For a Storyteller, nothing is more satisfying than creating a story and plot that wows players and has them asking for more. A Storyteller often spends a great deal of time planning for a single session of a Vampire: The Masquerade LARP, hoping to create that effect for her players. From detailing NPCs to designing scenes and plot arcs, she has a lot of preparation to do. With all this planning involved, many Storytellers forget to take into account the physical location of the game, though this single element could be the one thing that impresses players the most.
By considering the decorations, props, lighting, music, and location of the play space, a Storyteller can bring the mood and atmosphere of a scene to life. Picking the right elements for a scene or in-game location immerses players into the setting, allowing their imaginations to concentrate on character interactions. Players who are invested in scenes drive gameplay and story forward on their own, allowing the Storyteller time to run plot and the mechanical aspects of the game with minimal direction for the story and social aspects of the game.
Keeping players immersed in the game not only allows for continuous scenes and role play, but also creates an investment by the players in the scenes. Simple planning decisions such as identifying specific rooms in the play space to represent specific in-game locations can easily keep players fully engaged with the game for the maximum amount of time. When planning how to set up scenes and where to place them within the available space, the Storyteller must consider the following:
• What is the social atmosphere of the game? Are the players planning a court, social event, or several smaller meetings?
• Which clans are in play, and which of these clans need special arrangements? Do the Nosferatu meet each gathering in their sewer domain, or do the Toreador visit art galleries to have secret meetings?
• Are any of the plot scenes dependent on specific locations? Will the antagonists show up at Elysium to declare a verdict, or can they be met anywhere in the city?
• How long will specific scenes take? Are the Tremere going to be in their Chantry all night or just an hour, and how much time is the long-awaited fight with the Sabbat likely to take? Determining the social atmosphere of a game requires the Storyteller to work closely with her players to ensure she knows what they are planning, and if she needs to designate space for iconic meeting places. A Vampire: The Masquerade LARP can easily be a purely social and political game, with players spending most, if not all, of a game session plotting and planning. Part of running a LARP is creating player agency when it comes to the social game, allowing players the ability to direct social dynamics of the game without Storyteller intervention. For instance, if the Prince is planning a court gathering for the next session, the Storyteller should be sure to designate a space specifically for the court’s location. The same goes with planned parties such as Toreador salons, Brujah raves, and so on. While these social spaces should not be considered sacrosanct when it comes to plots or evolving scenes, the players should have a reasonable expectation that these areas will foster social interactions. Not every game session will require you to represent all in-game locations. If the Prince has decreed that his main Elysium is unsafe and no one should go there, having a space specifically designated for the in-game building is unnecessary. That isn’t to say no one will want to go there, as characters often decide to go against authority, just that no special space needs to be designated for those scenes. Some clans have in-game locations separate from the normal social setting, such as the Tremere Chantry, the Nosferatu warrens, or a Malkavian-run hospital. Having a room designated for characters to hold meetings allows them to make a schedule to use the space. For that matter, providing for any iconic location or meeting space is worthwhile. It may simply be a dive bar run by the Brujah Primogen or a posh night club owned by a Ventrue conglomerate. If a clan knows it is going to meet, but only for a short time, there may be no need to designate an entire space for them. But, if the players are planning a long social scene or lots of activity revolving around their meeting space, it might be worthwhile to plan a designated area for them. This information also helps determine how large of a space to provide, and how long it will be needed. For clan meetings that may take an hour or less, a single room can be designated and alternated between the clans throughout the night. Scenes that last for more than an hour might need their own reserved space separate from the rest. In addition to all of the social and meeting locations, the Storyteller must ensure her own scenes have a specific uninterrupted area. Depending on the size of the game and The World is a Stage: How to Stage Your World by Danielle Lauzon the number of Storyteller assistants who can run parallel scenes, one area can be designated the plot area, with no social or meeting scenes happening in that location. Some Storyteller scenes may occur in other designated areas, such as someone party crashing the salon or a detonating a bomb at the Elysium. The Storyteller should make sure that space is reserved for scenes that are dependent on a specific location. For example, if the local Sabbat Bishop is going to show up at Elysium to make threats on the Prince’s life, then the Storyteller should ensure that the Elysium is represented in game and players have reasons to be there. If the players need to perform a ritual at a specific location to banish a demon back to hell and destroy its associated artifacts, then the Storyteller should make sure