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Storypaths
Credits:
Design: Mark Rein.Hagen
Card Art: Richard Thomas
Cover Arf Richard Thomas and Chris McDonough
Editing: Stewart Wieck and Lisa Stevens
Produ ction: Nicole Lindroos
Whimsy CardgN were originally created by: Jonathan Tweet
and Mark Rein.Hagen
Storypathsru offer your gaming grouP a new way to roleplan no
matter which game system you use. They provide a unique way for you to
crcate more dynamic and detailed stories by hamessing the player's imagina-
tion. The burden of always determining the who, what, when and where of
the story can be atleviated by allowing the players and the Storypaths to work
for you.
Thcse cards allow a player to break into the action and add a new
dctail or twist to the story. Usually, this is something which adds to the mood
or atmosphere of the story, but sometimes it can actually affect the plot. Each
Storypath Card suggests a different kind of intervmtion, but interpretation of
just what a particular Storypath Card allows is up to the player and GM.
Playcrs are no longer simply pawns thrust about by the CM's schemes, but are
full participants in the unfolding story.
Abbreviations and Terms Used
Troupe: A group of roleplayers/storytellers
Story: The advenhre or plot, or a segment of it.
GM: Gamemaster, Storyguide, Storyteller, referee
PC: Player character, a character roleplayed by a player
NPC: Non-player character, character roleplayed by the GM
The Deck
This Storypath deck contains 24 cards: four are Theme Cards,
sixtccn are Tone Cards, and four are Climax Cards. Each of the cards has a
titlc, a short description to guide their use, an illustration, and a number from
onc to scven which determines when it can be played.
The Cards
Storypath Cards allow a player to add to the story. Think of them as
spccial effects cards which add all the dramatic and ahnosphere-building
elcmcnts that thc movies have, but have never really been a part ofroleplaying
(until now), such as sound effects, plot twists, new characters, sPecial saves,
and surprising successes.
Thcse cards can be described as spices added to a stew for flavor;
while only the chcf (the Gamemaster) knows the true nahre of the dish, the
dincrs (the players) can add salt, pepper, cheese, etc. to the meal to flavor its
contcnts to their own taste and give it that added edge.
Though you may be somewhat confused as to what these Storypath
Cards are, you shouldn't be fooled into thinking the/re complicated.
Storypath Cards are a natural extension of the roleplaying you are doing now.
They lct the players act a little bit like a GM from time to time. Everyone gets
the chance to add their ideas to the story, but because the cards create mostly
"mood and feel," the authority of the CM is never threatened. Since the GM
has Veto power over the use of the cardq he always retains control of the
game.
Often what is desoibed by the players using Storypath Cards are
things the characters might think they know but may not actually be true. The
charactcrs may believe they see someone watching them from the shadows,
but the CM can later decide that it was nothing. Other times, the description
may be of something the characters do not see, but is added only for the sake
of the players enjoyment sort of like when the camera in a movie shows you
what the hero missed when - he searched a room.
Using the Cards
At the start of the game, the GM gives each player 2 or3 cards,
keeping the remaining cards in a deck and holding all of the Theme Cards for
himrlf.
Play starts after the CM has played a Theme Card (which is any
card with thc #1 on it). The CM decide what kind of path he would like to
start and plays an appropriate Theme Card.
Players can then play cards from their hand. However, only cards
that have a number equal to or one greater than the last card played can be
used. Thus, the first card played after the Theme Card has been placed by the
GM must be one of the #2 cards. The third card must be either a #3 card or
another #2 card. The idea is to use the Tone Cards to lead up to one of the
____1
Climax Cards, which always end the storypath when played and can have
powerful effects on the story. The best Climax Cards have the highest
numbers and are thus the most difficult to reach. Climax Cards have numbers
between 4and,7.
The card played is put face-up on the table, alongside the previous
card showing the path that the story is taking. The player describes what
happens and, if accepted by the GM, it is incorPorated into the story. The
way a player describes the effect of the card on the story must fit the theme of
this particular path, as determined by the Theme Card that the GM has
played.
After a Storypath Card is played, the GM determines whether to
Veto the us€, Edit it, or allow it to stand. Once the GM accepts the Storypath
Card, it becomes a normal part of the story line as real as if it were a Pre-
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planned part of the story. Veto any play of a card if it doesn't naturally and
completely fit within the unfolding story. When a story ends without a
Climax Card being playe4 the path ends as if a Climax Card had been played,
and a new Theme C-ard can be played at any time.
