Darkly Through the Labyrinth

writing Darwin Leary

illustration Jeff Ward

editing Anita Hager

graphics Keith Curtis

Darkly Through the Labyrinth is Labyrinth is published by Abstract Nova Entertainment LLC, 10633 Bent Tree Dr., Fredericksburg, VA 22407. All text and graphics are © 2014 Abstract Nova Entertainment LLC. All artwork is © 2014 Jeff Jeff Ward or Joakim Olofsson. All rights reserved under international law. No part of this book may may be reproduced in part or whole, in any form or by any means, except for purposes of review, without the express written consent of the copyright holders with the exception exception of the character sheet.

TABLE chapter one: introduction

Role-Playing…................................... 4 Role-Playing…................................... Characters…......................................5 Rules…............................................... Rules…................ ............................... 5 Setting…............................................ Setting…................ ............................ 6 Atmosphere….................................... Atmosphere… .................................... 6 Background….................................... Background… .................................... 7 Presentation..................................….8 Presentation.... ..............................….8 Disclaimer…...................................... Disclaimer…................... ................... 8 chapter two: characters

Overview….......................................10 The Taskforce…...........................… Taskforce…...........................… 10 Concept….........................................11 Traits….........................................…11 Methods…….................................... Methods…… .................................... 11 Specialized Goals…......................... 12 Method Ranks….............................. Ranks….............................. 12 Strength…........................................13 Qualities…....................................... Qualities….................. ..................... 14 Training…........................................15 Training Skills...........................….. 16 Specialties…….................................16 Proficiencies…..................................18 Fortitude…...................................…18 Scars……..........................................19 Major Scars…...............................…19 Minor Scars…...............................…20 Composure…....................................20 Vitality…..........................................20 Personal Details…........................... Details…........................... 21 Summary…...................................... Summary….......... ............................ 21 Character Progression…................. Progression…................. 21 chapter three: rules

Overview….......................................24 Goals…............................................. Goals…............................ ................. 24 Difficulties….................................... Difficulties….... ................................ 25 Methods…........................................ Methods….......... .............................. 25

OF

CONTENTS

Qualities…....................................... 27 Qualities…....................................... Training and Specialties……..........28 Proficiencies…..............................…29 Rolling the Dice…........................… 29 Fortitude….................................….. Fortitude…................. ................….. 30 Strength…....................................…30 Strength…........ ............................…30 Common Goals….........................….31 Observation…….............................. Observation…… .............................. 31 Crime Scene Analysis……........ Analysis……...............31 .......31 Gather Information… Information…......................31 ......................31 Research…....................................…32 Interrogation or Interviewing….… Interviewing….….32 .32 Negotiation and Persuasion… Persuasion…….....32 ….....32 Quoting the Law….......................…33 Stealth….......................................…33 Confrontation…...............................34 Incapacitate…..................................34 Kill…................................................ 34 Wound…...........................................35 Defend….......................................…36 Healing….........................................37 Specialized Goals…......................... 37 Profiling…....................................… Profiling…................................... .… 38 Hunch…........................................…40 Courage…........................................ Courage…............. ........................... 41 Teamwork…................................…. Teamwork…...... ..........................…. 42 Unskilled Goals…........................… 43 Gaining Fortitude…….............. Fortitude…….....................43 .......43 Vitality and and Composure…...........… Composure…...........… 44 Final Thoughts….............................44 chapter four: game mastering

Referee…..........................................46 Setting Difficulties......................…. Difficulties......................…. 46 Storyteller….....................................46 Know the Players…......................... Players…......................... 47 Characters First…...........................48 Era…................................................ Era…................................. ............... 48 Inspiration…....................................48

Crafting Stories…............................50 The Hook…...................................... 50 Crime Scenes…................................51 Profiling…........................................ Profiling…...................... .................. 52 Other Hooks…........................... Hooks…................................. ...... 53 The Middle…................................... 53 Interviews and Interrogations….... Interrogations….... 55 Research…....................................... Research…....... ................................ 56 Following Up…................................ 57 Splitting Up…..................................57 Fights and Chases….............. Chases…....................... ......... 58 Repeat Offenders… Offenders…......................... ......................... 59 Extraneous Scenes…....................... Scenes…....................... 59 Penultimate Scene......................…. Scene......................…. 59 The End…........................................ 60 Climax….......................................... Climax…........................... ............... 60 Epilogue…........................................61 NPCs….............................................62 Locations…...................................... Locations….............................. ........ 63 Mood...........................................….. 63 Isolation…........................................64 Foreshadowing….............................64 Building Suspense… Suspense…....................... ....................... 64 The Half-Seen….. Half-Seen….............................. ............................ 64 Theme…........................................... Theme…................... ........................ 65 Structure…...................................... Structure….............................. ........ 65 Adaptability…..............................… Adaptability….......................... ....… 66 Character Death….......................... 66 Final Thoughts….............................66

Introduction Chapter One

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Darkly Through the Labyrinth “I think the devil doesn’t exist, but man has created him, he has created him in his own image and likeness.” - Fyodor Dostoyevsky

In the 1980s, a moral panic swept the United States. Rumors swirled of a vast underground network of devil worshippers, and claims of Satanic Ritual Abuse flooded the airwaves. Roleplaying games were gateways to black magic, and backwards messages, hidden in heavy metal music, spurred teenagers to Satanism or suicide. The devil was everywhere and something needed to be done. In response to growing public fears, the FBI assembled a taskforce to investigate occult activity. Darkly Through the Labyrinth is a role-playing game where players assume the roles of FBI agents assigned to this special taskforce. They investigate doomsday cults, fringe religious groups, and ritualistic crimes. Darkly Through the Labyrinth is a horror game, but the monsters are human. The evils perpetrated upon society are entirely manmade; there is no supernatural agency at work. The enemy is one of us.

role-playing A role-playing game is akin to improvisational theater. Players assume the roles of characters (referred to as player characters or PCs) who are the protagonists of the play. In some regards, a role-playing game is like Radio Theater in that the story is told verbally and not physically acted out. Players are the actors and actresses of Darkly Through the Labyrinth. They are the ones who bring the stories to life. Their characters are the principals of the drama. The players decide who their characters are, what they look like, what they do, and how they act; they fuel the dynamic that drives the game

Introduction via the actions of their characters. Being a player is, in some ways, more complex than being an actor… because there is no script. In a play, the script tells the performer what to do and what to say. In contrast, a role-playing game is wholly freeform and improvisational. The player must decide on the spot what the character does and says. In a role-playing game, one participant assumes the role of Game Master (GM). He or she acts as the director, establishing the setting, plot, and mood. The Game Master must set the stage for the story being told, creating the framework in which the players act. It is the GM’s responsibility to relate the environment to the players; this person is the players’ eyes and ears, describing all that they see, hear, or otherwise experience in the fictional world. The Game Master also assumes the roles of all the characters with whom the players interact outside their group. These GM controlled characters are known as nonplayer characters (NPCs). While the GM must create the initial framework of the story, the players will determine the ultimate direction of the plot. In addition to helping the player characters interact with their environment, the GM also acts as referee. The GM must interpret the rules of the game in a fair and impartial manner to facilitate play. Thus, the Game Master should be familiar with the rules beforehand so that informed and rational rulings can be made.

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while another operates by sheer grit and determination. A third character might prefer a more intellectual path. These distinct approaches to investigation are known as Methods, and they are the foundation of each character. They define how a character works a case. Characters are not solely defined by their Methods. Each possesses skills and training that can be brought to bear. PCs have other traits as well, such as their ability to cope with trauma and the willpower to forge on when lesser men and women would falter.

rules While role-playing is best described as collaborative storytelling, it’s important to remember that it’s also a game—and like all games it is governed by rules. When the result of a character’s action is in doubt, the rules come into play. Darkly Through the Labyrinth uses dice to simulate chance. These are more than just the common six-sided dice found in most board games; the game uses four, six, eight, ten, twelve, and twenty-sided dice (abbreviated d4, d6, d8, d10, d12, and d20). A character’s Methods are rated by die type from d4 to d20. The higher the die type, the stronger a character is with a given Method. An action’s Difficulty is also rated by die type, with d4 being easiest and d20 being hardest.

characters The player characters are FBI agents who investigate crimes involving religion and the occult. While all the PCs have this in common, their individual talents and abilities will vary. One character might rely on instinct and intuition for guidance

To determine an action’s success or failure, a player rolls two dice. One die represents the Method the character is employing; the other die represents the action’s Difficulty, which is determined by the Game Master. If the Method die’s result meets or exceeds the Difficulty die’s result, the action is

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Darkly Through the Labyrinth

a success. If the Difficulty die’s result is higher, the action has failed. This basic mechanic is used to r esolve all actions in the game. Characters possess a variety of traits that can modify dice rolls in their favors. These skills and abilities increase the Method die type or decrease the Difficulty die type.

Darkly Through the Labyrinth is an investigative game well served by its 1980s setting. Technology is advanced enough that the era will not be too foreign or too distant. However, modern conveniences like cell phones and the Internet are still years away. This means characters will have to do research the old fashioned way: by reviewing newspaper articles on microfiche and sorting through documents and records at the FBI. It also means the PCs are often on their own should they get into trouble. Without cell phones, help is not always accessible.

setting Darkly Through the Labyrinth is set in the mid-1980s. During this period, social conservatism is ascendant and the Moral Majority influences public policy. Child abuse and abductions are blamed on secret cabals of Satanists. The Devil’s hand is seen in music, film, and other entertainment. Fear and paranoia grips the nation. Satanists are not the only perceived threat to the social order. Pagan groups are under suspicion, their non-Christian beliefs seen as affronts to traditional values. Fringe religious groups with unorthodox philosophies are also easy targets. The fears of the decade were ultimately proven unfounded. No vast conspiracy of devil worshippers threatened society, children were safe at daycare, and the youth did not turn to the Devil. But what if some of these fears were real? This is the premise of Darkly Through the Labyrinth. However, even in the game’s setting, the supernatural is not a reality. There is no bogeyman behind the horror. Crimes involving the occult are few and far between and the culprits are always human. The Devil does not make anyone do anything. Demons are not real. The only monsters in the game are the depraved and twisted souls who commit unspeakable acts in the name of some unseen supernatural entity… and their dark gods will never make an appearance.

atmosphere The mood of Darkly Through the Labyrinth is one of suspense, mystery, and dread. To help create such an atmosphere, the game draws upon gothic influences. This is not to say that characters will be parading around medieval castles and foggy moors. Gothic is an aesthetic. When properly used it can engender the dread and suspense critical to the game. Gothic fiction presents a decaying, immoral world. Feelings of anxiety and dread underpin the genre. Gothic horror cultivates an air of mystery designed to evoke terror and suspense. Gothic stories are set in grim and foreboding locations that, more often than not, have fallen into ruin. This is true for Darkly Through the Labyrinth. Scenes can be set in dilapidated churches, crumbling urban hovels, and abandoned subway tunnels. A few small touches can make a location more imposing; a screen door dangling by a single rusty hinge, occult symbols scrawled on an alley wall, and bloodshot eyes peering through broken windowpanes can ratchet up the disquiet. Gothic fiction is concerned with the psychological states of its characters. A penetrating stare or constant hand wringing can hint at what is going on inside an NPC’s head. In the gothic tradition, protagonists are often flawed individuals and so it is

Introduction with the player characters. Each bears scars from the work they do. While a gothic atmosphere is important to establishing the mood of Darkly Through the Labyrinth, these elements should not be overused. Doing so will quickly devolve the game into parody. They should be contrasted with more mundane elements. If every scene takes place during a thunderstorm or is set in a ruined building, the spell will be broken.

background The Behavioral Science Unit (BSU) is an instructional arm of the FBI. It was established in 1972 to provide training, research, and consultation services to law enforcement agencies. The BSU specializes in criminal psychology and behavior. Its dedicated agents delve into the minds of criminals. The player characters are special agents with the BSU. They mostly work normal cases or teach at the FBI Academy. However, when an assignment surfaces with religious or ritualistic elements, they are drafted into a special taskforce mandated to handle such investigations. This taskforce has no proper name or designation. It is assembled on a case-by-case basis. Taskforce membership is small and agents are rotated in and out. The player characters represent the core of the taskforce. They are called upon for most

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cases. They answer to Special Agent In Charge (SAC) Jim Lewis. Jim Lewis began his FBI career in 1973 as a criminal psychologist working under John E. Douglas, the father of modern criminal profiling. Lewis excelled at the BSU, working on many high profile cases. In 1978, he was assigned to the Jonestown investigation. th

On November 18 , 1978, over 900 people died at the mass suicide at Jonestown. While leaving the settlement, Rep. Leo Ryan was murdered. As the FBI i s responsible for investigating violence against public officials, they were tasked with the follow-up investigation. This was Jim Lewis’s first major assignment. Lewis was sickened by the Jonestown tragedy. He was deeply troubled that religion could be used in such a horrifying manner. However, he was not a naïve man. He knew what a depraved mind was capable of and was well aware of the role religion played in other tragedies throughout history. Still, something about this was different. It ignited an obsession in Lewis. Investigating cults and fringe religious groups became his passion. Therefore, in the early 1980s, when the FBI decided to create a taskforce to investigate the occult, Jim Lewis was the natural choice to lead it. Lewis determines which agents work on the taskforce. He values dedication and discretion in his agents. Those lacking either don’t work on the taskforce for very long. Lewis takes the taskforce’s mandate very seriously. However, while he is highly dedicated, he is not a zealot.

presentation Like other role-playing games, Darkly Through the Labyrinth

uses specialized terminology in its rules. Any game-specific terms are capitalized and italicized to bring attention to them. Key rule points are bolded to make them stand out on the page.

disclaimer Darkly Through the Labyrinth is intended for mature audiences. It deals with subject matter that some may find troubling. Darkly Through the Labyrinth is not an aspersion on religion or spirituality. If anything it is a comment on man’s abuse of such ideas to justify cruel and inhuman behavior.

Characters Chapter Two

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Role-playing is collaborative storytelling. The Game Master (GM) creates the framework of the tale, and each player constructs a protagonist. These player characters (PCs) shape the manner in which the story unfolds. They are not a passive audience to the Game Master’s story, but rather are active participants. They have no script to follow, instead reacting to events and situations as they see fit.

overview This chapter will guide players step-by-step through character creation. It also introduces the basic rules of the game. For a full accounting of the rules, players should refer to Chapter Three.

the taskforce In recent years, there has been a sharp increase in occult-related crime. Fringe religions and doomsday cults are grabbing headlines. Society’s moral fabric is tearing. To quell public fears, the FBI has created a taskforce to investigate such activities. This taskforce has no official designation and its membership fluctuates. When a crime occurs with occult or religious overtones, special agents from the FBI’s Behavioral Science Unit are assigned to

the taskforce. The BSU provides research, training, and consultation in criminal psychology and related fields. Most often, they coordinate with state and local law enforcement. On occasion they work with other FBI agents. The player characters are the special agents who comprise the core of the taskforce. They come from a variety of positions in the BSU. One character might be a teacher, providing classroom or field training to local and state law enforcement agencies. Another might profile serial killers. Other characters could be research experts or forensic specialists. However, when a c rime related to the taskforce’s mandate surfaces, the PCs are pulled

Characters from their day jobs. Unlike most of the work handled by the BSU, the taskforce gets its hands dirty. They do not merely consult with local and state law enforcement; they work the cases with them. The characters are not typical agents. In addition to standard FBI training, they have degrees and/or extensive training in psychology, sociology, and similar fields. It is their job to get inside the minds of killers and madmen, creating profiles to help bring these monsters to justice. The player characters are not neophytes. Each has worked at least one taskforce case before the beginning of the game. However, the exact number of cases is up to each player. One character could have a single assignment under her belt while another is a grizzled veteran of many investigations.

every PC is an agent with the BSU, each has received the same training, and there will be considerable overlap between characters. However, there is still much to distinguish one player character from another.

methods

Methods are the core traits possessed by all characters. They represent a character’s approach to overcoming obstacles and solving problems. There are three Methods, and every character possesses each Method to some degree. •

•

concept •

Each player should answer a few basic questions about his or her character. What does she look like? What attributes define him? What is her regular job with the BSU? What motivates him to get out of bed each morning? Any question that helps a player understand and visualize his character is a good one. When forming a character description, it is imperative that players remain flexible. To maintain game balance, a character cannot be adept at everything. The rules, by necessity, will impose limitations.

traits Player characters are defined by a series of traits. Assigning values to these traits showcases a character’s strengths. Since

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Ingenuity: Characters use this Method to overcome obstacles through cleverness and intelligence; they think their way around problems. Instinct: Intuition is often the most useful trait a character can have. With this Method, characters rely on gut instinct to carry them through. Resolve: Sheer determination, effort, and persistence are often the best means of achieving a desired result. This Method represents such force of will.

Methods govern every character action. No matter the desired outcome, a Method is invoked. They come into play whether a character is firing a gun, chasing a suspect, or examining a crime scene. However, each player gets to decide which Method her character is using and describes how the Method is being used to achieve the desired result. To envision how Methods work in play, players need to think in terms of Goals. A Goal is the desired result of any character action. Examples include capturing a fleeing suspect or gaining access to a locked room. Players must consider how they want to achieve each Goal, declaring which Method will be employed and describing the action.


