W20 shattered dreams pdf download

Very disappointed by this book. Pro - excellent art, interesting history, some expanded info on the Camazotz, and detailing of the War of Dragons. The included chronicle looks like a fun romp through time to stop the ascension of Night-Master. See All Ratings and Reviews. Narrow Results. Wolfenoot Sale. Rule System. World of Darkness. Product Type. Core Rulebooks. Non-Core Books. Other Tabletop Games. Publisher Resources. Science Fiction. Phone PDF. Virtual Tabletops. Onyx Path Publishing.

Pay What You Want. It also presends circumstances surrounding the Second War of Rage, giving players the chance to take part, either as Garou Conquistadores or as the Fera desperately trying to fight off an invasion. Finally, the included chronicle structure allows modern characters to visit these cruciall moments of history in an effort to stop the Wyrm's most powerful minions.

Shattered Dreams is a non-canon exploration of a wild and crazy vision of the ancient past of World of Darkness. Shattered Dreams W20 Average Rating: 6. Werewolf: The Apocalypse Storyteller. Horror Supernatural. Demon: The Fallen Storyteller.

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Mage: The Ascension Storyteller. The Masquerade 1st Edition Storyteller. The Masquerade 2nd Edition Storyteller. The first edition of the novel was published in August 22nd , and was written by Irene Spencer. The book was published in multiple languages including English, consists of 0 pages and is available in ebook format. The main characters of this non fiction, autobiography story are ,.

The sheer scale of the upset forces him to participate in events, which Luna normally forbids. He is outraged that anyone would dare meddle in such an obvious and obnoxious manner.

His unique time view reveals that now is when he must act. Kronos is also scared. He usually sees everything that was, is and will be, stretching across the entire timeline. Now he cant discern which of the multitude of possibilities will triumph. His vision is clouded, but he remembers what should have happened. He takes agents whom he knows he was meant to choose, but he doesnt know why. In his blindness he can only hope their intervention returns the time stream to what it should be.

Storytellers intending to include these events as part of an existing chronicle may introduce the changes gradually. This piques the players interest as their characters slowly. Storytellers wanting to throw the characters directly into the action should use The Festival of Change below. Storytellers should start small during the period of change. The Abyss tore through the time stream less than one month ago, so this is the point that the characters first notice the changes even though history changed thousands of years ago.

Someone the characters know well cant be found. Everyone they ask insists theyve never heard of him. Eventually, the Storyteller introduces another very similar character with some slight differences. This demonstrates perhaps with hindsight that the niche filled by the characters friend has been filled by someone else someone who always filled that space, at least in this new timeline. Over time, the Storyteller increases the weirdness by returning the missing character. This works best when the players have accepted the difference as the new normal.

The change back to their friend is remarkable draw attention to it but completely unnoticed by the friend, or anyone besides the characters.

Questioning reveals he has no idea what the characters experienced, and that he has clear memory of the time when he was to the characters someone else. As the characters abandon this one unexplainable mystery, more people and locations change again obvious to the players and invisible to everyone else.

Increase the. Allies, contacts, and friends could change several times in the course of a story or even scene. Avoid making these substitutions a joke; the players should feel uneasy at the fluidity of the world. They should be worried about why theyre not affected, possibly even accusing their allies of some supernatural conspiracy.

Add new acquaintances to the characters social group. These work best if they embody the time changes, such as a Bastet who works openly with the characters sept, and has a strong and long-standing friendship with the septs elders. If subtlety doesnt work, use something particularly noteworthy a White Howler or Croatan pack visiting from a distant sept, or a Grondr or Apis on a diplomatic mission.

By now, the players know something is very wrong. This is the point to introduce the Maws presence. The characters notice the gaping wound in the daytime sky, like a jagged circle of utter blackness sucking the suns light away in a constant stream of fire.

