Monsterhearts PDF

Most teenagers get to grow up without encountering
anything scarier than gang violence, drug overdoses and

chlamydia. They think that’s the worst that the world has
to offer them, and they have the luxury of laughing.
You don’t have the luxury of laughing. You know the world
has hideous, horrible things hiding in the shadows. You
know because you’re one of them. There’s wickedness that
dwells within your chest, darkness that courses
through your veins.
Most teenagers will never know that things like you exist,
the secret monsterhearts.
S Dedicated to…
Carl Rigney, my Ghoul
Kaleigh Barton, my Fae

Sanuel Stevenson, my Chosen
Jamie Fristrom and Steve HIckey, my Queens
Vincent Baker, Dark Power to my Infernal
John Harper, my Vampire
Joel Shempert, my Mortal
Kelsey Savage, my Ghost
Tim Markholm, rip, my Werewolf
Jackson Tegu, my Witch
Amy Fox, my Hollow
Daniel Wood, my Editor
Legalities & Credits

2 Writing and layout by Joe Mcdaldno.
I made this. Please don’t steal it.

Titles in Yataghan, by Daniel Midgley.

Body in Fontin and Fontin Sans, by exljbris.
Cover photo by Konradbak, via Dreamstime.

Interior art by Joe Mcdaldno, based on stock photos from
Dreamstime and Shutterstock.
For more visit

www.buriedwithoutceremony.com/monsterhearts/
Buried Without Ceremony

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Within Monsterhearts
4 What This Is
7 Chapter One: Creating Characters

16 Chapter Two: Playing the Game
45 Chapter Three: The Skins
100 Chapter Four: Being MC
128 Chapter Five: Teaching & Running the Game
138 Chapter Six: Real Monsters
145 Chapter Seven: Utterly Malleable
150 The Long Example 3

156 Mediography
158 Index
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What This Is
This is a story game. To play, we invent characters and
roleplay as them. We say things, and the rules of the
game respond to some of those things - changing where
the story is going. The rules are there to keep the story
feral - no matter how gorgeous and perfect we imagine
our characters to be, they are never given the luxury of
domesticating their fate. They are always in the lurch,
which means they are always interesting. The rules are
there to make sure that it isn’t my story, and it isn’t your
story. Instead, it’s something between us, raw and alive.
Specifically, it’s a story game about supernatural romance

and teenage desperation. Vampires, werewolves, witches:
they dream and suffer among us. It’s unclear whether they
can live among normal people, and whether their wicked
hearts can be redeemed. When you play Monsterhearts,
you become one of these teenage monsters. You explore
4 their secrets and fears. You bring them to life.
You play because the characters are sexy and broken. You
play because teen sexuality is awkward and magnetic,
which means it makes for brilliant stories. You play
because despite themselves, despite the world they live
in, despite their fangs and their bartered souls and their
boiling cauldrons, these aren’t just monsters. They’re
burgeoning adults, trying to meet their needs. They’re
who we used to be - who we still are sometimes. You play
to get lost, and to remember.
And let’s be honest. You play because you have a guilty

attraction to supernatural beasts and harlequin love
stories, but you harbour the secret presumption that you
could write them way better yourself. Good. This is your
opportunity to prove it.
This game is unabashed about its subject matter: it’s a

teen sex horror story. It revels in codependency and
untenable promises. If that sounds compelling to you,

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then this document will provide you with guidelines to
explore these themes and play around in this creative
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space. The game’s rules map out territory that you’ll
explore and build upon.
Where This Came From

Monsterhearts is based off of another story game, called
Apocalypse World. Apocalypse World was written by D.
Vincent Baker. He’s a tremendously good writer, and
there are passages throughout Apocalypse World that
explain Monsterhearts with poignance and punch. With
his permission I share those passages, alongside my own
interpretations and guidelines. Here is how he describes
the basic activity of the game:
NOTES FROM THE APOCALYPSE

You probably know this already: roleplaying is a
conversation. You and the other players go back and forth,
talking about these fictional characters in their fictional
circumstances doing whatever it is that they do. Like any
conversation, you take turns, but it’s not like taking turns,
right? Sometimes you talk over each other, interrupt, build
on each other’s ideas, monopolize. All fine.
All these rules do is mediate the conversation. They kick

in when someone says some particular things, and they
impose constraints on what everyone should say after.
Makes sense, right?
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In Order To Play
In order to play, you’re going to need players. This game has
a Master of Ceremonies (MC), to whom much of this text is
addressed. In addition to the MC, you’ll need 2-4 more players.
The game is played in sessions lasting from 3-4 hours.

