narrative. But we also recognize that it cant do everything for everyone.
A hammers a great tool. Who doesnt love a hammer? But a hammer wont cut glass; itll only smash it. A hammer wont remove a stripped screw. A hammer wont help you extract the eyeball, or delicately pop out the fingernails. Debug, Dissect 12 Introduction Sometimes, you need other tools in your toolbox. Sometimes, you need options. This book dissects the Storytelling System into its components. It spreads them out on a table, takes a good long look at them, and then attempts to replace them.
Not just with one option, either when we take a crack at the combat system, we dont give you just other approach. Oh, no. Youll get a squirming sack of possibilities, ways to dial the combat up to become more strategic, ways to dial it down so that fewer rolls translate to bigger narrative oomph. Not sure that the Morality system best reflects the crazy brain that results from overexposure to the truth of the World of Darkness? Maybe you feel that Virtue and Vice works for some games, but not the one youre about to run?
What if youre planning on running a game set in the far-flung future of the World of Darkness, or its mythic past, or are desperate to see what happens when the world is shattered in revelation and apocalypse? Then open the book. Take a look through the many broken mirrors, each warped and distorted. Hold up the tools in each reflection.
Feel the weight of the hammer as you see your pale face grinning back. Twirl the scalpel as thornstudded vines push out of your mouth and your eyes. Rev up the blender, and see your cackling rictus reflected back.
How to Use This Book Preceding this intro is a piece of fiction by Howard Wood Ingham, and then, after this intro, youll find Chapter One: Breaking the Mirror is about taking the core parts and systems that go into Your Character and redefining them so that you have several new approaches to creating and playing someone in the World of Darkness.
Within youll find new approaches to character creation, options to replace Virtue and Vice, how to apply a power stat to mortal characters, and a new look at using Merits. In addition, youll find a new type of character: the Extraordinary Mortal think Sherlock Holmes, Gregory House, Hannibal Lecter; a human being whose abilities are beyond the pale.
Chapter Two: Picking Up the Pieces is a look at the Storytelling System as a whole, and how you might hack the System at the game table to get the narrative or strategic approach the game troupe desires. Ultimately, we explode conflict resolution. Social combat? Rapport and relationships? An overflowing cornucopia of combat system changes? All contained within.
In addition, youll find a deeper look at how new or changed Morality systems might affect your story. Chapter Three: Shards is a setting hack more than it is a system hack. Here youll find four new approaches to the World of Darkness, whereupon the Storytelling System is applied in new ways. Want to witness a post-Apocalyptic future? What happens when the supernatural is revealed to the ignorant world?
Want to run a World of Darkness game with the deep, rich flavor of dark fantasy with dark hero characters? This chapter has you covered.This section presents a number of options to help speed up the process of character creation to help get everyone playing the actual game instead of the mini-game of creating a 22 Chapter one-Breaking the Mirror character.
Rodrigo Mori. Copy Link Tweet This. If you don't mind the notion of God being a celestial laptop or the increased micro-management of the system, it's worth looking at as it's a big update over the old version. You have at your disposal two very dif. Follow What can I use in my products on the Storytellers Vault? And it bears considering exactly what the The Last Colonist did not die with the others. And she closes those horrible empty eyes and licks her lips in an ecstasy that isnt religious, and Rebecca closes her eyes too and walks in the most measured way she can around the corner to a place where she cannot see.
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