Human scientists call this a miniature black hole that has doomed the world, but all shapeshifters recognize this as the ever-hungering Maw of the Wyrm, visible in both physical reality and in the Umbra. Once noticed, the Maw was always there. The characters gradual insertion into this mad reality prevented them noticing what should have been obvious, until theyd assimilated the more subtle differences. The Festival of Change The Festival of Change introduces the characters to the time changes suddenly and dramatically.

One day the Garous history included Wars of Rage, Tears, and Sorrow, the next day these events are both true and false. This confusion gives urgency to events something is very wrong, and the characters need to act. Every few years all Changing Breeds attend the Festival of Change. Every continent even Antarctica has at least one gathering.

The shapeshifters come together under the sun and then the moon and stars to discuss Gaias decline, relationships between Fera, and how they acquit their roles before the Earth Mother. Their faces darken when they must discuss the Maw that grows larger with each passing year. The Festival helps maintain peace. Each Festival begins with singing the legend of when the Garou challenged the Fera, and how close they came to a War of Rage. The song tells of the great orators from each Changing Breed who forged a concord, giving voice to their differences and finding peaceful ways for Gaias children to interact.

Today marks the start of the Festival. The characters are surrounded by so many different Fera and tribes they barely recognize, yet vaguely remember knowing.

Gaias pain is a constant trembling that ripples through the ground. The Earth Mothers death tremors should worry. They see the Wyrms presence in the Maw, and know the shapeshifters have lost.

In addition to the earthquakes, the Maws irresistible pull leeches away the upper layers of the atmosphere, creating unpredictable weather shifts. This years festival is poorly attended, as many of Gaias children have already succumbed to Harano and despair.

They dont know that this time should never have been. Their ignorance is not their fault, but may frustrate the characters. The characters may discover a few rare individuals who remember the same history and present as they do, but only patience and persistence will uncover these allies among everyone else.

When the characters are thoroughly confused and concerned about the changes either introduced gradually or through the Festival of Change Kronos makes himself known.

Kronos stands alone from other spirits, as he has difficulty relating to those with a limited view of time. His unique duty requires an aloofness that usually prevents him from participating in events.

Luna has forbidden him from interference, but he views this as a prudent suggestion rather than a command, and time has proven him correct. Kronos sometimes dabbles with being an object of worship, but more interesting events in other times eventually catch his attention.

The immediate peril of Nightmasters plot forces Kronos to act. He sees the overlapping histories, and knows time will tear itself apart under the strain if the Maw doesnt succeed first. Kronos can also clearly see those few individuals who stand apart from times fluctuations.

This includes the players characters, but also alternative characters the players can draw on if their main character dies, or if they want to use multiple characters. Other individuals who see times distress are allies and contacts for the players to use in the heroic efforts to stop Nightmaster. The characters may ask why theyre immune to historys changes.

The paradoxical answer is because Kronos gives them his patronage, but he has done so because they are immune. Though strange for most beings, this is how Kronos sees the world. His influence and decisions are as timeless as he, and asking the characters to help ripples backwards in time to bring the characters to Kronos attention so he can make them the offer. Characters may debate this paradox, but it simply is.

Kronos sees the characters both succeed and fail at this critical juncture, and the non-predestination worries Kronos.

He is unaccustomed to not knowing how events unfold and it terrifies him. Kronos manifests as a human clad in raiment of pure, silvery moonlight. His age is difficult to judge; he appears both old and young, and his eyes are dark pits flashing with tiny nova sparks of the birth of stars. Kronos speaks of the characters great deeds some of which they havent yet done and tells them that he needs their help.

The characters may be understandably skeptical of this unknown spirit, but most shapeshifters can instinctively sense his innate connection to Luna, and the packs totem if any will display respect and deference to the Incarna. Kronos tells the characters that time is disrupted and the characters need to fix history.

He is not omniscient and may not know that Nightmaster is responsible the Storyteller should decide whether the turbulence around the earliest times prevents Kronos from clearly understanding events. Discovering Nightmasters involvement through investigation, and interrogating Wyrm minions, would be a satisfying challenge for the characters.