Maybe you’ll only play a single session of the game, and
that’s excellent. Maybe you’ll want to keep returning to
the story for a number of sessions, every week or two.
There are a number of supplies that need to be gathered,

before the group can play Monsterhearts for the first time.
The MC is often the person who gathers these supplies
together, but it’s fine to delegate to anyone with a printer
and some time to spare. The supplies needed are as follows:
Dice
The group needs some standard, six-sided dice. Two is the
6 minimum number required, but 4-6 is ideal, as it makes it
possible for everyone to have a pair sitting within easy reach.
Pencils
The game requires some pencils for note-taking, and
occasionally for map drawing. One pencil for each player
is ideal. Pencils are definitely preferable to pens, as some
things will need to be rewritten and erased frequently.
The Skins
There are a number of Skins. Each Skin is a booklet (a
letter-sized page, folded in half) containing a different
type of character that can be played by one of the players.
Print out one copy of each of the Skins.
Other Booklets
There’s a Reference Booklet for the players, an MC Booklet
for the MC, and a Menace Booklet for the MC.
All of the print-outs required are located at


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Chapter One
Creating Characters
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Choosing a Skin
When you play this game, you pretend that you are
a messed-up teenage heartbreaker who’s secretly a
monster. Or maybe your character isn’t quite a teenager
anymore - maybe they’re twenty three. Maybe your
character is a vampire and you’re actually two hundred
and seventy years old, but you’re posing as a teenager.
That’s all fine. What’s important is that your character
is caught in the midst of a volatile transition, just like a
Creating Characters
teenager is. (For more on playing non-teenage characters,

see “After Graduation” on page 127.)
Everyone except the MC creates a character at the

start of the game, by choosing a Skin and following the
instructions listed in it. Skins are templates for the kinds
of characters you can play, and each revolves around
a different monster trope: The Mortal, The Vampire,
The Witch, The Werewolf, The Ghoul, The Infernal, The
8 Chosen, The Queen, and The Ghost.
Each Skin has a picture and some descriptive text: these give
Chapter One
players a taste of what the Skin is all about. To familiarize

yourselves with all of the Skins, pass them out amongst
the players, then take turns reading the descriptive text
aloud. Read it in a melodramatic, over-the-top voice. This
step is important! Reading these Skins aloud will serve as
an icebreaker for the group, helping them to move beyond
their bashful, adult uncertainty and into the world of teen
monster melodrama. Afterwards, put all the Skins back
in the center and have all the players choose one. There’s
no need to worry about the Skin’s rules and moves while
choosing, if you don’t want to: just choose the Skin that
speaks to you, based on whatever criteria you like.
The instructions listed in the Skin walk the player through

creating a character. These characters are the most
important characters in the game. They’re called Player
Characters (PCs), because they are the avatars of the
players around the table.
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The MC doesn’t create a PC, though. Instead, the MC plays
all the other characters that surface as the game unfolds
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- the parents and peers and antagonists that populate
the world. These characters don’t have all the recorded
details that PCs do, like stats and moves. While everyone
else is choosing a Skin and creating their characters, the
MC is leading that process (as detailed on Page 130). When
everyone’s done creating their characters, play begins.
If two people in the group are interested in playing the

same Skin, there are a couple of ways to handle that. The
first is that the MC can ask both players what interests
them about that particular Skin. As there is some overlap
between the themes and strengths of each Skin, it’s
possible to suggest other Skins that would address those
same interests. Should neither of the players settle upon
a different Skin, it’s fine to allow two players to play the
same Skin, provided there are two copies available (or a
nearby photocopier.)
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Name, Look, & Origin
Once you’ve selected a Skin, there are a number of
decisions to make. Together, these decisions help you
create an interesting character.
The first decision is your Name. There’s a unique list of

names for each Skin. If you don’t like any of them, then
right below that, there are some guidelines for making
your own. Just remember that in teen monster dramas,
characters always have symbolically-appropriate names.
The next decision is your Look. Choose one item from

each of the lists. The first describes your appearance at
a glance. The second describes your eyes, which is a vital
detail in teen monster dramas. Unlike the Names list,
there’s no option here to create your own Look. Pick the
most compelling option from each list.
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S The final decision is your Origin. Each Skin comes with
a list of 3-5 possible origins for your character. Monsters
have origins that explain where they came from or how
they became monsters. Humans have origins that explain
how they got their power or arrived at their current social
standing. Choose one of the Origins for your character.
Stats
Creating Characters
Each character has four stats: Hot, Cold, Volatile, Dark.
Hot means fucking gorgeous, alluring, exciting, smokin’,

someone you can’t stop thinking about, magnetic.
Cold means stone-cold, calculating, collected,

unwavering, frigid, able to be cruel and merciless, able
to keep their wits about them, obstinate.
Volatile means impulsive, wild, feral, quick-tempered,