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For example: Three PCs are chasing a fleeing suspect; the Goal is to catch the suspect. How this Goal is achieved and which Method is employed, is up to each player. One player decides that his character is going to run down the suspect on foot. This action is governed by Resolve, as the character is trying to achieve the Goal through determination and effort. The second player decides to use Ingenuity, declaring that her character is going to circle around and cut off the fleeing suspect. The third PC uses Instinct to guess the suspect’s path and ambush him.

Goal that can only be achieved with a specific Method. These Specialized Goals are the only instance where players do not get to choose which Methods they want to employ. •

•

In the above example, all three characters are working towards the same Goal, but each is achieving it with a different approach and Method. For example: The Goal is to get into a locked room. A player might invoke Resolve, declaring that she is bashing down the door. Alternately, the player could use Ingenuity, declaring that she is going to pick the lock with a credit card. Yet another approach would be to use Instinct; the character runs her fingers across the top of the doorframe, looking for the spare key she suspects is there. Once again, three different Methods and approaches are used to achieve the same Goal. Details and guidelines for using Methods can be found in Chapter Three.

•

Profiling: Characters craft hypothetical descriptions of the criminals they hunt by examining their behavioral patterns. In and of itself, Profiling will not lead to a subject’s arrest, but it often points the characters in the right direction. This Specialized Goal is always governed by Ingenuity. Hunch: As player characters conduct their investigations, they will follow many leads. Some of these will be dead ends. Hunch enables a PC to sense if a given lead has any bearing on the case at hand. This Specialized Goal is always governed by Instinct. Courage: Player characters will come across many disturbing things during their investigations. They will see the dark underbelly of society and man’s inhumanity to his fellow man. Courage is how they cope with such horror. This Specialized Goal is always governed by Resolve.

Specialized Goals assure that each Method has value. Players always have the option of focusing on one Method over the others, but no Method can be completely ignored.

Methods help differentiate one PC from another, as no two players need approach a Goal the same way. They also give players freedom to determine how their characters overcome various obstacles in the game.

method ranks

specialized goals

Methods are measured by die type, which is the die the player rolls to determine success or failure of any given Goal. The higher the die type, the more talented a character is with a

Each Method governs one Specialized Goal, which is a

Each player character possesses all three Methods, and players get to decide how talented their characters are with each Method.

Characters Method. A d6 rank is average, a d4 rank is below average, and a d8 rank is above average. Ranks beyond d8 are exceptional.

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During the course of the game, all three Methods will come into play, so players should give careful thought to how they rank their Methods. Additionally, players should keep in mind the Specialized Goals governed by each Method.

There are three approaches to ranking Methods: •

•

•

Neutral: With this approach, a PC is merely average with each Method; no single Method is above or below average. A rank of d6 is assigned to each Method. Focused: With this approach, the character is above average in one Method, average in a second Method, and below average in the third. A d8 is assigned to one Method, a d6 is assigned to another, and a d4 is assigned to the final Method. Imbalanced: With this approach, the character excels at one Method but is below average in the other two. A d10 is assigned to one Method, and a d4 is assigned to the other two Methods.

Players must decide whether their characters’ Methods are Neutral, Focused, or Imbalanced. Furthermore, they have to determine which die type is assigned to which Method. For example: A player really wants her character to be defined by her intuition. She likes the idea that her character flies by the seat of her pants, following her gut. She decides for an Imbalanced approach, assigning a d10 to Instinct, a d4 to Ingenuity, and a d4 to Resolve. For example: A player envisions his character solving cases through Ingenuity. However, he doesn’t want to be below average in both remaining Methods, mostly because he doesn’t want to make his Hunch rolls too difficult. Therefore, the player chooses a Focused approach. He assigns a d8 to Ingenuity, a d6 to Instinct (since this Method governs Hunch), and a d4 to Resolve.

strength

A character’s Method ranks can fluctuate over time. The more often a character succeeds with a Method, the better he or she gets with that Method. Of course, the opposite is true as well; fail too often, and a Method’s rank may suffer for it. Strength tracks this fluctuation. Methods have a Strength level ranging from 1 to 10, and the higher the Strength the better. The starting Strength level for a character’s Methods is equal to half of the Method’s die type. For example: A Focused character has a d8 in Ingenuity, a d6 in Instinct, and a d4 in Resolve. The starting Strength of his Ingenuity is 4 (half of his d8 die type), while his Instinct’s Strength is 3 (half of his d6 die type), and his Resolve has a starting Strength of 2 (half of his d4 die type). When a character succeeds at an action, i.e. achieves a Goal, the governing Method’s Strength increases by one. Should the character fail to achieve a Goal, the Strength decreases by one. When a Method’s Strength reaches 10, the Method’s rank increases by one die type and the Strength resets to half of the new die type. For example: A character with a Strength of 9 in Resolve succeeds in running down a fleeing suspect. This success


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means his Strength increases to 10 and therefore his Resolve increases by one rank. His Resolve of d8 becomes d10, and his Strength resets to 5 (half of his new die type rank).

• • • •

If a Method’s Strength drops to 1, the Method’s rank drops by one die type, and Strength resets to half of the new die type.

• • •

For example: A player with a Strength of 2 in Instinct has failed to find the spare key she thought was hidden atop the doorframe. This failure means her Strength decreases to 1, which triggers a lowering of her Instinct rank from d10 to d8 and resets her Instinct’s Strength to 4 (half of the new die type rank). Should a character with a Method rank of d4 have his or her Strength drop to 1, there is no lower die type or Strength level. The character simply sits at that Method rank and Strength level until he or she achieves a Goal in which that Method is invoked. Players should be leery of their characters undertaking difficult actions before they are ready to handle them. Attempting too many actions beyond a character’s abilities can lead to quick drops in Strength and lower that character’s Methods.

qualities

Qualities are another means of differentiating one player character from another. They are descriptors and adjectives painting a character in greater detail. Qualities include: • • • •

Agile Athletic Attractive Charismatic

• • •

Coordinated Fearless Intelligent Intimidating Intuitive Knowledgeable Perceptive Resilient Resolute Resourceful

The above list represents common Qualities likely to come into play. With the Game Master’s permission, players may invent a Quality not listed above. Players are also free to rename a Quality to provide better definition to a character. For example, changing Perceptive to Eagle-Eyed or Detail Oriented can subtly color the Quality, painting a more distinct portrait of the character. A Quality both provides role-playing opportunities and has a significant impact on how successful characters are at achieving their Goals. When a character’s Quality is pertinent to achieving a Goal, the character rolls his Method at one rank, i.e. one die type, higher than normal. For example: A character with a Resolve of d6 is running after a fleeing suspect. Since his Athletic Quality is pertinent to this action, he rolls a d8, one die type higher than his normal Resolve rank. Qualities are not tied to any one Method. They come into play whenever they are pertinent to an action. For example: A character with an Instinct of d6 is chasing after a fleeing suspect. Rather than try to beat him in a footrace, the character decides to take a guess as to where

Characters the suspect is heading. The PC darts down a back alley so he can ambush the suspect, tackling him when he is close. Since his Athletic Quality is relevant to the action, the player rolls Instinct at one die type higher than normal, a d8 . Each character possesses one Quality. Since there is no opportunity to gain further Qualities in the course of the game, this defining trait should be chosen carefully. Other aspects of a character’s personality can of course emerge as role-playing enhancements, but they won’t have the same influence on game mechanics as the character’s Quality.

training

Player characters have received extensive training from the FBI. They know how to conduct investigations and handle firearms; they have a working knowledge of the law and understand basic forensics. As specialists with the Behavioral Science Unit, they have backgrounds in psychology, sociology, criminal justice, forensics, and related fields. Training represents all of these skills. There are three areas of Training : •

•

•

Academics: This is a character’s higher education. It includes criminology, forensics, law, psychology, and sociology. Defense: This Training covers a character’s ability to handle physical threats. It includes boxing, disarming opponents, firearms use and safety, grappling and controlled holds, and weapon retention. Fieldwork: This Training covers non- Defense skills used in the field. It includes first aid, conducting interviews, interrogating suspects, research, and tactics.

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Every player character is knowledgeable in all three Training areas. However, the level of expertise will vary from character to character. One area of Training must be declared primary, another secondary, and the final tertiary . The primary Training is the area the character most excels at, followed by the secondary Training and the tertiary Training . For example: A player decides that she wants her character to be a detective, first and foremost. She determines that Fieldwork will be her primary Training. After giving the other two Training choices some thought, she decides that Academics will be secondary and Defense will be tertiary. When working towards a Goal, a character’s Training may be applicable. For example, a character’s Fieldwork Training would come into play when interviewing a victim’s family member or applying first aid. Players roll two dice when attempting to achieve a Goal. One die represents the Method used and the second die represents the Difficulty of the action. The Difficulty is measured by die type, ranging from d4 to d20. The more difficult a Goal is to achieve, the higher the die type. To achieve a Goal, the result of a player’s Method die roll must meet or exceed the result of the Difficulty die roll. For example: A character with an Ingenuity of d4 is attempting to pick a lock with a Difficulty of d8. The Ingenuity die result is 3 and the Difficulty die result is 5. Since the Method roll (Ingenuity) did not meet or exceed the Difficulty roll, the action has failed, and the character’s Goal is not achieved. A character’s primary Training lowers the Difficulty by two die types, the secondary Training lowers the Difficulty by one die type, and the tertiary Training


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does not lower the die type. Though the tertiary Training doesn’t affect die type, further character choices are influenced by all three Training categories. For example: A character’s Goal is to get information from an uncooperative suspect. The player decides that his character is going to browbeat the suspect until he gets his answer. Therefore, Resolve will be the governing Method. The character’s Resolve is d8 and the Difficulty is d10. However, since Fieldwork is the character’s primary Training, the Difficulty is lowered by two die types (from d10 to d6). The character’s Training has made the Goal much more achievable.

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•

•

Fieldwork •

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training skills •

Each Training area grants five skills. A brief description of each follows below: Academics •

•

•

•

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Criminology: The study of criminal behavior, including its causes and effects on society. Forensics: The gathering, preservation, and analysis of crime scene evidence including fingerprints, bullet paths, blood spatters, etc. Law: A basic understanding of criminal law and procedure. Psychology: The study of human behavior and thought processes. Sociology: The study of human social behavior.

Defense •

Boxing: Fighting with one’s fists.

Disarming: The ability to remove an opponent’s weapon. Firearms: The handling, maintenance, and use of pistols, carbines, shotguns, etc. Grappling: The ability to physically subdue an opponent without significant harm. Weapon Retention: The ability to hold onto a firearm and keep it from being wrestled away.

•

•

First Aid: The administration of emergency medical treatment. Interviewing: Asking the right questions to gain information from a willing suspect, witness, person of interest, etc. Interrogation: Coercing information from an unwilling suspect, witness, person of interest, etc. Research: The querying of libraries, files, records, documents, etc. to track down information. Tactics: Room entry, clearing techniques, surveillance, shadowing, and tactical driving.

specialties

A character’s skill set is not solely determined by his or her Training . Characters possess a wide variety of additional talents and abilities. These skills can come from higher education, real world experience, hobbies, personal pursuits, or anything else. Specialties are skills not covered by one of the three areas of Training . Specialties that are likely to be of use during play include: •

Conflict Resolution: Solving disputes and facilitating

Characters

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peaceful resolutions, including hostage negotiations. Cryptography: The making and breaking of codes and ciphers. Lock Picking: The opening of locks without proper keys. Medicine: The ability to diagnose and treat injuries and illnesses. Mythology: The study of world mythologies. Occult Studies: Knowledge of superstitions, folklore, supernatural beliefs, etc. Religious Studies: Knowledge of major world religions such as Christianity, Hinduism, Islam, Judaism, etc. Tracking: Following people by the marks they leave behind, such as footprints. Undercover Operations: The ability to infiltrate a group or organization without drawing undo attention.

Players are not limited to the above options. They may choose any skill or talent they want for their characters. Examples of other Specialties are the sciences (biology, chemistry, physics, etc.), piloting boats or aircraft, fluency with a foreign language, electrical or mechanical repair, politics, history, public speaking, accounting, or any other talent or skill the player wants. Characters begin with three Specialties. One Specialty must be declared primary, another secondary, and the final tertiary. When working towards a Goal, a Specialty may be applicable. For example, Conflict Resolution would come into play if a character were trying to calm a feuding couple. A character’s primary Specialty lowers the Difficulty by two die types, the secondary Specialty lowers the Difficulty by one die type, and the tertiary Specialty

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does not lower the die type. Though the tertiary Specialty doesn’t affect die type, further character choices are influenced by all three Specialties. For example: A character is trying to break up a fight. The Difficulty to do so is d8. Since Conflict Resolution is the character’s secondary Specialty, the Difficulty lowers one die type to d6. Specific uses for common Specialties are covered in Chapter Three.

proficiencies

Proficiencies are the Training skills a character is best at. Players assign three Proficiencies to their characters. Proficiencies can be selected from any of the three Trainings; the primary, secondary, and tertiary prioritizations are irrelevant. For example: A player has decided that Fieldwork is her character’s primary Training, Defense her secondary Training, and Academics her tertiary Training. Her three Proficiencies can come from any of these Trainings. The player chooses Forensics (from Academics), Interviewing (from Fieldwork), and Interrogation (from Fieldwork) as her three Proficiencies. Proficiencies have no rank, level, or die type assigned to them. Like Trainings and Specialties, they lower the Difficulty to achieve Goals. A Goal’s Difficulty is lowered one additional die type if the character has a Proficiency governed by the Training being used. For example: A character with a Resolve of d8 is interrogating

a suspect. The Difficulty is d10 to get the desired information. Fieldwork is the character’s primary Training, so the Difficulty is lowered two steps to d6. However, since the character has a Proficiency in Interrogation, the Difficulty lowers an additional die type to d4. There are multiple approaches to assigning Proficiencies. Proficiencies from the primary Training make a character really excel with that skill, while Proficiencies from the tertiary Training lower the Difficulty one die type… something the tertiary Training does not do. A player can also mix and match strategies as they see fit; the final decision is up to the player. Proficiencies can also be assigned to Specialties. If a Specialty is also declared a Proficiency, the Difficulty for achieving Goals involving the Specialty is one rank lower than normal. It should be noted that while this increases options for Proficiencies, it does not increase the number of Proficiencies a character can have. The total number of Proficiencies, assigned to either Trainings or Specialties, is still three. For example: A character is trying to break up a fight. The Difficulty to do so is d8. Since Conflict Resolution is the character’s secondary Specialty, the Difficulty lowers one die type to d6. Since Conflict Resolution is also one of the character’s three Proficiencies, the Difficulty lowers an additional die type (to d4).

fortitude

“That which does not kill us makes us stronger.” The player characters do not only solve their cases… they survive them. They have a front row seat to the horrors man is capable of inflicting on his fellow man. Yet the pl ayer characters

Characters manage to soldier on. Fortitude is a reflection of this. Fortitude is ranked from d4 to d20. Player characters begin with a Fortitude rank of d4. As they solve cases, their Fortitude rank increases. However, unlike the Strength level of Methods, Fortitude does not decrease over time. A player can call upon his character’s Fortitude when a Goal has failed, i.e. the Method die result does not meet or exceed the Difficulty die result. When Fortitude is invoked, the player rolls both the Method and Difficulty dice again, discarding the original result. However, for this re-roll, the Fortitude die type is substituted for the Method die type. For example: A player rolls a d8 for his Method die and a d6 for his Difficulty die. The Method die result is 3 and the Difficulty die result is 5. The action has failed; the Goal is not reached. However, the player decides to invoke her character’s Fortitude and rolls both dice again. Since her character’s Fortitude is a d4, she rolls this die type instead of her usual Method die (d8). Qualities are factored in when the dice are rolled again. The same is true of traits that lower the Difficulty die type (Training , Specialties, and Proficiencies). At the outset, Fortitude can only be invoked once per story. However, this can change over time.

A Scar is a lasting aftereffect of the job. Alcoholism and depression are unfortunately common among many agents. Others bear physical wounds from their work. Some are plagued by nightmares. Every player character has one Scar , the severity of which is up to the player.

major scars

From a role-playing perspective, a character’s flaws can be one of the most interesting aspects of their personality. Mechanically, however, Major Scars only come into play once per case, making certain Goals harder to achieve. They typically raise the Difficulty by one die level when undertaking an action that could be affected by the Scar. However, if a character achieves a Goal while being hindered by a Major Scar , her Fortitude increases by one die type. Examples of Major Scars include: •

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scars

The player characters inhabit a dark and depraved world, filled with madmen and monsters. They see faith and belief twisted to serve terrible ends. They are isolated from family and friends for extended periods of time. Such a l ife leaves Scars.

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Addiction: The character is addicted to alcohol, prescriptions drugs, illegal narcotics, etc. Aggression: Tense situations may cause the character to act aggressively or even violently. Disfigurement: While working on a previous assignment, the character’s face was disfigured in some manner. Flashbacks: A stressor causes the character to relive a traumatic event. Maimed: The character sustained a lasting wound in the line of duty; this may be a trembling hand, a limp, etc.