she has the proper space designated for that scene. Planning for how long a scene is likely to take can be tricky. For social scenes, this is a little easier, as meetings can be structured to cover a number of points in a short amount of time. Plot scenes’ length can vary, depending on what is happening. Meetings between players and NPCs may be easier to predict than scenes involving combat. If scenes are likely to take up large portions of the game, or have widely variable lengths, such as combat, then the Storyteller should take that into consideration when deciding where to put those scenes in the play space, as well as how long to reserve the area. A good rule of thumb is that if the scene is likely to last for at least half the game session, or if the scene is likely to have combat, then the Storyteller should designate a space for the entire length of the game. If the space is vacant later, it can always be used for meetings. Designated areas should continue to represent the same ingame location throughout the game session (as much as possible) to prevent player confusion. Some play spaces can be mutable by nature, such as the plot and Storyteller scene space, which changes based on the scene. Decorating Spaces Defining play areas as specific in-game locations gives cues to players, allowing them to remain in character for as long as possible during the game session, and it helps keep them immersed in the game. Maintaining player immersion is a huge factor in determining the level of investment a player has in any one scene and her enjoyment of the game. The atmosphere of the play space can do a lot to give players a feel for the kinds of scenes their characters will experience. Providing simple props and decorations can enhance the descriptive elements of a scene. Decorating the play space gives visual cues to the players about where the scene is occurring, preventing them from interrupting roleplay to ask for clarification. Decorations can be small props, large set decorations, special lighting, or music playing in the background. Using any or all of these decorative elements depends on the kind of scene the Storyteller is preparing to create. Props provide small accent decorations in a room, drawing the players to a set piece or allowing them to interact with a physical representation of a mundane object. Props are by far the easiest decorations to use, as they are small set pieces or hand-held items that can be placed in a designated space without large changes to the room. A stack of distressed books on a table, accompanied by unlit candles, can indicate an elder’s study or an arcane library. Several empty alcohol bottles stacked in a row against a wall transform a space into a bar or nightclub. A single print or picture on an easel in a bright room can turn a space into an art gallery. Large set decorations immerse the players in the atmosphere of the scene, creating a unique location within a simple room. Large set decorations can turn a room into the lush venue of an opulent ball or show players the full design of a ritual circle. Decorations do not have to be expensive to be elaborate. Singletone table cloths draped over chairs and tables transform a meeting room into a plush salon. Centerpieces placed on tables invite the idea of lavish settings. Backdrops painted with cityscapes in a completely dark room with fluorescent lights at the top of poles create a street scene. Half-used candles and melted wax on stacks of old-looking paper on a table in a small room create a mysterious study. Beyond props and decorations, lighting and music can vastly change the mood of a space. Lighting can be as simple as turning out the room’s natural lights or only allowing dim light to shine via a lamp, or it can include colored floor lights and large overhead lights. Music can be played into any room with small portable music players and speakers, or it can be the main focus of a room, with large concert speakers controlled from a computer. Dim lights and low background music can make a space feel cozy, and the addition of flickering candles can turn the space creepy or mysterious. Bright lights can make a room feel cheery or sterile and harsh. Loud rhythmic music and flashing colored lights can change a ballroom in a hotel into a crowded dance club. Types of Play Spaces It’s essential to familiarize yourself with the available play space before a game session. The beauty of a LARP is that it can be held anywhere people can gather. Play spaces often have similarities that allow a Storyteller to plan even if she has never seen the space before. In general, a play space is located in three types of venues: a residence, a rented space, or a large open space. Residences often have multiple small rooms, with one or two larger gathering areas centralized within the home. Rented space can consist of one or two large rooms with any number of smaller rooms adjoining, including none. Large open spaces are usually outdoor spaces, such as parks and urban city sites. Each type of space has benefits and drawbacks, but with careful planning, the Storyteller can design her game for any play space. A large number of Vampire: The Masquerade LARP troupes play within residential play spaces. The space is often free, volunteered by a player or the Storyteller, and can accommodate many different meeting and gathering spaces, as well as plot and Storyteller scene locations. The size of the residence can limit the size of the game, as apartments cannot hold nearly as many players as a house, and even houses differ greatly in capacity. Also, decorating houses to increase game immersion can be a challenge. A common way to set up play spaces in a residence is to designate most rooms within the residence as a single location, such as a night club with many side