10 quick to fight or flight, aggressive, unpredictable, a
basket-case, sudden.
Chapter One
Dark means weird, mysterious, sinister, dabbling in

the occult, comfortable in darkness, able to liaise with
otherworldly forces, powerful.
When creating a character, you’re told what stats to start

with. Two are rated at 1, and two are rated at -1. Add +1 to
any one of these numbers before writing them down in
the stat boxes.
Glance at the basic moves listed next to the stat boxes;

these are things every character can do, and they are
each based on a particular statistic. For example, you’ll
see that Hot is tied to “Turn someone on.” Your stats tell
you which moves your character will excel at, and which
they’ll struggle with.
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Picking Moves
Each character has access to the same list of basic moves:
turn someone on, manipulate an NPC, shut someone
down, hold steady, lash out physically, run away, and gaze
into the abyss.
In addition to these basic moves, each Skin has access

to a list of Skin moves. These moves are unique to your
Skin, and they open up new opportunities for you. These
are your special powers, supernatural weaknesses, and
monstrous obsessions.
Each Skin has slightly different rules for which of these

moves you start with. Follow the instructions for your
Skin.
Most of these Skin moves are tied to stats in the same

way that basic moves are. While choosing your moves,
it’s a good idea to pay attention to which stat the move 11
depends on.
Some moves don’t relate to a stat at all, they just describe

something unusual but straightforward that your
character can do. For example, The Ghost has a move
called Dissipate. Its description is simply “You can walk
through walls.“
Fill in the bubbles to track which moves you have chosen.
Some Skins have additional decisions to make at this point

- The Witch needs to choose Hexes, The Ghoul needs to
pick a Hunger, and The Infernal needs to select Bargains.
You’ll notice there’s a section marked “Other Moves” on

each Skin booklet. During play, you’ll have the opportunity
to take moves from other Skins. When you do so, this is
where you can write down the move’s full text.
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Sex Moves & Darkest Selves
Each character has a Sex Move and a Darkest Self, both of
which are located on the back of the Skin booklet. There
are no decisions to be made in these sections prior to
play, but players should read and incorporate them into
their emerging ideas about their characters.
Your Backstory
Creating Characters
Once the characters are completed, it’s time to introduce

them to the rest of the players, and establish the
backstories that connect these characters.
First, go around the table, and have each player describe

their character briefly. Take between half a minute and
two minutes each, and mention their name, their look,
their origin, their personality, and their family life. Feel free
12 to ask other players questions about what they describe,
to make sure you understand what their character is like.
Chapter One
Once the characters have been introduced, it’s time to

complete the Your Backstory section of each Skin. The
backstories serve to connect the characters in interesting
ways, and to give people Strings to start play with.
If The Mortal is in play, then the player to the left of The

Mortal should go first, with backstories being established
clockwise. This way The Mortal will be the last to establish
their backstory. If The Mortal isn’t in play, it doesn’t
matter who goes first, and anyone can volunteer.
When it’s your turn to establish your backstory, read out

the text in the Your Backstory section of your Skin and
assign Strings as per the instructions. If Your Backstory
says “Someone once saved your life. Give them 1 String on
you,” you should discuss with that person how they saved
your life. Don’t go into exhaustive detail, but do take the
time to sketch in some details of your shared history.
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Cassidy is a Werewolf, and the backstory for Werewolves
is: “You lack subtlety. Give a String to everyone. You’ve
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spent weeks watching someone from a distance. Their
scent and mannerisms are unmistakable to you now.
Take 2 Strings on them.” So the other two PCs (Robin
the Mortal, and Vanessa the Witch) each write down
“Cassidy – 1” on their character sheets. Cassidy’s
player then decides that Cassidy has been following
Vanessa around, observing her. “Me? Why have you
been following me around?” asks Vanessa’s player. “I
think that at first it was because I found you going
through my stuff, like you mentioned earlier. So it was a
territorial instinct. But I quickly started to develop other
feelings for you.” Vanessa’s player nods, and adds, “I
think that I’ve probably noticed you lurking around, but
I like the attention.”
Robin establishes his backstory last. The Mortal

backstory is: “The Mortal always declares their
backstory last. Declare one person to be your lover. Give
them three Strings on you. Take one String on them.”
It’s decided that Robin is madly in love with Cassidy. 13
“So, Cassidy, are those feelings mutual?” Cassidy’s player
thinks about it for a second, then says, “Absolutely not.
Cassidy barely knows who Robin is, and he’s definitely
not her type.” Robin still writes down Cassidy’s name as
his true love. Cassidy records “Robin – 3” on her sheet,
and Robin records “Cassidy – 1” on his sheet. “Yeah, I’ve
totally got sketches that I’ve drawn of you in my history
notebook, Cassidy.”
Once this process is complete, go around the table again

to choose highlighted stats. Each player in turn asks,
“Who has the most Strings on me?” That information will
not be located on their sheet, but rather everyone else’s.
For each character, the player with the most Strings on
that character chooses one of their stats to highlight.
The MC chooses a second. Highlighting a stat means
that the character earns experience whenever that stat
is used, which will help them grow and gain new skills
over the course of the game. Consequently, you should
highlight the stat that you want to see this character use
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S the most - the one that will create the most compelling
situations, or show off the things about the character
you find most interesting.
It’s Robin’s turn to have stats highlighted. “Who’s got