For the Players
When using a Storypath Card, you interpret how the card affects the
story. You should describe the effects of the card you have played in as much
detail as possible, as if you were actually the GM at that moment. Attempt to
build up the mood and atnosphere creating the desired effects in the other
players through your words.
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While you have the right to describe what the characters perceive
and what they might presume, the GM has the right to make reality out of it
and the reality can sometimes be a far cry from your PreconcePtion. Whether
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the apparition you describe was real or simply a hallucination is up to the GM.
You can be very creative employing Storypath Cards by looking at
only the intent and flavor of the card's title and coming up with an enttely
new way to us€ it. Additionally, you don't need to always apply the cards to
the PC's; you can use them to affect the NPC's as well (sometimes you can get
the best effects that way). But remember, if you go too far or get too selfish,
your card will be Vetoed and you won't get a replacement. Playing a
Storypath Card on yourself is not common, but it can iustify actions that may
seem out of character.
Sometimes you will play a card that hurts the characters, instead of
helping them. While this may win you a reward of a replacement card, if you
are partictrlarly ceative, you will find yourself doing so simply because it
makes the story better and more fun. There is no better way to use StoryPath
Cards.
Different troupes will develop different rules of Storypath etiquette.
In playtesting. the following guidelines were found to be helpftrl:
. Do not abuse the power of Storypaths. Using them to save your party is
legitimate, but they have many other interesting uses besides thosc
that benefit your characters. Often they provoke nonlethal trouble or
horror-filled atmosphere that leads to enjoyable roleplaying.
o If you are affecting the story in a major way, stretching the bounds of the
use of a card or changing the orientation suggested by the card's
explanation, it's usually best to discuss it with the CM first, so as to
avoid the embarrassment of a Veto.
. Avoid slowing the game down too much. If you inhoduce a plot twist just
before the game is about to end, you could keep the story from coming
to a satisfactory crcnclusion in the time available.
. Always remember that GM's who give you Storypaths are sharing some of
their power voluntarily. Accept the GM's judgment on Storypaths,
even when he cancels one you have played.
Forthe Gamemaster
As the GM, you have the primary responsibility for guiding the
story, so you also have final power over Storypaths. Essentialln you retain
absolute control. Your rights are as follows:
. To play Theme Cards, which determine which other cards can be playcd
after it and the way in which those cards are interpreted. This can be
done both at the start of the game and at any point in the story (evcn if
a previous path hasn't been concluded), in order to change its pace and
tone. Never give Theme Cards to players they are yours alone to
use.
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. To give and take Storypath Cards from the players, whenever you wish and
in whatever manner you desire. You can reward and punish your
players in this wan using the cards to keeP better contsol over unruly
players.
. To Veto the use of any Storypath Card (or Edit and change them). You must
also interpret them after they have been played, weaving them into the
story in an appropriate way. The player describes how thc characters
see the card's effec! you determine the reality.
 New Found Escape
Climer Card:Dwibe a Climax Card.: Someone or
potential way out of the situation, an
escape which will take a character or
characters out of harm's way. It
must make sense and fit the story,
otherwise it's going to be Vetoed
out from under you.
Something's Missing
Describe the loss of an obiect,
person or animal which might havebeen
important to a character, and explain
why it might be missing (it had better
make sense). Whether it's really gonc
or not, or if the character is just imagin-
ing things, is up to the GM.
something is taken away, kidnapped
or stolen
- or an attempt is made to
do so (perhaps just the results of such
could be discovered). Describe what
isseen,butleave theresults to theCM.
It is hope that leads us onward
into the future, and sometimes it is
only hope that that keeps us going.
But sometimes hope proves to be mis-
guided. How was the hope misguided
and what is likely to result
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Where there was once sound,
noise, life, now there is only stark,
brutal silcnce. Inexplicable and
sudden, the abscnce of noise makes
the heart grow cold. The clutch of
fear grasps all with this somehow
sinistcr change in events
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Yast Unknow
Theme Card: The universe is
broad and contains much within it
that is unknown, and ultimatcly, ur-
knowable. Mysteries, se'crets, hidden
terrors, dark honors, and all that
lurks beyond our sight can be
a part of this Path.