If a player wants the potential reward of additional Fortitude, and is willing to assume a higher risk of failure, she should choose a Major Scar.


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With the GM’s consent, a player can invent his own Major Scar, but it must be a consequence of a previous investigation or a result of the taskforce’s work.

Players are free to create their own Minor Scars. However, the Scar must be a logical consequence of the character’s work and have minimal effect on Goals.

minor scars

composure

A Minor Scar adds definition to a character, but is not a significant hindrance to solving a case. It is intended to be roleplayed and does not make Goals more difficult to achieve.

Agents are exposed to horrors most people couldn’t deal with. Coping with the rigors of the job is essential. Composure measures a character’s ability to remain calm and in control.

Examples of Minor Scars include:

Composure ranges from d4 to d20 and fluctuates over time. Characters begin with a Composure rank of d20. During their investigations, their Composure will be challenged and may go down.

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Guilt: While it is impossible to catch every monster, save every victim, and solve every case, some agents believe there was something more they could have done. Hyper-vigilance: A traumatic event has made the character edgy and nervous, always looking over his shoulder. Insomnia: Falling and staying asleep is difficult. Nightmares: The horrors of the job intrude on a character’s sleep. Obsessiveness: Some agents are driven to solve a case no matter the consequences.

Terming the above Scars “minor” is not intended to make li ght of these conditions. It is merely a means of categorizing various psychological issues that have little impact on dice rolls. Players who are disinterested in role-playing a Scar, and do not want their dice rolls hindered, should choose Guilt, Nightmares, or Insomnia as these Scars occur “off camera” from the action. That’s not to say that a player cannot role-play these Scars, e.g. having her character yawn or doze off during meetings, but the other Minor Scars are more suited to dramatic rol e-playing.

A character’s Composure rank is a cap on all Method die rolls. The maximum Method die type a character can roll for any action cannot exceed his Composure rank. This cap reflects the character’s lack of calm; he or she is not thinking straight and Goals are harder to achieve. For example: A player character with an Ingenuity of d10 is attempting to solve a riddle left behind by the killer. Usually the player would roll a d10. However, since his current Composure is d6, the Ingenuity die type is lowered to d6. Maintaining Composure is always a Courage roll governed by Resolve. Rules for Courage and Composure can be found in Chapter Three.

vitality

While Composure measures the health of the psyche, Vitality measures the health of the body.

Characters Vitality ranges from d4 to d20 and fluctuates over time. Characters begin with a Vitality rank of d20. If they get hurt or sick, their Vitality rank may go down. A character’s Vitality rank is a cap on all Method die rolls. The maximum Method die type a character can roll for any action cannot exceed his Vitality rank. This cap reflects a character’s wellness, and Goals are harder to accomplish when stressed by disease or injuries. For example: A player character with a Resolve of d8 is trying to drag away a downed tree that is obstructing the roadway. Usually the player would roll a d8, but since her current Vitality is d6, the Resolve die type is lowered to d6.

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needs only be a paragraph or two, though players are welcome to craft lengthier biographies. When extensively detailing a character, her life outside of work should be considered. Is the character married, and if so, for how long? Doe she have any children? Who are the character’s friends, acquaintances, and colleagues? What was the character’s upbringing like? Is the character religious? While it is impractical for a player to know every detail about his character, asking a few basic questions provides a skeleton to build upon during actual play.

summary personal details Once the mechanics of character creation are complete, a few practical details need to be addressed. A player must name the character and determine his or her gender, age, and role with the BSU. Height, build, hair color, and eye color might also be considered, but are of lesser importance. There is nothing wrong with breezing through character creation, naming the character, and diving straight into play. However, some players will find this approach to be unsatisfying. If so, they are free to elaborate on their characters’ personalities and backgrounds. A character can be as richly detailed, or as vaguely sketched, as a player desires.

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• • •

• • • • • • •

To create a more dynamic and fully realized character, a player should determine the character’s likes and dislikes, basic personality, quirks, motivations, etc. Players may also want to create a few brief anecdotes for their characters; interesting or amusing stories breathe life into a character. Each anecdote

Choose a Neutral, Focused, or Imbalanced approach for the three Methods. Assign a die type to each Method according to the above approach. Record the Strength level for each Method. Choose one Quality. Prioritize the three areas of Training : Academic, Defense, and Fieldwork. Choose three Specialties. Prioritize the three Specialties. Assign three Proficiencies. Record starting Fortitude (d4). Choose one Scar. Record starting Composure (d20) Record starting Vitality (d20)

character progression When the taskforce successfully brings a case to conclusion,

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the Fortitude of every character increases by one die type. This represents the characters surviving another harrowing ordeal, and this experience can be used in future cases. The higher a character’s Fortitude, the greater the die type substituted when trying to overcome failure. Once a character’s Fortitude reaches d20, she can earn a second Fortitude die. This second die begins at d4 and increases as cases are solved or Major Scars are temporarily overcome. If a character has two Fortitude dice, she may discard two failed rolls during an investigation and roll the dice again. For example: A character with a Fortitude rank of d20 solves another case. Since his Fortitude cannot be increased beyond d20, he earns a second Fortitude die. The starting rank for this second die is d4. Therefore, the player may discard two failed rolls per case, one for each Fortitude die. For one of these rolls, he will substitute a d20. For the other roll, a d4 is substituted. With multiple Fortitude dice, the player decides which die he will use. For example: A character has failed to achieve a Goal with a Difficulty of d4. Since the character has two Fortitude dice, a d20 and a d4, he decides to discard the failed result and roll again. Since the Difficulty die is only a d4, the player decides to use his d4 Fortitude die and save the d20 for a more difficult Goal. Characters can earn up to five dice of Fortitude. Player characters begin play as skilled experts. Therefore, their Training and Specialty ranks do not increase over time. Additionally, characters do not earn new Qualities, Specialties, and Proficiencies. Characters get better at what they do as

their Strength levels increase. When a Method’s Strength reaches 10, that Method’s die type increases by one. A Method’s roll is never able to exceed a d20 die type; at such high levels the Quality bonus no longer applies. The die level is, of course, still constrained by the character’s Composure and Vitality. In the case of characters who have advanced their Method’s rolls to the highest level, the goal will be to keep themselves sharp and not allow their Strength to falter.

Rules Chapter Three


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When characters interact with their environment, they frequently do so without the need for rules. They can carry on conversations, explore locales, and perform other basic tasks merely by declaration of intent. However, many actions cannot be undertaken without invoking the rules. Conversing with an NPC doesn’t require any rules; persuading an NPC of your position does. When the outcome of an attempted action is in doubt, the rules come into play. Darkly Through the Labyrinth uses dice to determine the outcome of a character’s action. However, while some luck does come into play, the dice alone do not determine success or failure; a character’s traits have much to say on the matter. Some characters are more likely to succeed at certain actions than others.

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To resolve character actions, Darkly Through the Labyrinth uses six different types of dice: four-sided (d4), six-sided (d6), eight-sided (d8), ten-sided (d10), twelve-sided (d12), and twenty sided (d20). Play runs smoothest when every participant has her own dice, preferably two of each type. However, sharing dice is perfectly fine. The Game Master never rolls the dice. This is reserved for the players. Their characters are the protagonists of the drama and they move the plot forward. Whether they are taking the initiative or reacting to a situation, they alone roll the dice.

overview Darkly Through the Labyrinth uses a single basic mechanic to determine success or failure. Below is a brief overview: •

The player declares the Goal her character is aiming for (to shadow a suspect, enter a locked

•

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room, investigate a crime scene, etc.) The player declares which Method her character is employing to accomplish the Goal (Ingenuity, Instinct, or Resolve). Methods are ranked by die type with d4 being lowest and d20 being highest. The Game Master sets the Goal’s Difficulty, which can range from d4 (easiest) to d20 (hardest). If the character has a Quality relevant to the Goal, the Method’s rank is modified upwards by one die type. If the character has Trainings, Specialties, or Proficiencies relevant to the Goal, the Difficulty is modified downwards by one or more die types. The player rolls two dice, one for the Method employed and one for the Difficulty. If the Method die’s result is equal to or higher than the Difficulty die’s result, the Goal is achieved. If a Goal fails, a player can invoke Fortitude to roll the dice again, discarding the original results. The Method’s Strength increases or decreases according to success or failure.

The remainder of this chapter examines this process in greater detail, along with other rules.

goals

A Goal is the desired outcome of a character action. Players should think in terms of what they are trying to achieve and work backwards from there, describing how they will accomplish the Goal. For example: An occult symbol is discovered at a crime scene. The player characters declare a Goal of identifying the symbol. This could be achieved with research at a library,

Rules reviewing previous taskforce assignments, consulting a third-party expert, etc. Although the players declare how their characters are tackling a Goal, the GM decides if the characters’ approach is viable. For example: In an effort to identify an occult symbol, the characters decide to visit the local library. However, since it is in a small Bible Belt community with only a few thousand residents, the GM decides that the players’ approach is unviable; the local library would not contain such information. The player characters must find a new means of achieving their Goal. If the means of achieving a Goal is viable, the Game Master sets the Goal’s Difficulty.

difficulty

Some Goals are harder to achieve than others. Translating a Sumerian inscription is more challenging than breaking down a door, and suturing an artery is hardly the same as solving a crossword puzzle. As the referee, the Game Master determines the Difficulty of accomplishing a Goal. The Difficulty is measured by die type. The higher the die type, the harder the Goal is to accomplish. A Difficulty of d6 is average. This is the baseline Difficulty when a Goal has a 50/50 chance of success by an unskilled individual. A Goal that is less likely to be achieved will have a higher Difficulty (d8 to d20) and an easier Goal will have a lower Difficulty (d4). For example: A character is researching an occult symbol. The GM determines that the symbol is reasonably obscure

25 and sets a Difficulty of d10.

When setting the Difficulty, the GM should consider any conditions that would make a Goal easier or harder to achieve and adjust the Difficulty accordingly. For example: To identify an occult symbol, a player character reaches out to an independent expert. As this individual has a background in occult studies, the GM sets the Difficulty at d6 rather than d10. There are no hard and fast rules for setting a Difficulty. It may take playing the game a little before instinct takes over. Until then, the Game Master should take care when setting Difficulties. If every Goal is exceedingly hard, players will fail too often and get frustrated. Consistently low Difficulty levels will lead to player boredom as they sleepwalk through every challenge. There should be a mix, enough to test the PCs but not too many as to thwart them. As a general rule of thumb, higher Difficulty levels should be reserved for cri tical moments of the game and a Difficulty of d20 should be rare. Further advice for setting Difficulty levels is presented throughout this chapter.

methods

With the Goal defined and the Difficulty set, a player must determine which Method she is employing. There are three Methods to accomplishing a Goal: •

•

Ingenuity: With this Method, a character is tackling the Goal with creativity or intelligence. Instinct: With this Method, intuition and gut feeling are employed to achieve the Goal.


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Resolve: With this Method, a character is relying on persistence and determination.

allow it. Doing so empowers the players and spurs creativity, which enhances the game for everyone.

Each player character possesses all three Methods, and each Method is measured by die type (from d4 to d20). The higher the die type, the better a character is with a Method. A Method rank of d6 is average. At the outset, a Method cannot be ranked higher than d10. Further explanation on choosing Method ranks for player characters is available in Chapter Two.

Applying the three Methods to Goals is usually easy to do. For example, in the case of research, it’s easy to see how Ingenuity, Instinct, or Resolve can be applied. However, for some Goals, this can be less clear. How can Instinct be used to remember a particular law or statute? How do you cl ose an open wound with Resolve? How does a pl ayer injure or incapacitate an opponent with the three Methods?

Players have considerable freedom in determining which Method they are employing. Most often, they will want to use the Method they are ranked highest in.

The first consideration should always be the Goal. A Goal can be broadly defined (I want to access the locked room) or specific (I want to pick the lock). When possible, players should think broadly as this usually opens up more options for achieving a Goal and thus allows for a wider use of Methods. If picking the lock is viewed as an action rather than a Goal, other actions are possible in service to the Goal. To access the locked room, characters could break down the door or remove it from its hinges.

•

Once a player determines Method, she must explain how this Method is being utilized. For example: Three characters are attempting to identify an occult symbol. The first employs Ingenuity, cross-referencing the symbol with similar markings found in other case files. The second uses Instinct, flirting with the owner of an occult bookstore in hopes of getting an answer. The third character employs Resolve, rifling through book after book at the library until he identifies the symbol. Any of the three Methods can be employed, provided the character’s action supports the Method. There are times, though not many, when the GM may declare a Method inappropriate to achieving a Goal. For example, the GM may allow Ingenuity or Instinct to compose a poem, but decide that Resolve cannot be used. That said, creative players are often able to justify the use of any Method and the GM should encourage this. Players who think outside of the box should be rewarded rather than stymied. As long as the justification for using a Method is not too far fetched, the Game Master should

In other games, players might state, “I tackle my opponent” or “I pick the lock.” In Darkly Through the Labyrinth, players should be declaring, “I want to restrain my opponent” or “I want to gain access to the locked room.” Tackling an opponent and picking a lock are not end results; they are actions in service to Goals. Though multiple Methods can be employed towards the same Goal, the actions justifying the Methods can be similar or even exactly the same. For example: Three characters are at the library researching an occult symbol. The first invokes Ingenuity, crossreferencing one book after another until she finds her answer. A second character uses Instinct to look in the section of the

Rules

27 Ingenuity cannot be invoked again. With this in mind, the player turns to Resolve, declaring that her character is going to go through every book on the subject until she identifies the symbol. The Game Master should pay special attention to the use of Instinct. This Method represents intuition, so it is possible for it to be abused. Instinct should be invoked when a player is relying on his gut and the outcome of the action is reasonably probable. For example, searching for a key under a flowerpot is a perfectly fine use of Instinct, as hiding a house key is something many people do. Coincidently bumping into the person you are looking for is not; this is happenstance. Happenstance and luck are not reflected in Instinct.

library most likely to hold the answer. The third character employs Resolve; he will flip through every relevant book until he identifies the symbol. If a character fails at a Goal, the Method she employed cannot be used towards that Goal again. However, the Goal can be undertaken with a different Method. For example: Using Ingenuity, a character flits from one bibliography to another, hoping to identify an occult symbol. Unfortunately, the character fails to achieve her Goal and

Resolve is especially useful when there is no timetable to accomplishing a Goal. For example, if a character has as much time as he needs to search a wellstocked library, he will usually find what he is looking for. Typically the Difficulty for such a Goal is low. However, when there is a time limit involved, the Difficulty can ratchet up.

qualities

Once the Method has been determined, Qualities are factored

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in. Qualities are adjectives used to describe a character. A character might be Agile or Fearless, Perceptive or Charismatic. Qualities provide more than color to a character; they grant an advantage when attempting Goals. When a character’s Quality is relevant to a Goal, the character’s Method is considered one die type higher than normal. For example: A character with an Ingenuity of d8 is researching an occult symbol. Since she has Resourceful as a Quality, her Ingenuity increases by one die type (to d10) for this Goal. Determining the relevance of a Quality is fairly straightforward. If a Goal involves picking a lock, Coordinated or Resourceful are relevant. Athletic is appropriate to breaking down a door or running down a suspect. Confronting a horrific crime scene would involve the Fearless or Resolute Qualities. Attractive, Charismatic, or Intimidating would come into play when interviewing or interrogating a witness, depending on the character’s approach. As is the case with Methods, players have freedom to justify the relevance of their Quality within the bounds of commonsense. However, the Game Master has discretion to disallow the use of any Quality that appears to not be within the spirit of the rules. For Example: A character is researching an occult symbol. The player wants to factor in his Coordinated Quality, claiming that his character can flip through pages quickly. As this is not in the spirit of the Coordinated Quality, the GM disallows its use. Players should be rewarded for their creative use of Qualities. While the GM should not allow anyone carte blanche to do the improbable, he should allow a Quality to come into play if a player makes a sound case.

For example: A character’s Goal is to identify an occult symbol. The player wants to factor in her Perceptive Quality. The GM decides that this is not particularly relevant to library research unless the player can justify it. The player points out that since she is only looking for a symbol in a book, and not concerned with the actual text at this time, all she needs to do is be on the look out for the symbol as she flips from page to page. Therefore, the player feels her Perceptive Quality is relevant. After hearing the player’s explanation, the GM allows it. In the case of characters who have advanced their Method die type to d20, a Quality will not provide additional benefit. A d20 Method roll is the maximum level. After all, there is a limit to just how good a person can get in their chosen area.

training and specialties

Trainings and Specialties may be applicable towards achieving a Goal. For example, Academics would aid in Profiling a suspect and Defense would help with disarming an opponent. While Qualities raise the Method die type, Trainings and Specialties lower the Difficulty die type. If a character’s Specialties or Training ( Academics, Defense, or Fieldwork) are relevant to achieving a Goal, the Difficulty die type may decrease. Trainings and Specialties are ranked as primary, secondary, or tertiary. A character’s primary Training and Specialty lower the Difficulty by two die types, the secondary Training and Specialty lower the Difficulty by one die type, and the tertiary Training and Specialty does not lower the die type.