the most Strings on me?” Robin’s player asks. Cassidy
does, and so her player gets to choose which stat to
highlight first. “I want his Hot highlighted. I’m hoping
we see lots of Robin trying to woo his ‘true love’, despite
the fact that Cassidy is, like, totally not interested in
him.” A second stat needs to be highlighted by the MC,
Creating Characters
who says, “And I’d like to see Robin’s mean streak, so I’m
going to highlight his Cold.” Robin’s player fills in the
bubble next to his Hot and Cold stats, to denote that
they are both highlighted.
What You Start With

Both before and during play, lots of questions will surface
14 about your character: do they have parents? Are they rich
or poor? Do they have a car? Do they have a drug stash?
Chapter One
Answer these questions however you want to. It’s fine

to say that you live with wealthy parents and have a
brand new sports car, and that next year you’re basically
guaranteed a spot at Harvard. It’s also fine to say that you
live in a trailer home with an abusive step-dad who robs
liquor stores in order to pay the bills.
If it’s plausible that your character would carry a gun to

school, then that’s fine. If it’s plausible that they’d have
wads of cash to throw around on frivolous things, that’s fine.
Be cautious, though, about the choice to have your

parents also be monsters - it’s a decision with sweeping
impact on how your character processes their difference
and isolation.
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Objectives
Unlike some story games, Monsterhearts doesn’t have
an endgame or an explicit goal to shoot for. You are left
to determine what it is that your character wants, and
pursue that in any way that makes sense to you.
Since the default setting is a high school, there are a few

goals that nearly everyone is going to have: saving face,
gaining friends and social security, figuring out who their
enemies are, getting social leverage on others, dumping
their pain on other people.
If you aren’t sure who your character is, start with those
things and build outward from there. Soon, you’ll likely
find yourself embroiled in situations that demand action,
and your objectives will emerge from that.
Play to find out what happens, what’s important, and

what it is you really want. 15
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Chapter Two
Playing the Game
Playing the Game
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Chapter Two
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Framing Scenes
Play is divided into scenes, the same way a movie or TV
show is. The MC and the players make decisions about
what’s important enough to show on screen, when the
scene should end, and what the group should skip to next.
When play begins, the MC is going to ask lots of questions,

and the answers to those questions are going to act as
springboards for scenes. The MC is going to frame the
first scenes, but it’s possible that players will frame future
scenes as well.
The process of starting a new scene is called scene

framing. Often, it’s a very simple process. After one scene
ends, the MC can turn to a player and say something like,
“So, Amylen, while those two are fighting in the change
room, where are you?” The player who is playing Amylen
can respond, then, with action taking place in a new
scene: “Yeah, I’ve ditched out of my next class, and am 17
walking around the mall. I think I plan to steal something
- maybe a handbag.” The MC can respond by fleshing out
the scene a bit more, describing the crowds and the mall
itself. Or, the MC can ask questions about those topics,
and Amylen’s player can fill in those details. Or, another
player can suggest that they’re there too, and jump in
with their character.
The MC has authority over scene framing. This means

that the MC is the one who ultimately decides where the
next scene starts and what is happening. However, the
MC is invited to share that authority and responsibility
whenever doing so makes sense. If it’s clear to the MC
what the next moment of action or brooding gloom will
be, they can dive into that scene without any consultation.
If it isn’t clear, they can ask questions in order to give
others an opportunity to introduce interesting situations.
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Talking & Moves
When you play this game, you roleplay. It’s simple: you
just say what you do, and your character does what you
say. It’s like a conversation, in that you take turns, but it’s
not really like taking turns. You can speak as a narrator
would, or speak as your character, or speak as a member
of the audience. Most people slip in and out of these
different ways of talking, organically and sometimes
without even noticing.
Playing the Game
Sometimes, you’ll say something that falls under the

purview of a move. Moves are rules for doing particular
things, and they’ll often involve rolling dice once they
kick in. There are basic moves that everyone has, and
there are also special moves that only certain characters
get. The principle with moves is easy: when you do it, do
it. When you narrate your character doing something
described by one of the moves, you follow the rules.
18 Similarly, if you want the rules to kick in, you should
describe your character taking appropriate action. Either
way, you will end up with rules and story, side by side.
Chapter Two
The two are inseparable.
Vanessa’s player is describing Vanessa leaving for school.