Kronos instructs the characters to travel to Australia, where they may find allies and a pathway into history. He cant or wont transport them himself, as he knows he didnt do so. If using troupe play p. He will meet them in Australia once they make contact with the Bunyip tribe. He doesnt mention the urgency with which they should act he believes that should be obvious. With Kronos as patron, the characters have a reason for the madness and the agency to fix it. The characters have to travel back in time, correct the disrupted junctures, and save Gaia.

To give the characters the keys to time that they need, Kronos must expose one of Gaias greatest secrets by sending the characters to meet with the Bunyip. Australia is often described as a timeless land. For millions of years, the island continent followed its own path of evolution and climate: part of, yet separate from, the rest of the world. The first humans here experienced this timelessness as the Dreaming, interacting with the Umbral lands and endless never time in ways other humans never knew.

Past, present, and future all merged in this vast expanse. When the Bunyip arrived on Australian shores, fleeing their Rage-filled cousins, they were lost, bedraggled, and dying.

Other Australian shapeshifters took pity on the werewolves and helped them adapt to the land. The powerful totem Ngalyod, the Rainbow Serpent, embraced the tribe and molded them into the protectors she needed.

Ngalyod was a spirit of shaping, associated with the ebb and flow of waterways, the regulation of wet and dry times, and times passage between both.

Under her. Storytellers may have Kronos take a more active role in the drama. He transports the characters to where he needs them, or he manipulates events so they find themselves in these locations without knowing they were needed. Kronos provides specific instructions and guidance to fix history, and directs the characters in how to thwart the Wyrms minions. This version of events removes a lot of agency from the characters.

They still fix time, but they do so at the direction of a more powerful entity. This alternative could be preferable for Storytellers running an abridged version of this chronicle in the course of a one-shot or convention game, where time is limited. They carefully smoothed and redirected the time streams when needed, but they were compelled by Ngalyod to not interfere with the proper order of events. The Bunyip collected many hidden time streams across the Australian landscape.

Here time moved differently from the rest of the world flowing across the land but rarely touching it. Minutes could take an age to pass, or a century would come and go in the turning of the night sky. The Bunyip locked all these dreamlines away in their Umbral homeland, safe from the Wyrm and Gaias blind servants. The marsupial Garou didnt seek to control or rule time, they simply fulfilled their duties. If the characters approach the Bunyip with humility and respect, and Kronos vouches for them, the weremarsupials open Moon Bridges to their Umbral homeland and allow the characters to enter this most sacred place.

If they come with arrogance and impatience, the Bunyip block their path. The characters must find another way to the homeland, and theyll have to work harder to gain entry. They can instead find other ways to travel through time, but the only other path Kronos knows is through the Abyss itself. The spiritual reflection of Uluru from central Australia fills the center of the Bunyips homeland. Within this massive monolith the Bunyip anchor and tend the crossing time streams.

The twisting, rocky fingers of Kata-Tjuta stand beside Uluru much closer than in the physical world. In this alternative present, where multiple possibilities coexist and flow over one another, the Bunyips homeland is not lost to the Garou, and they can be persuaded to allow the characters to travel to other times. Unknown to the Bunyip, each repaired juncture brings their extinction timeline closer.

The simple journeys to and from the homeland become more difficult with each victory the characters earn. Eventually the characters may find themselves stranded in the past, with the Bunyips homeland lost again.

Characters can either live out their lives in whatever time period theyve reached, or follow the Abyss tendrils to the Umbral realm and back to their own future. Some enterprising characters may try to prevent the Bunyips doom. Though the homeland was a nexus for time streams, the Bunyip were blind to the future, as Kronos and Ngalyod knew mortals should not know their own fates. Unfortunately, the Bunyip are doomed no matter how hard the characters fight. As always, nothing stops a Storyteller from changing history for her own chronicle and reintroducing the marsupial werewolves if she wishes.