Rules For example: A character is researching an occult symbol found at a crime scene. Normally, the Difficulty to do so is d10. However, since the character has Occult Studies as her secondary Specialty, the Difficulty is lowered by one die type, from d10 to d8. Although a character’s tertiary Training and Specialty do not lower the die type, they make Goals requiring a particular skill set possible. For example, a character with Medicine as his tertiary Specialty receives no mechanical advantage for this rank, i.e. the Difficulty die type does not decrease, but suturing an artery wouldn’t be possible without this Specialty. Generally speaking, if a character does not posses a relevant Training or Specialty, a Goal cannot be attempted. There are exceptions to this, where the Goal can still be attempted but at a higher Difficulty, and these are covered later i n this chapter. Trainings and Specialties cannot lower a Difficulty below d4. If there was a reason to roll the dice to begin with, failure is always a possibility.

proficiencies

If a character has a Proficiency relevant to achieving a Goal, the Difficulty die type decreases an additional step. For example: A character researching an occult symbol has lowered the Difficulty die type from d10 to d8 with her Occult Studies Specialty. Since Occult Studies is also one of her Proficiencies, the Difficulty is lowered an additional die type, to d6. Proficiencies within a character’s primary Training or Specialty are particularly potent. They lower the Difficulty by three die types (two for the primary ranking in a Training or Specialty

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and one for the Proficiency). This can make even the most challenging of tasks (a Difficulty of d20) reasonable to achieve (by lowering the Difficulty to d8). Proficiencies among the tertiary Training or Specialty categories are also of note. They lower the Difficulty by one die type, whereas the tertiary rank grants no mechanical advantage. Proficiencies cannot lower a Difficulty below d4.

rolling the dice

After the Method and Difficulty are determined, and Qualities, Training , Specialties, and Proficiencies are factored in, it is time to roll the dice. Players roll two dice when attempting to achieve a Goal. One die represents the Method used and the other die represents the Difficulty. To achieve a Goal, the Method die’s result must meet or exceed the Difficulty die’s result. For example: An occult symbol is found at a crime scene. The player declares a Goal of identifying the symbol and decides that her character’s Ingenuity of d8 would be the best Method to employ. To achieve the Goal, the character consults the public library in the nearby city. As the symbol is fairly obscure, the GM sets a Difficulty of d10. Since the character’s Resourceful Quality is relevant to the Goal, the player will roll the Method die at one type higher, a d10. The character’s Occult Studies, which is ranked as secondary, is also relevant to her research. Therefore, the Difficulty is lowered by one die type, to d8. Luckily for the player, her character also has Occult Studies as a Proficiency. This means the Difficulty is lowered an additional die type, to d6. The player rolls two dice, a d10 for her Method and a d6 for the Difficulty. The Method die’s result is 2 and the Difficulty die’s result is 5. Since the Method die’s result did


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not meet or exceed the Difficulty die’s result, the character has failed to achieve her Goal. If a character fails to achieve a Goal, she may attempt the Goal with another Method. However, there are times when doing so is not feasible. For example, if the character is chasing after a suspect and fails her dice roll, she doesn’t get another crack at the Goal; the suspect has escaped. In such an instance, Fortitude may be invoked.

fortitude

Fortitude gives a player the option of discarding a failed result and rolling the dice again. At the outset, Fortitude can only be invoked once per story. Since Fortitude is a limited resource, players must carefully weigh the importance of a Goal’s success. Fortitude is measured by die type from d4 (lowest) to d20 (highest). When Fortitude is invoked, the player rolls both the Method and Difficulty dice again, discarding the original results. However, the Fortitude die type is substituted for the Method die type. Qualities, Training , and other modifiers are factored in as normal. For example: A character has failed to identify an occult symbol. However, the player decides to invoke her character’s Fortitude and rolls both dice again. Since her character’s Fortitude is d4, she rolls this die type instead of her usual Method die (d8). Since her Quality was relevant to the original roll, it is relevant to this roll. Therefore, the die type increases from d4 to d6. The character’s Specialty and Proficiency are factored into the Difficulty as normal. A character’s Fortitude begins at d4. However, the die type

increases over time as the character solves cases and overcomes personal demons. When a character’s Fortitude reaches d20, he earns a second die at a rank of d4. This second die’s rank will increase over time as well. Characters may earn up to five Fortitude dice. For each Fortitude die, a character may discard one failed roll per case and throw the dice again. With multiple Fortitude dice, the player decides which die he will use in any given i nstance. For example, if a character has three Fortitude dice ranked d20, d20, and d8, he may choose to invoke one of the d20 dice or the d8. Regardless, of the choice, that die cannot be called upon for the remainder of the investigation. Multiple Fortitude dice can be invoked on the same Goal.

strength

A Method’s Strength increases or decreases with the success or failure of each Goal. If a Goal is achieved, the Method’s Strength increases by one rank; it decreases one rank in the event of failure. For example: A character has successfully identified an occult symbol with Ingenuity. Therefore, the Strength of that Method, currently ranked at 4, increases to 5. Strength fluctuations are based on a Goal’s success or failure. If a player invokes Fortitude and rolls the dice again, the original failed roll has no bearing on a Method’s Strength; only this second result matters. If a Method’s Strength level reaches 10, the Method increases by one die type. If a Method’s Strength drops to a rank of 1, the Method decreases one step. When a Method’s die type increases or decreases, its Strength resets to half of the new die type.

Rules For example: A character with a Strength of 2 in Ingenuity fails to solve a killer’s riddle. This failure means his Strength decreases to 1 and therefore his Ingenuity decreases by one rank. His Ingenuity of d6 becomes d4, and his Strength resets to 2 (half of his new die type rank). If a Method’s rank is d4, there is nowhere to go but up; the Method will sit at that rank until its Strength reaches 10. At that point, the Method rank will increase to d6. At the other end of the scale, no Method can exceed d20. At lower levels every Goal gives the character a chance to advance or stumble, while at the top of their game a character is simply trying to stay sharp and not lose their edge.

common goals Characters will tackle a variety of Goals. While it is impossible to provide guidelines for every possible Goal, the ones most likely to come into play are detailed over the next few pages, along with suggestions for setting Difficulties. Relevant Qualities, Trainings, and Specialties are mentioned as well.

observation

To be an excellent investigator, one must be a keen observer. Agents need to take in all the details of a crime scene, conduct surveillance, read body language, and notice the little things others miss. Perceptive is the logical Quality for this Goal. However, during a stakeout, where patience is called for, Resolute can certainly be a good choice. When conducting surveillance, Fieldwork is the relevant Training .

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overlooked. For example, if the characters are on a stakeout, observing a suspect for days, the Difficulty is likely to be low (d4 or d6). If the character is trying to identify the symbol on a tie tack as an NPC quickly walks by, the Difficulty is likely to be high (d12).

crime scene analysis

Every crime scene is a puzzle, and it is up to the characters to assemble the pieces. These clues can be everything from blood spatters and fingerprints to bullet paths and spent casings. Evidence must be properly collected, catalogued, and preserved. Ascertaining what transpired at a crime scene is a common Goal at the start of most cases. A variety of Qualities can be argued for this Goal… though Intelligent, Knowledgeable, and Perceptive are likely the most relevant. Academics is the obvious Training . The Difficulty for analyzing a crime scene is dependant on a character’s Goal and how easily a detail or clue can be overlooked. If the character’s Goal is merely to collect and preserve the evidence, the Difficulty is low (d4 or d6). After all, the character is a trained professional and this procedure is routine. Finding clues to what happened is a more varied affair. Obvious signs of a struggle might carry a low Difficulty (d4 to d6), while noticing that the lock has been picked might be very high (d12). A diary in a desk drawer is hard to miss (d4); so too is a jimmied window (d6). Fingerprints on the doorknob are not likely to go unnoticed (d4) but fingerprints underneath an end table might (d8 or d10).

gather information

Difficulties for this Goal can vary widely. The GM should factor in the length of observation and how easily a detail can be

Gathering information is intrinsic to every investigation. This

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can be done through research, interrogating a suspect, or conducting interviews.

research

Research is an important aspect of investigative work. This Goal includes searching databases, reviewing documents, querying libraries, and the like. This is done to learn more about a particular subject, locale, individual or group, or to compare a current investigation to other cases. Research can be conducted in libraries, federal offices, local courthouses, and a multitude of other locations. The Difficulties for this Goal should be based on the obscurity of the information and the quality of the library or files. The base Difficulty for research is d6; this assumes an average-sized library and reasonably common information . The Difficulty increases for more obscure information and for poorer or less relevant locales; a small rural library isn’t as useful as a major University’s research department. Most research Difficulties should fall between d6 and d12. Research can be made easier by taking more time. Doing so lowers the Difficulty by one die type. Conversely, hurrying can raise the Difficulty level. Intelligent, Knowledgeable, and Resourceful are obvious Qualities for this Goal, and Fieldwork is the relevant Training. If a character possesses a Specialty related to the subject she is researching, this may also be utilized. For example, a character with Occult Studies, Mythology, or Religious Studies can choose to employ the relevant Specialty, provided the subject matter falls within her expertise. The Difficulty would then be lowered the appropriate number of die types based on the character’s rankings in Fieldwork and their relevant Specialty.

interrogation or interviewing

Interrogation is the art of extracting information from an unwilling subject. The Difficulty for this Goal varies, depending on the subject’s hostility and willpower. For example, a religious zealot who considers the PCs “agents of Satan” is harder to crack (d12) than a scared 18-year-old caught dabbling in the occult (d4). A prolonged interrogation will have a lower Difficulty as time can make a man more likely to give up his secrets. Violence (or the threat of violence), deprivation of food or sleep, and isolation can also l ower the Difficulty. While such tactics are not acceptable by the FBI, less scrupulous agents could employ them. Interviewing is a less intense affair. It involves speaking to witnesses, a suspect’s friends and family, and other individuals who may have insight into a crime or its perpetrator. Most often, the interviewee will not be hostile to the characters… but there are exceptions. Difficulties for interviewing (d4 to d8) are typically lower than for interrogating. However, there are factors that can raise the Difficulty. A family member may lie to protect their loved one. Memory can be unreliable. An interviewee may exaggerate or fabricate details simply to appear more knowledgeable. Intimidating and Intuitive are common Qualities for interrogations while Attractive, Charismatic, and Intuitive are useful for interviewing. In certain situations, Resolute and Perceptive might be employed. Fieldwork is always the appropriate Training .

negotiation and persuasion

Negotiating and persuading are not much different from interrogating and interviewing. The willingness or hostility of

Rules the subject is the primary factor in setting the Difficulty. A variety of Qualities are useful for persuading a subject, most notably Attractive, Charismatic, and Intuitive. For negotiating, these same Qualities can come into play, as well as Intelligent, Knowledgeable, and Resourceful. Conflict Resolution is the relevant Specialty for hostage negotiations, defusing volatile situations, or breaking up fights.

quoting the law

There are times when characters will need to quote the law to suspects,witnesses,interviewees, and persons of interest. In most instances, Knowledgeable is the logical Quality. However, sometimes this is done to frighten, unnerve, or unbalance an individual. If so, Intimidating is applicable. Academics is always the pertinent Training . The Difficulty for this Goal is based on the obscurity of the law or statute. The more obscure, the higher the Difficulty.

stealth

During some investigations, characters will need to trail suspects or move about unseen. The Difficulty to do so varies according to the situation. If the

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characters have a lot of cover to operate with, the Difficulty will be lower than attempting to cross a vast area with few places to hide, and moving under the cover of night is always easier than during the day. Perceptive is the logical Quality, though Resourceful, Intelligent, and Agile are applicable in certain situations. If the area is well known to the character, Knowledgeable may be relevant. Fieldwork is always the governing Training .

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confrontation

The player characters are expected to handle physical altercations with non-lethal means. Killing another human being is not acceptable unless absolutely necessary to protect civilians and fellow agents or in the name of self-defense. In such instances, the FBI will temporarily suspend the agent and mandate counseling while a full investigation is conducted. Agents who are too flippant with their firearms will find themselves permanently marooned in desk jobs or ousted from the FBI. If a character’s Goal is to subdue, restrain, or kill her opponent, a single dice roll handles the confrontation. Multiple dice rolls only come into play if a character’s Goal is to wound her opponent. If the player characters are not reacting to an opponent’s attack, they always get to act first. There are no rules for the order in which PCs act, i.e. declare their Goals. In most cases, it should be assumed that they are acting simultaneously. Otherwise, logic is the best guide. For example, if the characters are moving single file through a hallway and come across a threat, the character at the point would logically act first.

incapacitate

To incapacitate an opponent is to neutralize the threat through non-lethal means. This includes disarming, employing controlled holds, handcuffing, and stunning opponents. Agile and Athletic are obvious Qualities, though others can be justified. Defense is always the relevant Training . The Difficulty to disarm an opponent can vary from d4 to d8, depending on the opponent’s grip, feistiness, and footing.

A Difficulty of d6 is required to grapple an opponent. This increases to d8 if handcuffing is part of the Goal. Using a heavy object to momentarily stun and disorient an opponent with a blow to the head carries a Difficulty of d10; knocking someone unconscious with such an object increases the Difficulty to d12. Rendering a foe unconscious with one’s bare hands is not an easy Goal; the Difficulty is d20. The above examples assume an average-sized opponent who is resisting. The Difficulty can increase by one die type if the opponent is unusually large or strong, or if environmental conditions make combat maneuvers more challenging. The Difficulty can decrease by one die type if the opponent is impaired in some way. The point of stunning an opponent is to render him incapable of action so he can be immediately restrained. For narrative purposes, it is assumed that an opponent is disoriented for however long it takes a player character to handcuff or otherwise bind his opponent.

kill

Killing an opponent is always the last resort. The Difficulty for this Goal is primarily determined by the character’s weapon. Killing with a gun is far easier than with a hand-to-hand weapon, such as a knife. In the case of firearms, range is also a factor. Qualities such as Agile, Coordinated, or Athletic can be applied when using hand-to-hand weapons, and Coordinated is the most logical choice for firearms. Defense is always the appropriate Training . Killing an opponent with a knife or other bladed weapon

Rules requires proper hit location. The opponent must be stabbed in a major organ, have his jugular slit, or suffer some other critical injury that would cause him to bleed out quickly and die. Such precision means higher Difficulty levels. The Difficulty to kill an opponent with a bladed weapon is d8 to d12. Larger, sharper bladed weapons will be at the lower end of this range while simple knives will be at the higher end. These Difficulty levels can shift up or down a die type depending on multiple factors. Obviously, a stronger, more athletic target is harder to kill than a limping or wounded foe. Firearms make killing easy; the Difficulty to do so is typically d6 to d10. If the opponent is at c lose range, i.e. less than ten feet away, the Difficulty is d6. Targets at medium range set the Difficulty at d8. Long-range targets carry a Difficulty of d10. Environmental conditions such as fog and rain can increase the Difficulty, as can a moving target. Opponents that are caught unawares, trapped in a confined area or otherwise restricted, can lower the Difficulty die type by one. Firearms are deadly. If a character’s intent is to kill, they will succeed more often than not.

wound

There are times when a character may be unconcerned with incapacitating or killing his opponent. The Goal may be to simply wound her foe. The base Difficulty to wound an opponent is d6. This increases or decreases due to range, environmental conditions, and other modifiers. Depending on the weapon used, Athletic and Coordinated are likely Qualities. Defense is the relevant Training . Just like characters, NPCs possess Vitality. When they are wounded, their Vitality decreases. If a player character scores

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a hit with his bare hands, an NPC’s Vitality decreases by one die type. If wounded by a hand-held weapon, the NPC’s Vitality is lowered two die types. A gunshot wound lowers Vitality by three die types. For example: A player character succeeds at stabbing his opponent. Since his knife is a hand-held weapon, the opponent’s Vitality is lowered two die types, from d20 to d10. Sometimes a character can inflict a more significant wound than was expected, whether through skill or luck. If a PC’s Method rank is two or more die types higher or lower than the Difficulty die, the opponent’s Vitality lowers one additional die type. For example: A player character successfully stabs his opponent. Since his Method of d10 is two die types higher than the Difficulty of d6, the opponent’s Vitality is lowered three die types (two for the Goal’s success and one additional die type for the well-placed strike). If a character’s Goal is successful, and he scores the highest possible result on his Method die, his opponent loses an additional level of Vitality. For example: A PC shoots a fleeing suspect in the leg with a roll of six on a d6 Method die. Since this is the highest possible result, the opponent’s Vitality decreases from d20 to d6 (the gunshot decreases the die type by three and the high roll of six lowers it an additional level). Should a character’s Method be two die types removed from the Difficulty, and the player scores the highest possible result on the die, the NPCs’ Vitality decreases by two additional die types.