The MC jumps in to say, “As you’re leaving, your mom
moves to stand in front of the door, a big cheesy smile
on her face. She reminds you that her new exhibit is
opening at the museum today, and you promised to
be there for the ribbon-cutting celebration.” Vanessa’s
player makes a disgusted grimace, letting us know what
Vanessa thinks about her mother’s enthusiasm. “I can’t.
Something important came up.” The MC says, “This is
obviously important to your mom, and you’re flat out
disregarding it. It sounds like you’re shutting someone
down, right?” If Vanessa’s player wanted to, she could
change her narration to avoid triggering that move. But
instead she nods and says, “Yeah, this is definitely me
shutting her down.” They both look at the move to
find out what happens next.
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Rolling Dice
Most of the moves ask you to roll with something. This
means that you roll two dice and add their sum to the
value of that thing. If you have a Hot 3, and you’re asked
to roll with hot, then you roll two dice and add them to
that 3. If you rolled a 2 and a 4, your final score would be 9.
A 10 or higher is good. A 7-9 is a conflicted result. You may

be asked to make some hard choices and pay some prices,
but you will probably still get what you want out of the
deal. A 6 or less is a failure, and in addition it hands the
MC a golden opportunity to take some actions of her own.
No matter what, the highest bonus you can have on any

given roll (counting both stat and forward) is 5.
The MC doesn’t roll dice like everyone else. Instead, part

of the MC’s job is setting up situations that will demand
that the other players make moves and roll dice. 19
In addition to moves, characters can gain Strings on one

another. Strings represent emotional power over other
people, and they can be spent for a number of different
mechanical effects. When you spend a String, you should
also explain how you’re exercising this emotional power
Just like with moves, the Strings mechanic is tied into the
fiction. Using Strings is explained in greater depth after
the basic moves, on page 25.
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Basic Moves
What follows is the rules and further descriptions for
each of the basic moves: turn someone on, manipulate an
NPC, shut someone down, hold steady, lash out physically,
run away, and gaze into the abyss.
Turn Someone On
Playing the Game
When you turn someone on, roll with hot. On a 10 up,

take a String against them. • On a 7-9, they choose one:
give themselves to you, promise something they think
you want, give you a String against them.
When you use this move, you have the opportunity to

step outside of your character role, and speak like an
author would. Describe your character’s pouty lips, how
the sweat rolls off their strong brow, and how they look
20 silhouetted against the pale moon. Unlike other basic
moves, this one can be triggered without a specific
action being taken. If the player describes how arousing
Chapter Two
the scene is, without their PC actually doing anything

other than standing around and looking sexy, the move
can still be triggered.
This move implies something about sexuality, and

particularly teenage sexuality. We don’t get to decide what
turns us on. When you make a move to turn someone on
(with a character action or with scene description), the
other player doesn’t get to exclaim, “Wait, my character
is straight! There’s no way that’d turn them on.” That’s a
decision that we as players can’t make for our characters.
The dice are going to be the ultimate referees of what is
and isn’t sexy for these characters. Their own sexuality
will confuse them and surprise them; it’ll show up in
unexpected places and unlikely situations. Regardless of
the results of the roll, however, each player still gets to
decide how their character reacts. Being turned on by
someone doesn’t imply or demand a particular reaction.
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Manipulate an NPC
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When you manipulate an NPC, roll with hot. On a 10 up,
they’ll do what you want if you give them a bribe, a threat,
or a motive. • On a 7-9, the MC will tell you what it’ll take
to get the NPC to do what you want. Do it and they will.
This move only applies to non-player characters (NPCs),
meaning characters that the MC controls. It requires you
to actually want something from the NPC, rather than
just wanting to cow them or manipulate their emotions
(see when you shut someone down for that). If you want
to manipulate PCs, you can do so by spending Strings that
you have on them.
Shut Someone Down

When you shut someone down, roll with cold. On a 10
up, choose one: give them a Condition; they lose a String
against you; if they held no Strings on you, gain a String
on them. • On a 7-9, choose one: you each give a Condition 21
to one another; you each lose a String on one another.
The 10 up result for this move gives you the opportunity

to expose a character’s weakness, reduce the power they
hold over you, or gain power over them. In the 7-9 results,
you end up going down with them. Your harsh words hurt
and defame them, but also expose your true character in
an ugly way.
Vanessa’s been cornered by a couple school bullies.