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Sense of Foreboding
Theme Caril: The apprehen-
sion of danger foreshadows great
peril. Something in the air portends
calamity, misfortune and death.
What is going to happen to you, or
rather -when is it? The horror of an-
ticipation should Permeate this Path.
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Unknown Lurker
Describe to a character the
sensation that someone or something
is lurking near them, just oubide the
periphery of their vision. Idenhfy how
evidence of this fiendish prowler was
obtained: trackq sounds or maybe a
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Hapless Victim
An innocent is harmcd,
sacrificed or oppressed. Perhaps they
are hoodwinked, duped, tortured, or
brutalized. Describe the appearances
of the situation, but leave the spccifics
Suspicious Stranger
Inkoduce a shanger to the
story a cloaked wanderer, a sly
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guttersnipe, or a brutal bounty
hunter. Someone of sinister nature
that suggesb, rightly or wrongly, of
future peril
an outsider in
- or sensed something.
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Remembered Dream dden penis
A relevant &eam is recalled by
Describe the frenzied
a character. Describe the specifics of a
nightmare, daydream or vision in an
emergence of dread and horror in a
character or characters, or its residual
evocative and compelling manncr, in a effects. It could be just a false alarm,
way that relates to the character's pcr-
or they might really have seen, heard
sonality. What the character makes of
it, however, is up to him.
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 Describe to a single character
a dark but uncertain vision of what
may await them if they persevere in
what they are doing. Make it as
sinister, malignant and apocalyptic as
you desire perhaps it really is only
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Ominous Omen Horrifying Discovery
Introduce an eniSmatic omen
Discrcveries are not always he-
of peril into the story- a black cat
roic, they are often horrific. Describ€
crosses the road or the characters dis-
a discovery by a character in a way
cover the moldering cnrpses of a
that will appall and frighten the play-
previous expedition. Something sug-
ers. Theclosepresenceof sudr per-
gests future evil, but the sigrrilicance
versity is startling even to the most
of an omcn is always uncertain
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 _ Youhave the right topickoutnot only which Storypathsyou want
the players to use, but which cards. In oertain situations, you wiU want to
ass_igr players certainStorypath Cards, thus helping to msure that the story
will progressin a certain direction. This type of manipulation is a great way to
stay on top of things, while still allowing the players to contribute to the
overall story.
As the GM, you should try as mudl as possible to incorporate the
players' imaginations, as expressed through the playing of the cards, into your
scenes and plots, but don't heitate to use your Veto power if it screws things
up.
Vetoes and Edits
Veto or Edit the use of a Storypath Card if the change in the story is
undesirable. You know more than the players, so they might try to change the
9!ory in an impossible way. For instance, if the story depends on a certain
NPC befriending the party, any Storypath C-ard that would turn this character
into an enemy must be Vetoed. You don't need to explain why you are
Editing or Vetoing a card if by doing so you might give away your secrets.
If the player was being greedy, don't give them back their card
when you Veto it. Instead place it in the deck and don't give them a replace-
ment. If it was an honest misunderstanding or played out of ignorance, it is
good to retum it to them and let them try again at a later time.
Storypaths are a radically new addition to roleplaying so most
troupes will not know the best way to use them at first Therefore, we suggest
that you proceed with caution the first few time you use them. At firct, pEce
heavy restrictions on them. Do not allow replacements and Veto anything
that greatly changes the plot Set a precedent for tight crcntrol. If you let the
players go wild from the start, you will never be able to regain control later.
There are several ways to restrict Storypath Cards if they are getting
out of contsol. You can set conditions under which they cannot be played,
such as during combat or in the same scene as a previous Storypath Card. You
can also place limits on their power, such as not allowing them to cause a char-
acter to be killed or healed. Restrict them however you wish in order to
maintain conkol of your story.