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For example: A player sets a Goal of stabbing his opponent. The character’s Method is d10 and the Difficulty is set at d6. The player rolls a ten on his Method die and a two on the Difficulty die. The Goal is achieved. The opponent’s Vitality decreases by four die types, from d20 to d6 (it decreases two steps for the initial hit, one additional step due to the difference in die types, and a third step for scoring the highest possible result on the Method die). Defending against a wounded opponent’s attacks is easier, and the Difficulty to incapacitate, wound, or kill is lowered depending on the severity of the initial wound. The Difficulty to hit a wounded opponent cannot be higher than the opponent’s Vitality die type. Should additional wounds lower an opponent’s Vitality below d4, the opponent is dead. Wounding is more complicated than incapacitating. Multiple die rolls mean multiple chances for failure, or to accidentally cause an unintended death. Therefore, it is usually better to restrain or subdue an opponent.

defend

Characters may have to defend themselves from an attack. Since the PCs get to act first in most encounters, an attack usually takes the form of an ambush. Characters can minimize surprise attacks with a properly declared Goal such as “be alert for an ambush.” Succeeding at such a Goal puts the initiative back into the players’ hands. However, this is not always realistic. For example, declaring this Goal while creeping though an abandoned hotel is perfectly fine; doing so while walking though the supermarket is ludicrous. If players do not suspect an attack, fail to declare a suitable Goal in advance of an attack, or fail their dice rolls, they will have to defend themselves.

The Difficulty to defend against an attack is based on the attacker and his weapon. Defending against a skilled opponent is harder than avoiding an untrained enemy, and dodging a punch is easier than escaping gunfire. If an unskilled opponent is attacking with his body or any hand-held weapon, the Difficulty is d4 or d6. This increases to d8 or d10 if the foe is trained. Dodging gunfire carries a Difficulty of d12. If the attacker is intending to kill the player character, the Difficulty to dodge the attack lowers by one die type . Defending does not necessarily mean dodging. In the case of hand-to-hand combat, defense might mean blocking an incoming punch. In the case of melee weapons, a good defense might constitute parrying the attack. If a character has a bulletproof vest, protective clothing, nearby cover or room to maneuver, the Difficulty to defend against an attack lowers by one or two die types. If a character fails her dice roll, she suffers Vitality loss. The rules for this are largely the same as the ones for wounding an opponent: •

•

•

•

Vitality is lowered by one die type for a failed defense against an unarmed opponent. Vitality is lowered two die types for a failed defense against an opponent with a hand-held weapon. Vitality is lowered three die types for a failed gunfire defense. Vitality is lowered an additional die type if the defense fails and the difference between the Method and Difficulty dice is two or more steps.

There is a difference between characters and NPCs regarding the additional die type that is taken from scoring the highest possible number on the Method roll. When a character is doing the attacking, she does additional harm by scoring the highest

Rules possible result on the Method die. This is flip-flopped when defending. If a character’s defense fails, and the result of the Method die is the lowest possible number, the character loses an additional level of Vitality. A variety of Qualities can come into play when defending against an attack. Agile, Athletic, and Coordinated are obvious options. A case can also be made for Fearless, Intuitive, and Resolute. If a character is making use of his environment for cover or to parry an attack, Resourceful, Intelligent, and Perceptive might be useful. Though it should go without saying, Defense is the relevant Training . An opponent may attempt to seize a character’s weapon. As FBI agents, characters are trained in weapon retention. Therefore, the Difficulty is only d6 to prevent an opponent from taking control of any firearm or handheld weapon the character might be wielding.

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is d10, and five levels is d12. Succeeding at this Goal cuts the healing time in half. Resilient is the appropriate Quality for recuperating, and no Training is applicable. Characters can attempt to heal others. If a wounded character’s Vitality is d10 or d12, first aid can be used, making Fieldwork an applicable Training . If Vitality is below d10, the Medicine Specialty must be applied. Intelligent, Knowledgeable, and Resourceful are appropriate Qualities, and the Difficulty to heal another is the same as recuperating from an injury under the care of a physician.

specialized goals Specialized Goals are the only instances when players have no say in which Method they can use. There are three Specialized Goals: •

healing

With rest, a character regains Vitality; no dice rolling is required. Recovering one level of Vitality (from d12 to d20) is easy; this only takes a single day. After that, the healing process proceeds exponentially. Regaining the second level of Vitality takes two days, the third level takes four days, the fourth level takes sixteen days, and the fifth level takes eight to nine months. The healing process can be sped up with proper medical attention. If a character is in a hospital or being treated by a doctor, dice are rolled and the Difficulty is determined by the amount of Vitality lost. If a character’s Vitality has been lowered one level, the Difficulty to recuperate is d4. The Difficulty to heal two levels is d6, three levels is d8, four levels

•

•

Profiling: Characters craft psychological profiles of their suspects. They examine crime scene evidence and behavioral patterns to do so. While Profiling will not lead to a suspect’s arrest, it often points the characters in the right direction. Hunch: With this Specialized Goal, a character is relying on intuition to sense if a given lead has any bearing on the case at hand. Courage: Courage is how the player characters cope with horror. This Specialized Goal enables them to stomach the atrocities they experience on the job.

When a character’s Goal is to create a working profile for an unknown subject (referred to as an UNSUB by the BSU), Ingenuity is always the governing Method. Instinct is the only Method useable for determining if a lead is related to a case or not. Resolve comes into play when characters see a particularly

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gruesome crime scene or experience some other horror or atrocity that would cause a lesser person to turn away.

profiling

At the beginning of a case, the player characters will create a profile of their suspect. The intent of Profiling is to outline the basic mannerisms, quirks, and behavior patterns of the UNSUB. The characters call upon their expertise in criminology, psychology, and sociology to do so. They will factor in the crime scene evidence as well as other crimes where criminals have exhibited similar behavior to the UNSUB. Common traits can be found across similar types of crimes. Most serial killers tend to be Caucasian males of meek personality who live alone. Most sociopaths are charming and manipulative and lack empathy for their fellow man. Obsessive personality traits are common in many suspects. A criminal may display his victim to fulfill a ritualistic or psychological need, which is referred to as posing. A murderer may move a body to throw investigators off the trail. This is called staging and indicates a cautious killer given to careful planning. The main purpose of Profiling is to give the players a more active role in the GM’s story. In essence, the players are crafting the villain of the tale through Profiling . They decide his personality, mannerisms, and a little of his background. What they lack is the suspect’s identity. That comes through their investigative work. Ingenuity is the only Method allowed for Profiling . Intelligent and Perceptive are the relevant Qualities and Academics is the corresponding Training . Players do not need to know anything about real profiling. The

Rules point is to have fun… not to get bogged down in psychology. To create a profile, the players only need to throw a few personality and background traits together. For players unsure of how to proceed, they can mix and match a handful of the following characteristics: • • • • • • • • • • • • • • •

Gender Ethnicity Age Dominant or submissive personality Lives with parents Cannot discern between right and wrong Obsessive and/or compulsive behaviors Egocentric and/or exhibitionistic Extroverted or introverted Was abused as a child Works a low-paying or entry-level job Only strikes in a certain geographic area The suspect will be driven to strike again The crime was spontaneous or planned The criminal poses or stages his crime scenes

The above list is not intended to be exhaustive. Its purpose is to provide players with some examples in case they are at a loss as to how to proceed or to fire up their creativity. Players can and should create personality and background traits for the UNSUB that are not listed above. Typically three to five traits are sufficient for a single profile. Before assigning mannerisms and tendencies to the subject, players must consider the crime scene evidence. Their profile should tie into the crime scene as much as possible. For example: The characters discover three white doves nailed to a cross behind the abandoned church’s altar. The words, “Hail Mary, full of grace” are written in dove’s blood

39 on a nearby wall. However, there are no additional traces of blood at the crime scene. With the above evidence in mind, the players prepare to craft their profile.

Players create a profile of the subject by connecting personality traits and general background information to the crime scene. For example: The players decide that the UNSUB likely grew up Catholic, based on the bloody text on the wall. Since the white doves are c learly symbolic, the players decide that the UNSUB put thought into his work. This was a planned display. As such, the players decide they are dealing with an egomaniac. He wants the whole world to know how important he is. He also suffers from obsessive-compulsive disorder. There is no stray blood at the crime scene because the suspect cleaned up after himself. It is not required that a suspect’s traits be directly tied to the crime scene evidence. However, it makes the Profiling Goal easier to accomplish. The base Difficulty for Profiling is d20; every behavioral or background trait tied to the crime scene lowers the Difficulty by one rank. This level can never go below d4. For example: The players have determined that the UNSUB is Catholic, planned the act in advance, is an egomaniac, and suffers from obsessive-compulsive disorder. Linking these four traits to the crime scene evidence lowers the Difficulty to d6 . Ideally, players will want to link four or five personality/ background traits to the crime scene as this will lower the Difficulty to d6 or d4. Working as a group will also lower the Difficulty by one die type. To do so, multiple players must contribute a personality or background trait for the criminal and link it to the crime scene evidence. If at least three

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players contribute to Profiling , the Difficulty lowers one additional die type. Only one player will roll dice for this Goal. This will be the player with the highest Method die. If two or more characters have the same rank, a relevant Quality breaks the tie. If one or more PCs have a relevant Quality, the GM is free to employ any number of tiebreakers such as having each player roll a single die (highest result wins), flipping a coin, group consensus, etc. The lead character, i.e. the one with the highest Method die, factors in his Academics Training . If players are uninterested in making Profiling a group activity, one character can handle the Goal. In this case, the starting Difficulty should be lowered to d12. Players can also craft competing profiles… though this is self-defeating. If more than one PC succeeds at Profiling , each profile is viable; however, since they will likely contradict one another in some manner, they tell the characters far less of the suspect’s actual personality, background, and behaviors. The Game Master will use the characters’ profile to create the personality and background of the UNSUB. However, there will be times when this is impossible. For example, if the GM’s villain is a witch in an all-female coven, but the characters’ profile says that the suspect is male, there is a problem; the Game Master cannot change his villain to fit the characters’ profile without drastically altering the story. In such a situation, a successful Profiling Goal means the Game Master must correct any false information in the characters’ profile. This secondary use of Profiling keeps any critical aspects of the GM’s story intact while still providing insight to the PCs. This use of Profiling should be kept to a minimum. When at all possible, the Game Master should evolve his villain to fit the PC’s profile. If a Profiling Goal fails, the characters will have no conformation that their profile is accurate, and the

Game Master is under no obligation to base the subject on the profile. Of course, some of the characters’ assumptions may be accurate… they simply won’t know it. There are no hard and fast guidelines for Profiling . Players simply make things up as they wish. However, the profile only points to the psychology, mannerisms, and behavior of the suspect. It does not expose or identify the suspect. That comes through game play. Ideally, Profiling should point the player characters in the subject’s direction.

hunch

Crime scenes hold much information, presenting multiple leads for the player characters to investigate. Some of these pathways will be dead ends. Hunch minimizes their pursuit. Hunch comes into play when the characters are confronted with one or more leads and want to know what is actually relevant to the investigation. At a crime scene, players have the option of making a Hunch roll by grouping all the clues under a single dice roll, or by tackling each clue individually. The Difficulty to determine if a single clue is relevant is d6 . This Difficulty can increase or decrease at the GM’s discretion. For example, if the PCs discover animal tracks near a body, it may be more difficult to determine if they are a pertinent clue or if an animal was merely scavenging. If a witness’s story is so far-fetched as to almost certainly be of no use, the Difficulty may only be d4. The Difficulty for a single Hunch roll covering multiple crime scene clues is dependent on the number of clues. A scene with two or three clues might raise the Difficulty to d8 while a crime scene with more than five clues might carry a Difficulty of d12. Hunch comes into play at more than crime scenes. A Hunch

Rules roll can be made whenever the player characters are confronted with a lead or possible clue. For example, Hunch can be used to determine if questioning a neighbor will provide useful information or will be a waste of time. Instinct is always the governing Method, and Intuitive is the most relevant Quality. Trainings and Specialties can be factored in as appropriate. A clue’s relevance is largely a matter of GM discretion. Some clues will point to a suspect or help solve the mystery. These are obvious and one could argue that Hunch doesn’t even need to be invoked. Other clues are less important but still have value. For example, an interview with a suspect’s mother may provide insight into his psyche, but not a means of locating him. The GM must decide how relevant this is to the investigation. As a general rule of thumb, if a clue provides insight into solving the case, a successful Hunch roll should indicate that the clue is relevant. If knowing the suspect’s personality provides insight that may help lead to his capture, pursing that lead is useful. If not, Hunch should identify it as a dead end. The Game Master should also factor in the amount of roleplaying time available. If the case is to be solved in a single sitting, or in just a few hours time, the GM can use Hunch to cut out lesser clues… the ones that only exist to add color to an investigation but do not directly lead towards its resolution. If there are no time constraints, these minor clues can be deemed relevant, as the story has more room to breathe and expand. Hunch is not a be-all, end-all trait. It doesn’t illuminate how relevant a clue is… only that it has significance. If a Hunch roll fails, the PCs can still pursue a lead, but the characters will have no inkling as to the relevance. This is something they will need to determine for themselves.

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courage

Darkly Through the Labyrinth is a role-playing game about confronting the dark side of humanity. Doing so requires conquering one’s fear and maintaining Composure in the face of adversity and horror. Courage represents this. Courage is a Specialized Goal declared by the Game Master. It comes into play whenever fear or anxiety threatens a character’s Composure. This includes the nervous trepidation, the sense of foreboding, invoked by a location or situation as well as direct confrontation with the horrific and disturbing. Resolve is always the governing Method for Courage. Fearless is the obvious Quality, though Resolute might be relevant in certain situations. Trainings and Specialties are not particularly pertinent, but the Game Master has the di scretion to allow them. Darkly Through The Labyrinth draws upon gothic influences to shape its mood. Therefore, setting alone is often enough to call for a Courage roll. Ruined structures lost to decay and rot can invoke unease. So too can a poorly l it or isolated environment. A forgotten subway tunnel and an abandoned house can test one’s Composure. Situations and encounters fraught with tension or suspense can require Courage. Discovering a decomposing body or the vestiges of a ritual sacrifice are examples. A standoff with an armed cult and diffusing a bomb are others. A disquieting NPC can even challenge a character’s Composure. Any situation where fear or anxiety can impact a character is cause for Courage. The Difficulty for Courage rolls varies from situation to situation. An unnerving location will carry a low Difficulty (d4 or d6) but if the characters are also anticipating trouble, the

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Difficulty will increase by one or two die types. Exploring a deserted railroad station is unnerving; doing so while watching for a sniper is much more stressful. Extremely tense situations will carry higher Difficulty levels (d8 to d12) and only the most trying of moments would ever carry a d20. If a character succeeds at her Courage roll, she has conquered her fear and proceeds normally. With a failed Courage roll, a character’s Composure decreases. The number of steps between a character’s Method die and the Difficulty die determines the amount of Composure lost. For each step between die types, the character loses one level of Composure. This is true whether the Method die type is higher or lower than the Difficulty die type. For example: A character with a Resolve of d6 fails a Courage roll against a Difficulty of d10. Since the Difficulty die is two steps higher than the Method die, the character loses two levels of Composure, (dropping from d20 to d10). For example: A character with a Resolve of d10 fails a Courage roll against a Difficulty of d4. Since the Difficulty die is three steps lower than the Method die, the character loses three levels of Composure (dropping from d20 to d8). If the Method and Difficulty dice are of the same type and the roll fails, the character loses one level of Composure. The Game Master should call for no more than three Courage rolls per investigation. Too many sinister or imposing locales will desensitize players to the game’s mood, and moving from one tense situation to another can lessen the weight and importance of the story’s climax. The GM must also keep in mind that Composure represents an upper cap on a character’s Method die. If characters fail too many Courage rolls, they may

be incapable of handling the final threat at the story’s end. Composure can be regained after a scene or with the conclusion of an investigation. Rules for regaining Composure are covered later in this chapter.

teamwork Player characters work together to solve cases. This can be reflected in the dice as well. They can pool resources, abilities, and opinions to lower the Difficulty level for some Goals. They can cooperate to do anything from lifting a heavy object to creating a profile. This is particularly useful when the Difficulty is extremely high. To work as a team, each player character must approach a Goal from the same Method and undertake the same action in service to the Goal. For example: The player characters’ Goal is to incapacitate their opponent. They collectively decide that Resolve will be the governing Method. To work as a team, one character must be designated as the leader. This is the character with the highest Method die. If two or more characters have the same rank, a relevant Quality breaks the tie. If one or more PCs have a relevant Quality, the GM is free to employ any number of tiebreakers such as having each player roll a single die (highest result wins), flipping a coin, group consensus, etc. The lead character’s Trainings or Specialties are factored into the dice roll; the Trainings and Specialties of the other participating characters are not. If the characters are working as a group, the Difficulty typically lowers by one die type. For example: The Difficulty to handcuff an opponent is d8.

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However, since two characters are working at it, the Game Master lowers the Difficulty to d6.

the Goal is unlikely to succeed without a relevant Specialty, the Difficulty should increase by two ranks.

There will be times when additional hands or minds cannot make a Goal easier to achieve.

Some Goals cannot be achieved without a relevant Specialty. For example, open-heart surgery cannot be performed without Medicine. Logic is always the best guide and the Game Master has final say.