They’re harassing her and the group’s leader is
demanding she hand over her backpack. Vanessa stands
tall, looks him straight in the eye, and says, “Why, did
your mommy forget to pack you a lunch of your own?”
Vanessa’s player rolls to shut someone down, and gets
a result of 11. Her retort succeeds in giving her the
upper-hand and putting the bully in his place. His
friends laugh at him, and he looks foolish. She chooses
“give them a Condition” from the list, and labels the
bully humiliated.
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S If she’d rolled a 7-9, both of these characters would
have ended up vulnerable in some way. The bully’s
friends might still laugh at him, but they’d also be
whispering that he should teach this girl a lesson.
Vanessa’s player might have chosen the “you each give
a Condition to one another” option from the list –
labelling the bully humiliated but gaining the
Condition dead meat in exchange.
Hold Steady
Playing the Game
When you hold steady, in a scary or tense situation, roll

with cold. On a 10 up, you keep your cool, and choose
one: ask the MC a question about the situation; remove a
Condition; carry 1 forward during this scene. • On a 7-9,
choose: you keep your cool; pick an option from the 10 up
list but also gain the Condition terrified.
Rather than being triggered by specific character actions,

this move tends to be triggered by outside forces that the
22 character must react to. Sometimes, the character will
walk knowingly into a dangerous situation (by intervening
in a gang fight, or charging into a burning building to save
Chapter Two
their lover), and the MC can call on them to hold steady.
When someone chooses to “ask the MC a question about

the situation,” the MC should answer truthfully and fully.
The question asked could involve assessing risks (“What’s
the biggest threat in the room?”), or uncovering true
motivations (“Why did Deirdre come here tonight?”), or
developing a better picture of the situation (“Are there
any other people in the house right now?”).
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Lash Out Physically
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When you lash out physically, roll with volatile. On a
10 up, you deal them harm and choose one: the harm is
great (add 1); you gain 1 String on them; they need to hold
steady before they can retaliate (during this scene). • On
a 7-9, you harm them but choose 1: they gain 1 String on
you; they can deal 1 harm to you for free, if they want to;
you become your Darkest Self.
This move only applies when you attempt to actually

physically hurt someone. If you push someone up against
a locker and threaten them, consider the possibility
that you’re actually shutting them down rather than
lashing out physically.
Violence can reveal a lot about a person’s true character,

which is why both the 10 up and 7-9 results will sometimes
involve an exchange of Strings.
23
Run Away
When you run away, roll with volatile. On a 10 up, you get
away, and end up in a safe place. On a 7-9, you get away,
but choose one: you cause a big scene; you run directly
into something worse; the scariest person there gets a
String on you.
In response to a scary or tense situation, characters will

tend to do one of two things: hold steady or run away. If the
MC determines that a character would have to hold steady
in order to keep their cool within a scene, it’s perfectly
valid for a PC to instead decide to bolt for the exit.
Running away isn’t always straightforward. Let’s say that

your character is trying to escape from someone. They
want to keep you within the scene, even if force is required
to do so. In such a situation, it’s up to MC discretion
whether or not you can roll to run away. Instead, the MC
S
S might judge that the other party can attempt to lash out
physically before you have a chance to run away, thus
holding you captive.
Gaze Into The Abyss

When you gaze into the abyss, roll with dark. On a
successful roll, it answers your questions and shows you
visions. On a 10 up, choose two: the visions are lucid and
detailed; the visions show you what you must do, and you
carry 1 forward to doing it; the visions cure you, removing
Playing the Game
a Condition. • On a 7-9, choose one: the visions are

confusing and alarming; the visions are lucid and detailed
but they leave you with the Condition drained.
When someone says that they’re gazing into the abyss, the
most important question to ask is, “Cool, but what does
that mean? What do you actually do?” The answer might
be different with each character, and each application of
the move, but an understanding of what’s actually going
24 on in the scene is vital.
Gazing into the abyss could involve entering a trance, or

Chapter Two
getting high and slipping into a dark consciousness. It

could involve blacking out, or communing with demonic
voices out in the woods. The details are always going to
be character-specific. The MC should always be listening
for a PC to do something brooding and introspective, so
that they can spring forth with the question, “So, does
that mean you’re gazing into the abyss?”
S
S
Strings
Strings are the emotional hold that you have over people.
They are earned through a number of moves: turn someone
on, shut someone down, lash out physically, and various
Skin moves. There is a place on your Skin booklet to keep
track of the Strings you have on other people.
When someone gains a String on you, it means that in

some way they’ve gained emotional power over you. You
don’t need to define what that emotional power looks
like right away; Strings can remain abstract until they’re
actually spent. You also don’t need to respond to someone
gaining a String with any specific response. For example,
if someone gains a String on you by turning you on,
you don’t have to suddenly throw yourself at them. Just
play out how your character would naturally respond,
having just realized that this other person has some sort
of emotional hold over them. This could be as simple as
narrating that your character blushes and turns to leave, 25
or that they seem suddenly nervous and apprehensive.
You can spend a String on another PC to:

}} Add 1 to your roll against them
(choose after rolling).
}} Subtract 1 from their roll against you
}} Offer them an experience point to do what you want.
}} Force them to hold steady in order to carry out a
certain action.
}} Add an extra harm to whatever harm
you’re dealing them.
}} Place a Condition on them.
S
S You can spend a String on an NPC to:
}} Add 1 to your roll against them (choose after rolling).
}} Add 3 to your manipulate an NPC roll against them
}} Cause them to falter, hesitate, or freeze up momentarily.
}} Add an extra harm to whatever harm
you’re dealing them.
Whenever you spend a String, there needs to be something

in the fiction to explain the mechanical effect. Remember:
to do it, do it. If you’re subtracting 1 from their next move
Playing the Game
against you, what’s causing that effect? Do you utter

some snide remark that throws them off balance? Or if
you’re offering experience for them to do your bidding,
what thing in the fiction accounts for that experience
point? Do you promise to tell them a juicy secret in return
for their obedience?
Robin’s been in love with Cassidy for a long time, and

has decided that tonight’s the perfect night to show up
26 at her house and profess his love. But when he gets to
her front door, he hears something disturbing coming
from the other side. It sounds like a mixture between a
Chapter Two
howl and a throaty wheezing. Robin’s player calls out,

pretending to be yelling, “Cassidy? Are you alright?”
Cassidy’s player responds, halfway between a mock-yell
and a snarl, “Don’t come in here! You need to... arhh!
go away!” She’s halfway through a werewolf transition,
wincing in pain on the other side of her front door.
The MC turns to Robin’s player and asks, “So Robin, do

you walk away like she’s telling you to, or do you rush
in to find out what’s happening to her?” Robin’s player
narrates that Robin opens the door, intent on coming
to the rescue of his would-be love. Cassidy’s player
interjects, “So, Cassidy’s laying on the floor, twisted up
in pain. When you start to open the door, she’s going to
scream out in fear, and tell you to go away. I’m spending
a String! If you plan to enter her house and see her in
this state, you’re going to have to hold steady first.”
S
Cassidy’s player scratches out one of the Strings that
she held on Robin.
S
Robin can choose to turn and leave, or to hold steady
in an attempt to enter the house. Grabbing the dice,
Robin’s player declares that Robin is going to take a
deep breath and try to drum up the courage to enter.
He rolls a total of 8. Looking over the list of options,
Robin’s player decides to pick an option from the 10 up
list and gain the Condition terrified. The option from
the 10 up list that Robin’s player chooses is “ask the
MC a question about the situation,” but he decides to
wait a few seconds before asking anything. Robin walks
into the house, and sees Cassidy halfway through a
grotesque transformation. That’s when Robin’s player
asks the MC, “What can I do to help her?” The MC
thinks about it for a minute and responds, “The only
thing you can do is lock her up somewhere safe, where
she can’t hurt anybody. I bet the stairs to the basement
are just around the corner.”
NPCs can also gain Strings on PCs. That’s covered on page 27

117.
S
S
Conditions & Forward
Characters can gain Conditions over the course of play.
If you take advantage of a Condition that someone has,
while making a move against them, add 1 to your roll.
In order to take advantage of a Condition mechanically,
though, you need to take advantage of the Condition
fictionally as well. This is an extension of the “to do it,
do it” principle.
Playing the Game
If a character already has a specific Condition (like

drained), they can’t gain that Condition again. Instead,
they just remain drained.
When a player is told to give a Condition to a character, and

no specific Condition is listed, they get to make up what
that Condition is. It can be anything: wounded, ashamed,
drenched in pig’s blood, disoriented, fag, terrified, marked
as prey, slut, or untrusted. It’s best if a Condition doesn’t
28 dictate a specific emotion for the character, and instead
dictates a physical circumstance or a public perception.
There is some flexibility to this guideline, however, and
Chapter Two
whatever Condition fits best should be applied.
A Condition goes away when the character suffering it

takes appropriate action to alleviate it. What constitutes
“appropriate action” is going to vary and isn’t always
going to be clear. When the MC (and player, for a PC)
thinks that the Condition has been alleviated, it is crossed
out. Some moves, such as hold steady, may also allow you
to remove a Condition.
Forward is a +1 bonus that you add to your next applicable

roll. Sometimes this bonus can be used on any roll (“carry
1 forward on your next roll”), but sometimes it’s specific
to a certain situation (“carry 1 forward to confronting this
situation”). Sometimes, Forward has a time limit attached
to it, after which point it disappears (“carry 1 forward this
scene”). Forward bonuses can only apply to a single roll,
which uses up the advantage they represent.
S
Robin (a Mortal PC) has been in a foul mood all day.
Maybe it’s because he missed the bus. Maybe it’s
S
because he just found out that the girl of his dreams,
Cassidy, is actually a bloodthirsty Werewolf. Either
way, he’s in no mood for Vanessa’s snarky tone when
she corners him in the hallway and asks, “Well, did you
finally do your half of our history project, last night?”
Robin snaps back, “No, Vanessa, because I actually have

a social life to attend to.” The MC pipes up, asking,
“So, you’re shutting someone down?” Robin’s player
nods, and rolls a pair of dice: a 5 and a 5. Added to
Robin’s Cold stat of 0, that’s a 10. On a 10 up, one of
Robin’s options is: give them a Condition. He settles
upon outcast, because his retort attacked Vanessa’s lack
of a social life.
Later, Cassidy and Vanessa are fighting in the locker