rooms, an Elysium laid out exactly the same as the home, or the public haven of a wellknown court officer. In this case, the rooms are considered part of the same location, each seamlessly connected to the next, the same way they are laid out in the play space. The Storyteller should designate a specific room, preferably a larger one, such as a den, garage, patio, sun room, or large bedroom as a space specifically designated for Storyteller scenes. A single, smaller room can be designated as all other city locations for meetings, such as personal havens or the Nosferatu warrens. Each time either of the rooms change scene or location, small decorations or set pieces should be swapped out to give visual indications that the room has changed. Even a small sign on the door indicating the room’s current in-game location is acceptable, if the room’s designated location changes often. Residential spaces can also be subdivided into many different city locations, each one represented by a different room of the home. Setting the play space up in this manner allows all requested locations, such as a popular bar, the Elysium, or the Tremere Chantry to have representation at all times. In-game travel time between locations can cause pacing issues, though unless characters are traveling to Storyteller scenes, a few minutes of out of game to represent travel time should be sufficient. Rented spaces, such as hotel conference rooms, businesses, and even warehouses have different challenges. By nature, the space will cost money. This monetary burden can be shared among players to mitigate costs, or it may fall upon the Storytelling staff. Either way, rented spaces are usually much larger than residential spaces, but have fewer rooms for subdividing. Making sure rented space has enough smaller rooms poses the largest challenge for Storytellers. In general, the largest play space available should be designated as the main social gathering area: the Elysium or the masquerade ball hosted by the Harpy, for example. Any smaller adjoining rooms should take on the role of off-site meeting places. If the space is simply one large room, then the room can be subdivided using cloth hangings and creative placement of tables and chairs. One space completely separated from the main gathering space should be reserved for Storyteller scenes and plots, even if this has to be outside the building or down the hall from the main room. Generally, the rented space’s standard décor is minimal, allowing abundant use of props and decorations to transform the space as needed. Table cloths and centerpieces can turn normal tables into the edges of a ballroom or a cozy restaurant scene. Again, lighting and music can set the theme and mood for the location just as well, if not better, than the decorations themselves. Be aware that rented spaces often have rules preventing hanging things on walls, so any cloth hangings or backdrops should have their own stands. Some rental sites have stands available, but purchasing them or making them can be an inexpensive alternative to additional rental fees. Large open spaces, such as green spaces and urban parks have similar challenges to rented spaces, though their use is often free. Weather permitting, outdoor venues can be a delightful setting for a garden party or a Gangrel ranch. Depending on the size and shape of the location, distance from the main central location can serve to separate on-site meeting rooms and off-site locations. This kind of space requires the Storyteller to be somewhat familiar with the location before designating these spaces. The most convenient or largest open space should be the central location, allowing players to easily find their way to the main gathering area without much out-ofgame wandering. All other spaces should be designated using the central location as a starting point. For example, a pavilion in a park may be the central social area. The benches down the hill are the Brujah bar, and the lake’s edge on the other side represents the Anarchs’ hangout, while the stand of trees just past the pavilion to the north is the Tremere Chantry. Decorating large open spaces is a unique challenge. Since most Vampire: The Masquerade LARPs are generally held at night, lighting may be an issue. If the site has power outlets, strings of monochrome Christmas lights can add eerie resonance or bright cheer to a place. Large cloths draped over areas of the ground can designate rooms and divisions, giving visual cues for how large a space is. Again, free-standing backdrop hangers can make room divisions even more real. No matter the size or shape of the location, whether a house, a hotel lobby, or a park, the Storyteller can use these tools to ensure the setting of her game is as elaborate and detailed as her stories and plots. Most of the planning work for space designation is completed the first time the Storyteller uses a space, and afterwards she can use the same plan and decorations again, leaving more time to plan for story and plot development. Danielle Lauzon is a burgeoning freelance writer living in Houston, TX with her two dogs, two cats, and husband. She has written for White Wolf/Onyx Path games lines including Demon: The Descent, Mage: The Awakening, and The God Machine Chronicle. This is her first time writing for Studios, but she is thrilled to be included in such a great project. Vampire: The Masquerade was the first LARP she ever played in, and is still her favorite. She has a Master’s Degree in Animal Nutrition and works as a lab technician by day. At all other times she is an avid gamer, LARPer, and writer. Danielle also enjoys all things sci-fi, fantasy, and horror.
Originally published in Mind’s Eye Theatre: Storyteller Secrets by By Night Studios. Presented here under Resources for chronicles and live play.