Ngalyod is coiled around both structures, as she has particular interest in Kronos success or failure. After discussion, ceremony, and supplications, the Bunyip bring the characters to Uluru, and show the caves leading into the monoliths hollow center.

Here, the characters see glittering, silvery rivers of time. Wafting scents and echoed sounds from their times flow through the cavern, which is impossibly bigger than the outside of the monolith. Here the characters can jump into the flows and easily travel to time junctures.

With Kronos and Ngalyods blessings, the characters can open time gateways back to the homeland but they must ensure nothing follows them back so they can preserve the sanctity of this place.

The Bunyip and their ancestor spirits work constantly within the structure, to keep the pungent, darkening streams whose junctures are under attack from breaking anchor and being cast adrift in times rapidly fraying tapestry. I really dont know what I expected. We learn them by heart, speak with spirits of long ago and hear from ancestor-spirits from generations long past. But what we never have is context.

We supply our own,. We imagine ourselves in those times and believe that we know what life was like. Life was exactly like now, but without cellphones and the internet, right? Ancient Garou hunted and killed and Raged as always, maybe with spears and knives instead of guns, but still the same? So why the fuck am I standing here talking at a caveman-werewolf while he shakes a fucking stone axe at me?

At least take it to Crinos and come at me! As legendary heroes go, youre a big fucking disappointment, you know? Nanako Strikes-True, Galliard Black Fury Due to the nature of the past, the changes to each of the time periods have already occurred, centuries before the characters were born.

Therefore, the characters have no specific order of events to overcome Nightmasters plans, and no one age must be visited first. The players have complete freedom to choose when and how theyll engage with each period with the Storytellers cooperation, of course. Two factors may impact their choices. The first is that they only get one shot at each juncture.

Once characters are part of events, they cant go back and retry until theyre happiest with the results. Secondly, each juncture carries the risk of depleting the characters resources. The characters may use talens, break fetishes, and even die. This is less of an issue for groups using troupe play p.

The scenes presented here are major events in the Wars key times where that shaped the future of Garou and Fera forevermore. These arent the only scenes that. Language evolves. A few hundred years can make speech almost unrecognizable imagine what several thousand years can do.

Adding to this challenge is the infancy of language in the Paleolithic era; people of this time have far fewer concepts than modern characters. The level 2 Homid gift Speech of the World W20, p. Although the translation of language is perfect, the understanding of concepts may not be. These smooth-scaled bipedal reptilians are very different from the Dragon Kings described in Chapter 5 p.

Their town lacks the grandeur of imperial days and their tools are built from natural fibers, not the wondrous gossamer of imagination. This juncture is long after the Dragon Kings have fallen to become Mokol. The villagers are one of the last surviving populations of Drachid.

In another few generations the Drachid will be gone, and Dragon Kings wonders will only be remembered in the Mnesis. Every Mokol knew as much or as little as desired, and the living Memory supplanted the need for written records or education.

They were the suns scholars, soldiers, and priests. Temporal Threat were important to the war. The other chapters in this book give Storytellers a wealth of ideas to make their own key junctures to challenge players and defeat the Wyrm. None of the scenes in Act Two include strict victory conditions, and Storytellers should decide in each case if the characters actions were sufficient to disrupt the corruptive forces and restore the proper outcome or at least mitigate the damage as much as possible.

Keep a tally of whether each slice of history falls to Gaia or the Wyrm, as these triumphs affect times flow and will greatly influence whether the characters can defeat Nightmaster when they finally confront him. Although each Act takes characters further back in time, the scenes in Act Two are presented from most ancient to most recent, to help Storytellers better understand the flow of events.

In the far depths of time, the Dragon Kings ruled the world. Two hundred millions years ago, before Gaia birthed the other shapeshifters, the Mokol guarded Gaia alone. These intelligent reptiles made tools, built living cities from earth and plants as sophisticated as most modern human. Pentex doesnt care about any of that. Scientists working for Pentexs Neuro-Dynamic Laboratories have worked for decades to clone dinosaurs from fossilized genetic material and anonymous donor samples.

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