For example: Three characters have declared a shared Goal of breaking into a locked room. However, since no more than a single character has room to throw his shoulder into the door at one time, the Game Master does not allow the other characters to participate in the Goal. There may be times when failure is nearly impossible due to teamwork. For example, if the entire taskforce is dedicating their time and effort to identifying an occult symbol, failure is highly unlikely. In these instances, the Game Master should lower the Difficulty by more than one rank.

unskilled goals Characters may attempt Goals unrelated to their Trainings for which they do not possess a relevant Specialty. However, success is harder to achieve. If a character attempts a Goal without the proper Specialty, the Difficulty increases by one or two die types. For example: A character is trying to break the code in a cult leader’s journal. The Game Master sets the Difficulty at d6. However, since the character doesn’t have Cryptography as a Specialty, the GM increases the Difficulty by two ranks (to d10). It is up to the Game Master to decide if the Difficulty increases by one rank or two. If the Goal is reasonably possible to achieve with no skill, the Difficulty should increase by one die type. If

gaining fortitude Solving a case increases a character’s Fortitude by one die type. When this trait reaches d20, the character earns a second Fortitude die. This second die begins at d4 and increases as additional cases are solved. Characters can earn up to five Fortitude dice. Characters also earn Fortitude for overcoming Major Scars. Typically, a Major Scar should only come into play once per investigation. To earn Fortitude from a Major Scar , the Scar must threaten the success of a Goal. For example, if a character’s Aggression makes interviewing a key witness more difficult, Fortitude can be earned. If a character’s Alcoholism surfaces during off hours, it doesn’t impact a Goal. No additional dice rolling is called for when invoking a Major Scar . If the Goal succeeds, even with the complications caused by the Major Scar, Fortitude increases; if the Goal fails, it does not. Either the player or the GM can invoke a Major Scar when attempting a Goal, though this can only be done once per investigation. If a Major Scar comes into play when attempting a Goal, the Difficulty increases by two die types. Major Scars make Goals less likely to accomplish, but they hold the promise of earning extra Fortitude. Overcoming a Minor Scar does not yield additional Fortitude.

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vitality and composure Vitality and Composure represent a character’s physical and mental wellbeing. These traits can fluctuate over the course of an investigation. When a character is injured or ill, Vitality may drop. If a character is unnerved or on edge, Composure may decline. Each of these traits begins at d20. Vitality and Composure represent the maximum die type allowed for any roll. This includes mental and physical Goals. An ill or injured character will have trouble concentrating and moving about. For example: A character is attempting to track a suspect through a wooded area. Normally, he would roll a d10 for this Goal (his Method die is d8 and his Perceptive Quality is relevant). However, since his Composure is currently d8, he can only roll a d8 for this Goal. Fighting is the most likely cause of Vitality loss. However, a character can lose Vitality from other injuries such as burns or from falling. Illness and poisoning can also lower Vitality. The Difficulties for overcoming injury and illness can vary widely. Running through the black smoke of a burning building will carry a much higher Difficulty than working a case while flustricken. Resilient is the logical Quality though Resolute may also come into play. Composure loss comes from failed Courage rolls. Composure increases as a character’s fear subsides. Once a character is removed from his or her fear trigger, Composure resets to d20. For example: A character is alone, exploring an abandoned subway tunnel. The GM calls for a Courage Goal, which the character fails. As a result, the character’s Composure

drops from d20 to d10. Once the character exists the subway tunnel, his Composure will return to d20. There are times when a character sees something so horrific it is not easily shaken off. At the GM’s discretion, Composure may only reset to d12 instead of d20. However, these instances should be rare. As skilled taskforce agents, the characters are reasonably adept at overcoming their fears. A particularly dangerous threat to the characters, one that lingers over an entire investigation, may also cause Composure to reset to d12 instead of d20. Maintaining Vitality and Composure is essential. Weakened characters are more likely to fail at their Goals and are less likely to survive dangerous encounters. With a little caution, losses of Vitality and Composure can be minimized. Barging into the unknown, with reckless abandon, is a recipe for losing Vitality and Composure.

final thoughts Covering every possible Goal and scenario is an impossible task. Eventually, player characters will attempt something not detailed by the rules. In these instances, the Game Master must decide how to resolve such Goals. Logic and commonsense are the best guides, and when in doubt, the GM should err on the side of the players.

Game Mastering Chapter Four

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The Game Master’s role is two-fold. As storyteller, this individual creates and oversees the world the characters inhabit and relates this world to the players through creative narration. As referee, the Game Master is responsible for interpreting the rules in a fair and impartial manner. This chapter provides advice on both of these aspects as well as various suggestions and techniques for effectively game mastering Darkly Through the Labyrinth.

referee Players may have questions, or argue over how a rule works, or debate whether a certain action is possible. It is the GM’s job to handle these matters and interpret the rules in a fair and impartial manner. Therefore, the Game Master should be familiar with the rules beforehand, so that in the event of a conflict an informed decision can be made. The GM’s ruling is final in all matters. The rules are the ultimate determiner if an action is successful or not, allowing the Game Master to remain impartial. However, the GM must determine when the rules come into play. Sometimes, there is no need to roll any dice; success might be inevitable, or alternately, an action could be impossible. If the GM determines that a dice roll is called for, it is up to him to set the Difficulty. While the rules will dictate if the character succeeds or not, the Game Master must determine the results of success or failure. For example, a character’s attempt to seduce a young lady fails. How does she react? Does she slap the character and storm away? Does she simply smile and politely turn down the advance? It’s up to the Game Master to determine the consequences of the PC’s actions. However, this should be done in a logical fashion that advances the plot, engenders additional

conflict, or otherwise makes the story more interesting and entertaining for the players.

setting difficulties

The Game Master is responsible for setting the Difficulty for every Goal. While Chapter Three provides guidance for doing so, it is far from exhaustive. Setting a Difficulty is largely subjective. The best way to learn this skill is simply through playing the game. The Game Master should familiarize herself with the player characters’ traits and their ranks. This will aid in setting Difficulties as the GM can provide obstacles in line with the characters’ abilities. The PC’s wits and skills need to be challenged. If every Goal is easily accomplished, players will likely get bored. Low Difficulty ranks engender little conflict, and conflict is the heart of drama. Conversely, players will quickly become frustrated if every Goal ends in failure. Over the course of multiple investigations, Difficulties should be increased as the characters get better at their work. They must be presented new and more taxing challenges. This same approach can be used for a single investigation; the GM can present lower Difficulty levels at the outset and ratchet up the Difficulties as the story builds to its climax.

storyteller The Game Master authors the tale in which the PCs participate. However, since role-playing is an interactive narrative jointly crafted by the players and the GM, the Game Master should more create a rough outline rather than a detailed plot. While the GM creates the initial hook that draws the characters

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into the action, it is the players who determine the outcome of events and forge the plot through their characters’ decisions. Since players will often react to a situation in an unanticipated fashion, or approach a problem in a way that never occurred to the GM, the Game Master must be able to think quickly on his feet, adapting to the changing narrative. As storyteller, the Gamemaster is responsible for describing all environmental nuances to the players; time of day, weather conditions, where an event takes place, the location’s appearance, etc. are not decided upon by the PCs. The GM should describe the scene in a manner that best evokes the gothic mood of Darkly Through the Labyrinth, while allowing the characters to act and react within the context of the setting. The Game Master also bears the responsibility of creating and controlling all the NPCs with which the player characters interact. The GM defines their motivations and personalities and determines how they respond to the player characters and their actions.

know the players

When designing stories, the Game Master should keep in mind what the players might find entertaining. If the story interests the GM but not the players, the game will ultimately fail. Players want to showcase their role-playing abilities and challenge their characters, and the GM should facilitate this. Stories should be tailored to the interests of the players and give their characters ample chances to utilize their traits. Darkly Through the Labyrinth deals with disturbing subject matter. While part of the Game Master’s job is to unnerve the players, and horrify their characters, there are lines that

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should not be crossed. That line will vary for every player and group. Before play begins, the GM and players should discuss what are acceptable and not acceptable topics. This is often merely a matter of presentation. The Game Master may have to tone down certain descriptions or allow some events to occur off camera. However, some types of stories may be entirely off limits to some players, and the Game Master should understand and respect this. The GM’s primary job is to entertain his players. If one or more aren’t having a good time, the Game Master isn’t doing his job.

characters first

The Game Master must always remember that the player characters are the protagonists. They should never play second fiddle to any NPC, and should always be at the heart of the drama, driving the plot forward. Without them, the story goes nowhere. Players are in full control of their characters’ personalities and decisions; the GM has no say on how they act and should never pigeonhole the players into fulfilling his or her vision of the game.

nothing more than rumors given power by society’s fear. But human beings are quite capable of the monstrosities that caused such anxiety during this time. What if there really were bogeymen at work? This is the central conceit of Darkly Through the Labyrinth. In Darkly Through the Labyrinth, horror wears a human face. There are no supernatural forces at work. The Devil does not walk the Earth. Belief and twisted worship provide motive and cause. Nothing more. Since Darkly Through the Labyrinth is set in the 1980s, characters will have to conduct research by paging though books, documents, records, and microfiche. Computers are slow and clunky and have yet to find their way into most homes. Reports are written on typewriters or word processors. While fingerprinting and other forensic techniques are available, DNA testing is not yet a reality. The game’s setting provides challenges, but is not so far removed as to be foreign to players. That said, some groups may want to set the game in the here and now. This is perfectly fine. There is nothing in the rules tying the game to its setting.

era inspiration

Darkly Through the Labyrinth is set in the mid-1980s. During this period, a strain of paranoia ran through slices of the population who saw the Devil’s handiwork in all of society’s woes. Secret cabals abused or sacrificed the innocent. Crimes were committed in the Devil’s name. Heavy metal music and role-playing games indoctrinated America’s youth into Satanism. Society was being torn asunder by the invisible hand of Hell. Or so some people claimed. None of this was true. The urban legends turned out to be

Inspiration can take many forms. A particular turn of phrase or quote can spark an idea. So too can art and music. A Game Master may want to emulate the feel or plot of a particular film, book, or television program. Real world events can provide fodder for stories. David Berkowitz stated a demon possessed his neighbor’s dog and commanded him to kill (he later claimed to be part of a Satanic cult conducting human sacrifices). The crimes of Gilles de Rais

Game Mastering and Elizabeth Bathory can be recast in a modern context. The Jonestown tragedy, the Heaven’s Gate mass suicide, and the siege at Waco illustrate how faith can be twisted to horrible ends. The Game Master can tweak the motivations of real killers to serve the game’s premise. Ed Gein fashioned artifacts from human skin, bone, and other body parts. It should be noted that while Gein’s crimes were horrific, they would not have come to the attention of the player characters. However, if his crimes were being done for some occult or ritualistic purpose, the taskforce would get involved. Always keep in mind that the taskforce was created in response to the fears of supernatural influence that the public suffered from, and its primary mission is to lay to rest cases that have such trappings. There are many television programs and films that deal with religion or the occult without overt supernaturalism. True Detective and Seven are excellent examples. They feature investigations into crimes that would fall under the taskforce’s mandate and convey the gothic mood of Darkly Through the Labyrinth. The Wicker Man

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(1973) and The Believers (1987) are also appropriate. The television show Millennium is noteworthy, though there are

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lapses into the supernatural that the Game Master would need to ignore. Police procedurals such as Criminal Minds can also serve as inspiration; the GM needs only inject the occult. Some films and programs can be used for inspiration by excising their supernatural elements. For example, if the otherworldly is removed from Children of the Corn, the Game Master is left with a cult of murderous children who combine Christianity and paganism into the worship of a mysterious god known as He Who Walks Behind the Rows… a perfect inspiration for Darkly Through the Labyrinth. There will never be a supernatural explanation for any of the mysteries and crimes that are encountered, and the player characters are well aware of that fact. However, it falls to them to push back against the paranoia of their society, and tackle head on the horrific sources of those fears.

their own destructive motivations. Obviously, conflict can come directly from the villain of the piece, and this type of conflict will often be found at the climax of a story. Environmental obstacles, such as rain washing away footprints, are another source of conflict that can be used to challenge the players. The third type of conflict is more subtle, and involves a person being in conflict with themselves; it is in this role that a character’s flaws and insecurities come into play. A good story holds plenty of conflict that the player characters must overcome if they wish to achieve their Goals, and conflict diversity helps to give depth and breadth to the game. Since the players control the direction of the story, it’s difficult for the GM to create a plot in the literary sense. Players will often take an investigation in very different directions than what was originally planned. Thus, it is best to have a freeform plan of the scenes. The GM should create a story where the middle scenes of the plot can be approached in multiple ways.

crafting stories

Plot is the basic outline of the story, possessing three general parts. The beginning is the hook that involves the characters, the middle is where they discover and overcome intervening obstacles, and the end is where the characters resolve the drama and achieve closure.

There is always the risk that players might bypass a key scene altogether. With this in mind, the Game Master shouldn’t make the resolution of the story reliant on one particular scene. Sometimes, however, this cannot be avoided. Therefore, if the players skip a key scene or fail to resolve the conflict in the scene, the Game Master should offer a guiding hand here and there while carefully avoiding too much interference.

Plots require action and conflict to keep players engaged. However, action does not necessarily entail a chase or a fight. It simply means that an important story event is unfolding, which can be as mundane as talking to an NPC with important information.

the hook

Conflict means that something is preventing or impeding the player characters from accomplishing their work. This can be as straightforward as a locked door or a disagreement between characters, or as complex as a player character wrestling with

A crime with ritualistic or religious overtones is almost always the hook for a taskforce case. Besides lining up with the characters’ job descriptions, it must also interest the players, piquing their curiosity. If the hook is not intriguing enough that players are driven to solve the crime, storytelling will be an uphill battle for the GM.

Game Mastering An investigation’s hook can be presented in many forms. It might be a briefing by SAC Lewis or the direct inspection of a crime scene. In the later scenario, local law enforcement will have kept the crime scene intact for the characters to investigate, though time sensitive forensic data would have already been gathered and catalogued. The hook can also be a crime in progress, such as a tense hostage situation that the taskforce has been called in to handle. In some instances, the hook can be an intriguing piece of information that prompts an investigation, such as a photograph of a well-known politician participating in a black mass.

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or very generic (he preys upon the weak). The GM is encouraged to get creative with a criminal’s MO. Doing so helps provide differentiation between similar types of cri mes. A criminal’s MO is not always neatly summarized. For example: A serial killer is preying upon children. His victims are always thirteen years old, not a year younger or older. He watches them for days, learning their routines, so he can strike his victims when they are alone. His weapon of choice is a sickle, and he always kills his victims from behind with a slice across the throat. A red pentagram is spray painted on a nearby wall after each kill.

crime scenes

A crime scene is the most common hook in Darkly Through the Labyrinth. It sets the stage for an investigation, providing clues to urge the characters forward. The crime scene can be the site of an abduction, a burglary, or a violent crime. Most often, it is the site of a homicide. The Game Master is the players’ senses. She must relate all relevant details so the players can construct a criminal profile and begin their investigation. The GM must pepper her crime scenes with enough evidence to illustrate a criminal’s MO (modus operandi) and provide a path forward to investigative scenes. MO, or method of operation, is what a criminal must do to commit his crime. In the case of burglary, he might have to smash a window, bypass a security system, pick a lock, or break down the door. For murders or kidnappings, MO covers how a criminal chooses his target. He might stalk a victim for days, cruise isolated city streets, prey upon the homeless, or a variety of other approaches. A criminal’s MO can be very specific (he only targets those born under a certain Zodiac sign)

In the above example, the criminal’s MO is multi-faceted. The manner in which he chooses his victims (age and stalking), his murder weapon (a sickle), and the killing blow (a throat slash from behind) are all aspects of his MO. A crime scene should reflect one or more aspects of a criminal’s MO. For example: The body of a young boy is discovered in an alleyway. After identifying the child, the investigators realize that this alley was a shortcut between the victim’s school and home. This implies that the killer might have known the child’s routine, striking when he was alone and most vulnerable. The victim’s throat was slashed from right to left, implying that the killer either struck from behind or is left-handed. In the above example, additional investigative work can reinforce the MO or uncover other aspects of it. For example, if the characters know that this is the second child to die in this manner, they will be able to compare the two homicides. It will become clear that each child was attacked in an i solated

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location, and each was murdered in the same manner. The fact that each child is the same age is an aspect of the MO that could not have been known without comparing the two cases.

alleyway, his throat slit. The body is laying on its back, his legs closed together but his arms spread wide. Clearly, the killer posed the body.

The crime scene must also serve as a springboard for the investigation. It must provide clues for the characters to piece together or follow-up on.

Crime scene clues must illustrate what happened. Are there signs of a struggle? How did the criminal get access to the house? What physical evidence was left behind? Is there a single fatal wound or a series of gashes? Clues need not take the form of physical evidence. Witnesses, camera footage, documents, journals, phone records, and more can serve as clues.

For example: While inspecting the crime scene, multiple clues are discovered. A red pentagram is spray painted on the brick wall near the body. The angle of the wound provides an estimated height for the killer, which is supported by the size of the single footprint left behind. The shape of the wound indicates a curved blade was used. The child’s left index finger was severed and is not at the crime scene. The smell of incense lingers in the victim’s clothes and two black fibers are found on the body. Most importantly, the characters discover there was a witness to the crime, a homeless man who was cowering in a nearby garbage pile. Forensic analysis can be immediate or take a few days. While blood spatter will quickly point to the force and direction of an attack, it will take much longer to match up fingerprints. Slugs and casings can reveal wound paths immediately, but matching bullets to a particular gun takes time. Time of death can be determined fairly quickly by a trained examiner, but an autopsy may take days to complete. Some criminals will simply kill and depart the scene, leaving the body as it fell. Others will engage in staging or posing of the body. Staging is when a body is moved to confuse or mislead an investigation. Posing is done to fulfill a killer’s psychological needs or fantasies. In many cases, posing that indicates an occult motive might be the reason the taskforce was called.