Example of Play:
The session has iust started and all you know is that your characters
are about to enter the tomb of an ancient king then the GM plays the
Animosity Theme card. You have the Veiled -Threat (3), Startling Discovery
(5) as well as the Lasting Impression (2) Intrigue cards in your hand. If you
wish, you may play the lasting Impression card immediately, as it is a # 2
card and the Theme Card is a # 1 card. After the party enters the tomb and
creeps into the already looted outer chamber, you decide to go ahead and
play it. You might suy, "From underneath the pile of rubble in the comer, we
see a hand poking out and we can see the glint of gold on its finger from the
reflection of our torches." The GM responds, "Well, you see a hind all right,
or at least what's left of it. It's only a skeleton and there isn,t any ring.,, You
aren't surprised, you threw in the ring expecting it to be rejected. you hope to
get some clue to the dangers of the tomb by digging out the body of this
previous explorer. However, the GM has decided that there is a ring but that
it fell off the hand long ago and is on the floor covered with dust. Unfortu-
nately, neither you or your companions ever find it.
Later in the adventure, you or another player could play a card
numbered 2 or 3. This means you could play your Veiled Threat if, for
example, you found a prisoner in the tomb who warned you about not freeing
him.
Rewards
g the story, players should be able to gain new cards to replace
those which they have used. However, don't simply give players a card
because they need one, but rather give cards as rewirds. 0se-them to
encourage the players to play the game the way you want them to. Story path
Carrls are the gold starg pats on the head or 6rownie points of your game
use them as such. New cards can be given to a player for many different - S€nd dl correspondence (and product orders) to:
reasons: exceptional roleplaying leadership of the group, inventive or
creative use of a card for paying attention, and out and out bribery.
Creating Adventures
You can use Storypaths to create a story. They can spark your own
creativity and help aeate a consistent story line. You start by picking a Theme
Card which reflects the type of story you want to tell, and thin use this theme
to direct your imagination so that every element of the story illuminates this
theme._ Then pick a card from whatever sort of deck you are using to guide
your ideas on what to include in the story. Think of what kind of encounter
the card suggests and what kind of roleplaying it might engender. However,
you may need to rearrange elements and elaborate to make the resulting story
complete. This procedure can even be used to create a story on the spur of the
moment, if you have no story prepared. It's a great way to give a little
direction and organization to that type of extraneous rolepliying.
Look for these PATHS
We will be producing many different decks of Storypaths, allowing
you to ceate a mammoth deck of cards where you can mix and matdr cards
depending on what type of story you wish to tell. A targe deck allows for a
huge variety of events tro be played out in the story.
. PATH of HORB,OR
The Path of Horror brings the fear and trepidation of horror into
your game. [,et your players terrify themselves by using these cards; you,ll be
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amazed at the panic they breed.
. PATHof INTR,IGUE
_ The Path of Intrigue brings the shadowy world of conspiracies,
schemes, plots and political machinations into your adventule. Ii you woutd
like to embroil your characters in such plots, you need this path.
. PATH ofDANGER
The Path of Danger allows the story to enter the realm of unhappy
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events which put the characters into danger in search of the ultimate rewiid.
along this Path creates a situation which must be trltimately
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. PATIIof HOPE
The Path of Hope can shed a ray of light on gloomy situations.
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While you cannot always extract yourself from the unhappy situation, the
problem may be somewhat lessened in overall severity.
. PATI{of DECEPTION
The Path of Deception promotes the idea of deception, either for or
against the group. This can be internal (within the group) or concern others
that the group is in contact with.
. PATHof DISCO\IERY
The Path of Discovery explores the intricacie of the human (and
perhaps nonhuman) moods and rationales. The explorers may discover their
true nature, but remember, the truth is sometimes painful.
. PATII of WTIIMSY
The Path of Whimsy adds that extra tint or color to any game. The
Path of Whimsy can be used to lighten a sad or dangerous situation, but
doesn't really alter its effect. It can also be used to bring the other decks
together the tie that binds.
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. PATIIof SUSPENSE
The Path of Suspense creates a mood of anticipation, as strange and
sinister events unfold before the players' eyes. What will happen next, turn
over the card and find out....
Comments? Questions?
Write to us at the address below and let us know what you think of our
Storypaths. Have.you found new ways to use them? Do you have good ideas
for new cards? We hope to publish a number of new decks in addition to
those listed above and ideas are welcomed (and rewarded with free product).
White WoIf
1298Winter Place
Anniston, AL36207
SIORYPAITIS & WHMSY CARDS are trademrks of White lrrrolf.
01990 White Wof. A[ rBht3 rery€d. Reproduction ln any EEdium without written
Fmi$ton of the pubtisher is prchibited.
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Thepidation of Horror into your
Let your players T*ttrfy

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