Taskforce cases are not relegated to homicide investigations. A series of missing persons reports tied to a religious cult would draw the characters’ attention. A theft of a rare occult book collection would also fall under the taskforce’s purview. Many of the clues for these crimes are the same ones found at a homicide scene. A crime scene can also suggest motive, but this is far from definitive. The theft of a rare occult book collection could be the work of occultists in search of arcane knowledge. Alternately, the theft could have been done by a religious group seeking to burn the heretical books, or to keep them under lock and key where they can do no harm. As long as the motive is based on religion or the occult, it is suitable for Darkly Through the Labyrinth.

profiling

Once evidence has been examined, the characters will likely construct a psychological profile of the suspect or suspects. The profile can be based on many factors including: •

For example: The agents find the young boy’s body in the

•

Crime scene evidence. Whether the crime appears to be serial in nature or a

Game Mastering

• • • •

•

one-time action. The victim’s age, gender, and other characteristics. Whether the crime appears spontaneous or planned. The criminal’s MO. Whether the victim was chosen at random or carefully selected. If staging or posing was involved.

Profiling is far from an exact science; it requires a fair amount of guesswork, albeit guesswork that is based on psychology and behavioral patterns. Profiling rules can be found in Chapter Three.

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The main point of profiling is to give the players more of a say in the story. While the GM creates the plot, the players essentially craft the villain of the game. While they don’t name the suspect or get to describe who they are looking for in great detail, their profile will define the antagonist of the story in significant ways (age, gender, psychology, etc.). Therefore, the Game Master shouldn’t spend too much time creating a villain for the taskforce’s investigations. Instead, he should allow the players to sketch the suspect’s outline though their characters’ Profiling . The GM then only needs to fill in the minor gaps and details.

other hooks

While crime scenes are the most common hooks for a story, there are others. The player characters can be tasked with infiltrating a doomsday cult or negotiating a hostage situation with religious zealots. These hooks do not follow the usual crime scene analysis pattern. They provide a change of pace from typical i nvestigations.

the middle

The middle of the story is a collection of scenes, mostly investigative, that leads the characters from hook to climax. The exact number of scenes is up to the Game Master. Too many scenes can make an investigation


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feel sprawling and unwieldy, and too few scenes can make the case simple and ultimately unsatisfying. Conducting an investigation is analogous to assembling a puzzle. The crime scene clues are the corner pieces; they provide a boundary to which the remaining pieces can be connected. The investigative scenes are those missing pieces. Once enough of the puzzle is assembled, the characters will understand the crime and the monster behind it. Investigative scenes are the logical outgrowth of the hook. In these scenes, players pursue clues and lines of inquiry born of the crime scene. For example: The body of a young child is discovered in an alleyway. The victim’s throat was slashed from right to left, implying that the killer struck from behind, which is supported by the blood spatter. The angle of the wound provides an estimated height for the killer, which is supported by the size of the single footprint left behind and the blood spatter. The shape of the wound indicates a curved blade was used. The child’s left index finger has been severed post-mortem and is not at the crime scene. The smell of incense lingers in the victim’s clothes and two black fibers are found on

the body. The corpse is lying on its back with legs closed and arms spread wide. A red pentagram is spray painted on the brick wall near the body. A homeless man, who was hiding nearby, witnessed the killing. In the above example, there are multiple clues and lines of investigation: •

•

After identifying the victim, interviews with parents, friends, and teachers can be conducted. The homeless man can be interviewed.

Game Mastering •

•

•

•

•

The characters can knock on doors and ask around to see if anyone else heard or saw anything. Evidence can be turned over to a forensics lab to identify the incense and fibers (perhaps providing additional clues). Research can be conducted to determine the brand and style of boot that left the footprint. Research can be done to see if there is any ritualistic significance to the posing, throat wound, and missing index finger. The characters can consult local and federal pol ice files to see if this is the murderer’s first victim or part of a pattern.

What is obvious to the Game Master may not be obvious to the players. It is entirely possible for them to not understand the importance of a piece of evidence or line of inquiry. Worse yet, they may miss a clue entirely. If at all possible, the GM should not make a story’s resolution dependant on one particular scene. There should be multiple paths to the same conclusion. In instances where this is not possible, the Game Master can have an NPC nudge the characters in the right direction. Real police work is tedious, time consuming, and lacking the excitement found in literature, film, and television. The Game Master should speed up the pace, even stretching credibility a bit, to keep the story moving. For example, an autopsy report may take a few days to finalize, but the GM can have the report ready in twenty-four hours to better serve the pace of the investigation. Red herrings and dead-end leads are always a possibility in an investigative game and can slow down the pace. Fortunately, the Hunch trait minimizes this (see Chapter Three). For example: With a successful Hunch Goal, one of the

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characters determines that pursuing the footprint is a deadend. The boot is a common brand, style, and size, and this line of inquiry is not likely to yield fruit. During an investigation, the Game Master should allow the characters’ Scars to come into play. This will give the players a chance to role-play their characters a bit more and, in the case of a Major Scar, will provide an opportunity for earning Fortitude. Unless the Scar is tied to the theme of the story or surfaces at a crucial moment in the investigation, the GM should assign a low Difficulty to overcome it (d4 or d6). A failed dice roll for overcoming a Scar should not easily derail the story. The Game Master should incorporate the characters’ profile of the suspect when at all possible. For example, if one of the clues leads to the suspect’s home, his lifestyle should reflect the characters’ profile.

interviews and interrogations

Every investigation should feature a few scenes where the characters speak to witnesses and persons of interest. These scenes can clarify or illuminate the importance of a particular clue, provide back-story, or create an additional investigative path. They are also ideal opportunities for role-playing as players are able to showcases their characters’ personalities, speech patterns, and quirks. Witnesses, neighbors, and passersby are all interview candidates. So too are a victim’s family, friends, and coworkers; any NPCs familiar with the suspect could be especially valuable to approach. These individuals can provide background data on the crime, such as motive and opportunity. At the very least, they personalize the victim or suspect, making them more real


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research

Witnesses are not always reliable. Memory is a fragile thing. Some people will exaggerate their testimony or add imagined details. Sometimes this is done to deceive an investigator. Most often, it is simply faulty memory or the interviewee being unaware exactly how much he is embellishing. Another factor to consider is the culture of superstitious fear and paranoia that is woven through the setting of Darkly Through the Labyrinth. NPCs will be quite likely to reflect this cultural anxiety in their testimony.

Research scenes occur at libraries, courthouses, police stations, and similar locales. The purpose of most research is to provide background information that can put certain clues into context.

For example: The characters interview a homeless man named Charlie, who claims to have witnessed the murder. Charlie was sleeping amongst a pile of garbage, using it as a makeshift bed, when he heard the boy cry out. As Charlie was scared for his life, he mostly averted his eyes, catching only a fleeting glance of the killer. In Charlie’s words, “It was the Devil himself, come up from Hell to kill that boy. He had the head of a goat and fire shot from his eyes. He was in black robes and carried a sickle, like the kind farmers use. I’m telling you, it was Satan himself!” After some prodding, the characters discover Charlie was drunk at the time, making it difficult to know how much of his account is fact and how much is fiction. The only difference between an interview and an interrogation is the approach to information gathering. An interview is usually a more laid back affair and the subject is often friendly or at least neutral to the investigator. An interrogation usually involves threats or other coercive means. Interviews can be conducted anywhere, while interrogations are almost always done at a police station or FBI office. Suspects have the right to ask for a lawyer, but most do not; the players should keep in mind the legal responsibilities and ramifications to their characters, and act accordingly.

For example: After hours of research, the characters learn of an occult group called the Blood of Baphomet. They were a small satanic cult, numbering only five, who were unheard of until December 31 st, 1979. On this day, police discovered their bodies in a boarded up elementary school; each cultist’s throat had been sliced open. The wounds were self-inflicted. Each clutched a rusty sickle. All five bodies were missing the left index finger. Scar tissue indicated that the fingers were severed long before the group’s suicide. The cultists were clothed in silk black robes lacking any ornamentation or markings. While investigators found melted black candles and a thurible at the scene, there was no evidence explaining the cult’s beliefs. The only clues left behind were some markings on a wall. Spray painted in red was the phrase “The Blood of Baphoment” with a series of tally marks, thirteen in all, scrawled in chalk. The police identified four of the five bodies. All four were homeless with no fixed address. None of them had any contact with friends and family in years. The mystery remains unsolved. Research scenes should be kept fairly short, as they do not provide a lot of opportunity for conflict or role-playing. That’s not to say that a creative Game Master cannot do more with them. Conflict can be introduced through an uncooperative NPC, and a memorable location can make a research scene more interesting. For example: The characters turn to a local occult bookstore and spirit shop for assistance. The interior of the building

Game Mastering is dimly lit and decorated in a Victorian aesthetic. Display cases are filled with occult trinkets, from shrunken human heads and strange elixirs to tarot cards and ritual knives. Bookcases line the outer walls covering all manner of subjects related to folklore, magic, and the occult. The shop’s caretaker is an elderly woman with a snaggletooth smile and a glass eye focused in one direction. During an investigation, the characters will check in with medical examiners and forensic technicians. Their findings are important pieces of the puzzle. For example: The characters receive a forensic report from the FBI lab at Quantico. The fibers found at the crime scene are black silk. The incense is primarily a mixture of henbane, belladonna, frankincense, and myrrh, though it has been mixed with tar to produce a blackish smoke when burned. The shape and depth of the wound definitively identifies the murder weapon as a sickle. Characters will need to determine if this is the suspect’s first crime or the latest in a series. This is done by talking to local law enforcement and reviewing police records. If this is the latest in a string of obviously similar crimes, within the same general area, the characters will know this fact at the investigation’s outset.

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For example: After examining police files on the previous murder, reviewing the forensic reports, and conducting research at a local occult bookshop, additional investigative scenes have presented themselves. The agents can research the first murder, speaking to that victim’s family and friends. They can visit the first crime scene and canvass the area, interviewing citizens who may have seen or heard something. They can also revisit the occult bookstore. The owner may be of some help identifying the incense or know more about its use and significance. One follow-up scene can sometimes lead to another followup scene or provide an additional lead for the characters to pursue. For example: The owner of the occult bookstore is familiar with the incense found at the crime scene. It is marketed as “Obsidian Haze” and she carries it at her shop. The proprietor tells the agents that it is not a very popular item; she only sells a bottle or two every few months. If asked about any recent customer purchases, she recalls an odd man in his late 20s who walked with a limp. He was muttering under his breath and couldn’t look her in the eyes. He wasn’t rude per se, but came across as distant… as if his attention was focused elsewhere. elsewhere. The elderly woman woman is able to give a fairly detailed description of the man. The characters now have another lead to investigate.

Research scenes can be launching points to other investigative paths. Information gleaned from these scenes will need to be reviewed and followed up with to determine its relevancy.

Each follow-up scene should provide the players with another piece of the puzzle.

following up

splitting up

The initial investigative scenes are born of the hook. However, these scenes can lead to follow-up scenes of their own.

Players may decide to split themselves into smaller groups, each conducting a part of the investigation. If this occurs, the


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Game Master will have to toggle back and forth between the groups. The GM must remain aware of how long he is focusing on one group over the other, as the waiting players can get bored or distracted if they are waiting for too long. Of course, if the Game Master’s tale is suitably engrossing, waiting players may not get too fidgety. Instead of verbally filling in absent team members, players may state their intention of updating each other off-scene; this will serve to move the game along and motivate those players, whose characters are not present, to pay attention to the activities of the other group.

fights and chases

While a briskly paced investigation will keep players entertained, the Game Master should throw in an action scene or two. They provide a change of pace from researching and interviewing, and allow applicable character strengths to shine. Action scenes can be anything from a pursuit on foot or car chase to a fight or other physical challenge. For example: On Charlie’s suggestion, the agents speak to another homeless man in the area, Stinky Joe. Like Charlie, Joe sleeps in the alleyways near the crime scene. With some help from Charlie, the characters are able to track down Stinky

Joe. However, once he spies their guns and badges, Joe darts away like a jackrabbit. The agents give chase. Fight scenes can show up at any point in a story. Placing an action scene early in an investigation can keep the players on edge for the remainder of the case. As investigations can be overly talkative and heavy on research, an action scene placed near the middle of the story can help keep things lively. Action scenes near the end of a story will ratchet up the tension as the characters move towards the climax.

Game Mastering repeat offenders

While the characters are conducting their investigation, the criminal can strike again. A second crime increases the urgency. It can also provide additional clues or confirm information the characters already have. For example: The agent’s local law enforcement liaison wakes them in the middle of the night. The killer has struck again. After getting dressed, the characters meet their contact at the new crime scene, a rundown and disused playground not far from the last murder. An adolescent girl has has been killed and displayed in the same manner as the first two children. A pentagram is painted on the concrete nearby. This time, the killer left behind multiple bloody footprints; he stepped in the girl’s pooling blood and tracked some of it away from the crime scene. Although the footprints only lead a few yards before fading, fading, they provide additional additional data: the the killer is dragging his left foot. This is a clue that wasn’t available at the last crime scene, and it clearly identifies the killer as the same man who recently bought the incense from the occult shop. The police begin to circulate a composite sketch of the suspect in hopes that someone may know him. If the criminal strikes again, the second crime should fit his established MO and. It should also support the PC’s profile, if at all possible.

extraneous scenes

Extraneous scenes are those not directly tied to the case the characters are working on. However, they can enrich the story and provide role-playing opportunities for the players. Examples include dealing with the local press, coping with Scars,, and disagreements with local law enforcement. Scars

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Conflict is the common factor in the above examples. If an extraneous scene provides no conflict, it provides no drama. Done properly, these scenes give players a chance to showcase their role-playing skills and paint a clearer portrait of their characters. How do the characters handle a reporter constantly tailing them or begging for an interview? Can they conquer their own personal demons long enough to see the investigation through to its conclusion? How do they interact with the local sheriff who’s unhappy they are horning in on his investigation? Drama is born of such questions and situations.

penultimate scene

The penultimate scene immediately precedes the climax. In this scene, the player characters piece together the puzzle or receive vital information that places them on a trajectory to apprehend their suspect. For example: Over the last few days, the police have been circulating composite sketches of the suspected killer, based on the description provided by the owner of the occult bookstore. After recognizing the suspect, a young lady comes forth and identifies him. She claims to work work with with the suspect at a local video rental store. However, her coworker hasn’t shown up for work in days. The penultimate scene must be a byproduct of the characters’ detective work. If it is a deus ex machina, machina, the preceding investigative scenes are made inconsequential and the PC’s legwork will have been for nothing. The players must be responsible for their own success. The penultimate scene can occur at anytime. While the Game Master will usually have a rough idea where in the plot this scene will take place, players can disrupt this. They may


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make intuitive leaps or get lucky. They may bypass multiple investigative scenes. This is perfectly fine. If the players have solved the crime or identified the suspect, the Game Master must let the player characters move forward, the GM’s original plot be damned.

the end

Every story has an ending. In Darkly Though the Labyrinth, the finale is comprised of two components: the climax and the epilogue.

climax

The climax is the decisive scene where success or failure is measured. It should be a moment of tension for the players with much at stake for their characters. Courage should come into play. For example: The characters execute a search warrant for the suspect’s apartment and move on the location with local law enforcement. They assemble in the hallway outside the apartment’s only door. On their mark, police officers break down the door with a battering ram. With guns drawn, the characters storm the apartment. The climax can provide clarity to the villain’s motivations or bolster the PCs case against him. For example: After carefully checking every room and closet of the suspect’s apartment, it is clear he is not present. A cursory search of the apartment produces a journal filled with scribbled pentagrams and multiple references to Baphomet. A thurible is found in a closet, reeking of the

same incense found at the crime scenes. In a nightstand drawer, the investigators find the left index fingers of the three victims. The murder weapon and bloody boots are nowhere to be found. The climax is usually the final conflict with the villain of the story. Depending on the Game Master’s tastes and the players’ expectations, this can be a quick and decisive confrontation or an intense, action filled scene. Regardless, it should be memorable. For example: While searching the suspect’s residence, the power goes out to the entire apartment complex. The player characters and their police allies draw their weapons, sensing something is amiss. Their flashlights begin scanning the apartment and hallway outside. One officer is dispatched to find the circuit breaker and another goes to contact the property manager. A demented laugh echoes through the rundown complex. The players quickly move through the hallway and begin heading towards the laughter. Stepping around the corner, they catch a glimpse of someone at the corridor’s end. The shadowy figure clutches a sickle in one hand. He disappears into the adjoining hall and the characters give chase. To ratchet up the tension, the Game Master can throw additional complications at the player characters. For example: The police raid and the sudden power outage have piqued the curiosity of multiple tenants who are stepping into the hallways to see what all the commotion is about. The characters must now contend with civilians while they hunt their prey in the dark. An investigation can conclude by finding the critical piece of evidence that puts a criminal away or by solving a murder. It

Game Mastering can end with locating a missing person or recovering a stolen object. Most often, it is brought to a close with the apprehension or death of the suspect. For example: The killer, wearing a black robe and a goat’s head mask, lunges from the shadows. His sickle nearly strikes one of the characters. The other agents quickly rush the suspect, tackling him to the ground, kicking his weapon away, and subduing him. The killer spits profanities as he is rolled over on his chest and handcuffed. Action, such as a fight or a chase, is the easiest way to create tension during the climax. However, this does not have to be the case. For example, a missing person is found with a bomb affixed to his chest. According to the timer, the bomb will detonate in less than two minutes. Since there is not enough time to call in the bomb squad, one of the player characters will have to take a crack at it. The climax should reinforce the characters’ profile of the suspect, when at all possible. The GM should stay flexible enough to tweak the ending scene as needed. For example, if the Game Master envisions the killer living alone in a rundown apartment building, but the profile suggests the suspect likely lives with his mother, the GM should alter the climax to have the killer’s home be in-line with the profile. Doing so, helps give the players more of a say in the story.

epilogue

The epilogue is the postscript to the investigation. If one or more of the PCs discharged their firearm, there will be an internal review (there will be even more scrutiny if the suspect was killed by one of the characters). The PCs may have to go through mandated counseling to process what they experienced during

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the case. If so, this is an ideal opportunity for role-playing, as each player will have a chance to reflect on what has occurred. While standard practice is for counseling to be conducted in a one-on-one environment, the GM can stretch matters a bit, making it a group therapy session to keep everyone involved. A denouement is sometimes necessary. In this form of epilogue, any missing pieces of the puzzle are provided. These are details that fill any gaps in the investigation or clarify the villain’s motive. Typically, these are not critical details, only background information. This information can come from the interrogation of the subject or from reviewing evidence. To streamline and simplify the denouement, the Game Master can have SAC Lewis debrief the players. For example: The players have gathered in a conference room at Quantico for their debriefing. SAC Lewis thanks them for their work and provides additional insight gleaned from the killer’s journal and interrogation. The suspect was inspired by the “Blood of Baphomet” group that inexplicably committed suicide in 1979. He read about them and his diseased mind filled in the missing details to the mystery. The killer created his own significance to the various crime scene elements. He assumed the missing left index fingers to be part of some occult ritual, so he followed suit. He made thirteen the age of his victims after the enigmatic tallies on the wall. He used incense to “sanctify” his murders as incense was found at the “Blood of Baphomet” crime scene. He wore a robe of black silk to emulate the cult. Knowing that the occult figure Baphomet was often depicted with a goat’s head, the suspect donned such a mask for his bloody work. At the conclusion of some investigations, a few unanswered questions may remain. This is perfectly fine. A few loose ends can add resonance to the story as the players are left to ponder


62 the unknown.

For example: While the killer’s journal reveals much, it doesn’t divulge all. It provides no explanation for the posing of the victims and when the killer is asked about it, he simply smiles. Any loose ends and unexplained elements should be fairly minor details. Major story points need to be revealed during the course of an investigation.

npcs

While each player controls a single character, the Game Master is responsible for creating and role-playing all the NPCs with whom the player characters interact. The GM defines their personalities and motivations, what they say and what they do. Some NPCs will have marginal roles in the story while others will have prominent ones. NPCs are best viewed as aspects of the setting who are there to help bring the narrative to life; they should never usurp the PCs’ role of driving the drama. Most NPCs will be specific to a single investigation. Therefore, the Game Master needs to decide how much detail and background to apply to them. She may prefer three-dimensional characters or quick stereotypes, such as the nosy reporter or the uncooperative sheriff. Stereotypes are effective, as their familiarity provides an easy means for the players to connect to the narrative. Over the course of multiple investigations, there will be a few recurring NPCs. These include the FBI pathologists and lab technicians frequently called upon for their expertise as well as fellow agents and supervisors, such as SAC Lewis. A dogged reporter following the taskforce from case to case fits this bill

Game Mastering as well. If an NPC is intended to be a recurring character, the Game Master should consider fleshing out his personality a little more than normal. She may want to determine the character’s motivations, quirks, and background in advance. Alternately, an NPC’s personality can form gradually over time, becoming more realized as interactions with the player characters become more frequent. As previously mentioned, the Game Master shouldn’t spend a lot of time defining his villain. This is best handled by the player characters’ profile. Vitality is the only trait possessed by NPCs. That’s not to say that NPCs do not have talents, aptitudes, and skills; they are simply not quantified in game terms. Subduing a former Navy SEAL carries a higher Difficulty than handcuffing a middle-aged drunk. Getting assistance from a friendly NPC is easier than coaxing help from a hostile one. In Darkly Through the Labyrinth, an NPC’s background and abilities are given consideration, but this is done to aid the GM in setting Difficulties. They are not spelled out as traits like the ones possessed by the player characters.

locations

Setting is more than the game’s era; it is also the various locations the player characters will visit during an investigation. While a well-crafted plot and interesting characters will keep everyone engaged, memorable locations will make it easier for players to immerse themselves in the story. It’s important that the Game Master’s descriptions bring the setting to life for the players. Choosing the right adjectives and invoking as many senses as possible are important keys to doing so. A location’s description can be used to reinforce an NPC’s

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personality or background. A tidy and neat bookstore says one thing about its owner, while a disorganized shop with random stacks of books strewn across multiple tables says another. An affluent middle-class home in the suburbs and a ramshackle cabin in the woods paint completely different portraits of a killer. Locations can be used to invoke dread and discomfort in the players and their characters. Abandoned or neglected structures can be utilized to engender unease. The more isolated the location, the better. The Game Master can call for players to make Courage rolls in such environments. Memorable locations are best reserved for important scenes. The GM doesn’t need to make the home of the victim’s parents noteworthy and the local convenience store doesn’t need to resonate with the players. The Game Master can describe these places on the fly by drawing on personal memories. There’s no reason to sketch out a minor location in advance.

mood

Mood describes the emotions the GM is trying to evoke through the setting. In Darkly Through the Labyrinth, the mood is one of suspense and dread, drawing on the gothic tradition. A grim and foreboding atmosphere should permeate the Game Master’s stories. When establishing mood, the GM is advised to keep all five senses in mind. If the characters stumble onto a decaying corpse, the GM shouldn’t just explain what they see; she should describe what they smell and hear as well, namely the stench of rotting flesh and the buzz of flies about the body. The best descriptions make use of multiple senses. Little touches are vital to invoking a sense of dread. An abandoned building can be made more unsettling by including

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a few unkempt, dead-eyed squatters. Crumbling stairs can descend into pitch black. A chill in the night air or the fleeting glimpse of a rat scurrying for cover can help create the proper mood for Darkly Through the Labyrinth.

setting of Darkly Through the Labyrinth. Removing a working phone line will certainly add to the characters’ isolation, as whipping out a cell phone is not an option.

The quirks and mannerisms of NPCs can also be used to reinforce mood. An enigmatic stranger, a secretive witness, and a wild-eyed lunatic can all generate disquiet. An NPC who constantly wrings her hands, fidgets, or can’t look people in the eye can also put the PCs on edge. However, the GM shouldn’t overpopulate his world with eccentrics, as this will stretch credibility and ultimately ruin the mood he is trying to create. While dread and disquiet define the mood of Darkly Through the Labyrinth, the tension needs to be punctuated with quieter moments. It is impossible to constantly keep such a mood going, and the more horrific scenes will lose their impact if the gloom and doom is never contrasted with the light.

foreshadowing

The Game Master can also draw upon the paranoia of the times. Neighbors can mistrust one another, pointing fingers in accusation. Witnesses can be uncooperative, believing the law to be part of a vast satanic conspiracy. The GM should employ paranoia sparingly. A single suspicious NPC can add drama to the game; a multitude can turn the mood to absurdity. There are a few specific techniques that can be helpful in invoking mood.

isolation

If the player characters are isolated, it is easier to unnerve them. Placing some of the scenes in out-of-the-way locations will do this. Stripping the characters of modern conveniences is also effective. It should be remembered that much of the tech that keeps us connected in the modern world is absent in the

Subtly including hints of things to come, whether in the setting or through the actions of those individuals the characters encounter, can add significance to later events. However, foreshadowing should never spoil what is to come. Foreshadowing is most effective when it is invisible to the players until deep into the story or at its conclusion. In fact, players don’t even need to be aware that foreshadowing has taken place for it to be effective. It can provide a subtle subtext that players react to on an unconscious level, which is useful in building suspense.

building suspense

Nothing accentuates horror more than suspense. Suspense is the desire to know what is going to happen next and the apprehension that comes from not knowing. There are many ways to generate suspense. Presenting a mystery that needs to be solved one piece at a time is the easiest way to do so. Another approach is to ratchet up the difficulty of the conflicts as the story progresses. By doing so, the stakes become higher with each step as the characters near the story’s end. Obscuring the full nature of a threat is also useful for building suspense.

the half-seen

Catching only a glimpse of someone or something is an excellent way to build mystery and suspense, which will rouse the pl ayers’

Game Mastering curiosity and keep them engaged. This is always better than outright revealing what is out there. It’s more terrifying for the characters to see the shadow of something moving through the woods than to see the thing itself. A driving rainstorm, a foggy evening, and flickering lights are some of the ways to accomplish this effect.

theme

Theme is the idea at the heart of a story. In the broadest sense, theme is what the story is about. It adds weight to the narrative and enriches the role-playing experience. While it is possible to have multiple themes in a single story, it is typically best to stick to only one. Examples of themes include: • • •

Dark secrets will always come to l ight. There are ramifications to playing God. Forbidden passions come with a price.

These themes are common to gothic literature and can be easily molded to fit Darkly Through the Labyrinth. A taskforce investigation exposes the secrets of a clandestine cabal. A cult leader’s god complex proves to be his undoing. A serial killer is driven by a twisted and forbidden passion. These are only a few of the many themes possible in Darkly Through the Labyrinth, and different investigations will naturally lend themselves to different themes. However, each story’s theme should be dark in tone and reflect the underlying mood. Theme can be embodied by setting, character, or plot. It is up to the Game Master to determine how best to impart the

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story’s theme to the players. However, it is important that the GM does not do so in a heavy-handed manner. Players should never feel like they are being lectured to.

structure

The stand-alone story is the default structure for Darkly Through the Labyrinth; each story is a self-contained investigation or case. An ongoing narrative would simply be a collection of individual and disparate investigations, with the same group of player characters honing their skills over time and expressing more of their underlying personalities to their fellow agents. This is the easiest way to approach the game. However, players may not be satisfied with a series of episodic investigations that do not build upon each other. They may crave a unifying narrative to link everything together. In Darkly Through the Labyrinth, there are those who believe a vast satanic conspiracy is behind society’s decay. The Game Master can make this fear a reality, linking multiple cases. Over the course of time, the PCs will discover a single guiding hand behind much of the occult activity they’ve investigated. This can be made more terrifying if the conspiracy’s influence stretches into the halls of power. What will the agents do when they discover that television executives, CEOs, and politicians comprise the upper echelon of the conspiracy? With careful planning, each case can reverberate into the future. For example, a killer’s actions can inspire copycats that the PCs must contend with from time to time. Worse yet, a cult could arise based on the killer’s i deology. Such a cult could be a long-term threat for the characters. The legal process is another way a case can echo for years. Between investigations, the PCs may be called upon as witnesses for the prosecution or can become otherwise involved in the ensuing courtroom drama.

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An intrepid Game Master can combine legal machinations with the rising cult idea. A recurring villain is another means of linking investigations. However, this needs to be done with care, as there are potential pitfalls. Firstly, this approach means the villain is constantly getting away, which indicates the PCs aren’t achieving real victories. Secondly, the villain can come across as a moustache twirling, cartoon caricature. The easiest way for the GM to avoid these pitfalls is to have the villain operate through intermediaries or supplicants. Only at the conclusion of multiple cases do the PCs have their final run-in with the mastermind.

adaptability

An important abili ty in game mastering is adaptability. The GM must think quickly on her feet when the players throw her a curve ball. They will make choices and take actions the Game Master could never foresee. The GM should be prepared to roll with the punches and adapt on the fly. The best way the Game Master can do this is by knowing her plot and NPCs inside and out. If the GM has a strong grasp of the story’s plot, she will be ready for the players to navigate it via an unexpected route. In the case of unanticipated interactions with NPCs, knowing the personality of each NPC is paramount. If the GM has a solid personality in mind for the key NPCs, she will l ikely know how they would respond in any given situation.

themselves faced with their own mortality. There’s a difference, however, between a player making a rash or unwise decision that leads to her character’s death and a character dying due to a bad dice roll. If a character jumps off a high-rise balcony onto the street below, it is extremely unlikely that she will survive. In such an instance, the GM should warn the player of the consequence of her actions. If the warning is ignored, there’s little the Game Master can do. Firearms are deadly. They can kill with a single dice roll. However, firearm combat is also easily avoidable by cautious characters. Since alert PCs maintain the initiative in most situations, proceeding with caution will enable them to get the drop on their target. The Game Master should also keep in mind that most criminals, when threatened with an armed team of FBI agents, will surrender rather than open fire. It is incumbent on the Game Master to not put a character in a needlessly dangerous situation with little chance of survival. The player character should always have a good chance to survive any encounter, whether through fighting or retreat. Of course, if the GM puts the character in a dangerous situation and provides a way out, and the player opts not to take it, the fault for character death lies with the player.

final thoughts When all else fails, the GM can call for a short break and take a moment to ponder how best to proceed.

character death

During the course of a story, player characters may find

This chapter is not gospel, merely advice. Investigations can be constructed in whatever way works best for the GM. Rules may be tweaked or ignored. Alternate moods can be explored. Game Masters should take the material and make it their own.

INDEX Academics 15 , 16, 18, 21, 28, 33, 38, 40 Adaptability 66 Behavioral Science Unit (BSU) 7, 10-11, 15, 21 Boxing 16 Building Suspense 64 Character Death 66 Climax 58, 59, 60 , 61 Composure 20 , 21-22, 41, 42, 44 Conflict Resolution 16 , 17-18, 33 Confrontation 34 Courage 12 , 20, 37, 41, 42, 44, 60 Crime Scene Analysis 31 Crime Scenes 51, 52 Criminology 16 Cryptography 17 , 43 Defend 36 Defense 15 , 16, 18, 21, 28, 34, 35, 37 Difficulties 5, 6, 15-19, 22, 24, 25 , 27-37, 39-44, 46 , 55, 63 Disarming 16 Epilogue 61 Extraneous Scenes 59 Fieldwork 15 , 16, 18, 21, 28, 31-33 Fights and Chases 58 , 61 Firearms 16 First Aid 16 Following Up 57 Forensics 16 , 18 Foreshadowing 64 Fortitude 18 , 19, 21-22, 24, 30 , 43 , 55 Gather Information 31 Goals 11-22, 24 , 25-37, 39-40, 42-44, 46, 55 Grappling 16

Half-Seen 64 Healing 37 Hooks 50 , 51, 53 Hunch 12 , 37, 40 , 41, 55 Incapacitate 34 , 42 Ingenuity 11, 12, 13, 15, 21, 24, 25 , 2629, 31, 37-38 Instinct 11, 12-14, 24, 25 , 26-27, 37, 41 Interrogation 16 , 18, 32 , 56 Interviewing 16 , 18, 32 , 55, 56 Isolation 64 Kill 34 Law 16 Lewis, Jim 8, 51, 61-62 Lock Picking 17 Major Scars 19 , 20, 22, 43, 55 Medicine 17 , 29, 43 Methods 5, 6, 11, 12-16, 19-22, 24, 25 , 26-31, 35-38, 40-42, 44 Minor Scars 20 , 43 Modus Operandi (MO) 51, 59 Mood 6 , 63 , 64 Mythology 17 , 32 Negotiation and Persuasion 32 Observation 31 Occult Studies 17 , 29, 32 Penultimate Scene 59 Posing 52, 62 Proficiencies 18 , 21, 22, 24, 29 Profiling 12 , 28, 37-40, 52 , 53 Psychology 16 Qualities 14 , 15, 19, 21, 22, 24, 27 -28, 30-35, 37-38, 40-42, 44 Quoting the Law 33 Religious Studies 17 , 32

Research 16 , 32 , 56 , 57 Resolve 11, 12-14, 16, 20-21, 24, 26 , 27, 37, 42 Scars 19 , 20-21, 55, 59 Sociology 16 Specialized Goals 12 , 13, 37 , 41 Specialties 16 , 17-18, 21-22, 24, 28 , 2933, 41-43 Splitting Up 57 , 58 Staging 52 Stealth 33 Strength 13 , 14, 19, 21-22, 24, 30 , 31 Tactics 16 Teamwork 42 , 43 Theme 65 Tracking 17 Training 15 , 16, 18, 21-22, 24, 28 , 29-31, 33-35, 37-38, 40-43 Training Skills 16 , 18 Undercover Operations 17 Unskilled Goals 43 Vitality 20 , 21-22, 35-37, 44 , 63 Weapon Retention 16 Wound 35

Darkly Through the Labyrinth

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