room while a group of onlookers gather around them.
Cassidy’s player says, “Alright, I grab Vanessa’s hair, and
try to swing her head into the locker.” This is lashing
out physically, and she picks up the dice. “Can I tag her 29
outcast Condition for a bonus?” The MC says, “Well, I’m
not sure how you’re taking advantage of it.” Cassidy’s
player thinks about it for a second, and responds,
“Right. I’m going to grab her by the hair, and force her
to look at the crowd that’s gathered around us. No
one’s intervening, are they? So I bash her head into that
locker while they watch.” It’s still lashing out physically,
but now Cassidy’s taking advantage of the Condition,
by parading Vanessa past a group of people who won’t
intervene. She rolls: a 3 and a 4, plus her Volatile stat of
2, and plus the 1 from tagging outcast. That 10 is going
to leave Vanessa pretty roughed up.
S
S
Harm & Death
When characters get physically hurt, they take harm. If
they rack up too much harm, they can die.
PCs die when they take their 4th harm. Other characters
(the ones controlled by the MC) can take whatever
amount of harm seems appropriate. Maybe the MC’s
dorky class wimp gets hospitalized at 2 harm, or even
killed if it makes sense. Maybe the MC’s werewolf biker
Playing the Game
tough guy doesn’t die until he’s got 5 harm on him.
When a PC takes their 4th harm, they immediately die. Or,

if they’d prefer not to die, they can mitigate death in one
of two ways: become their Darkest Self, or lose all Strings
they have on all other characters. They can choose each
of these options once per session. In each case, it clears
their harm track up, but they gain the condition drained
if they didn’t have it already. If someone is already their
30 Darkest Self, they can’t choose to become their Darkest
Self in order to avoid death.
Chapter Two
When you do harm to someone, if you’re using your bare

fists or a glass bottle or you’re kicking at their groin, it’s 1
harm. If you shove them down a small flight of stairs, or
throw a chair at them, or ram their truck off the road but
it doesn’t flip, it’s 1 harm.
1 harm is the kind of stuff that people gossip about in the

change room.
If you have giant fucking claws, or you get a solid hit to the
temple with an aluminum bat, it’s 2 harm. If you set fire
to their house and they barely escape, maybe having to
body-check a smoldering door in the process, it’s 2 harm.
2 harm is enough to require medical treatment. It’ll have

the cops at your door, if it’s reported.
S
If it’s worse than all that, and it’d have to be pretty bad,
it’s 3 harm.
S
Harm can be amplified in several ways: certain Skin
moves add 1 harm, you can spend a String to add 1 harm,
and if you roll a 10 up when you lash out physically you
can choose to make the harm great (which adds 1 harm).
Harm never heals on its own. There are however a few

ways to heal harm, other than driving your character to
the brink of death:
}} Once per session, when you have time to rest and
tend to your wounds, you may heal 1 harm.
}} If someone else attends to your wounds, delicately
and intimately - and perhaps with erotic subtext -
you may heal an additional 1 harm.
31
S
S
Darkest Self
Certain instances in the game will demand that a character
become their Darkest Self. When you become your Darkest
Self, there’s a script to follow. That script is described on
your Skin sheet. Play that script as hard as you can. This is
the moment where you are supposed to lose sight of your
humanity, whatever amount you had in the first place. It’s
the point at which you forsake the world. You’ll be able to
escape your Darkest Self eventually. Until that point, revel
Playing the Game
in the darkness.
When at your Darkest Self, your priorities as a player

should shift. Aim to do damage, to live up to a certain
dark vision for the character, and to set up some awful
precedents.
The MC’s job when you are your Darkest Self is to be real
about the fiction, and not pull any punches. If the werewolf
32 becomes its Darkest Self a block from the supermarket,
then of course there are going to be innocent bystanders
waiting around to get mauled. We’re talking about a
Chapter Two
monster at its most monstrous here, and it’s the MC’s job
to showcase that and not give any easy outs.
That said, it’s not the MC’s job to line up a series of

tragedies, nor to make things artificially “edgy.” Be real
to the fiction, don’t pull any punches, and have fun in
the darkness.
After getting beaten up in the locker room, Vanessa

(a Witch PC) goes home fuming mad. She’s got a lock
of Cassidy’s hair in her pocket, and immediately she
sets to work on a hex. Specifically, she’s going to cast a
Binding hex on Cassidy, to prevent her from lashing out
at anyone, again.
S
Vanessa gets an 8 on her Hex-Casting move (rolling a 2
and a 4, plus a Dark stat of 2). That means it works, but
S
she has to pick a negative consequence from a list. She
picks: trigger your Darkest Self. The Witch’s Darkest Self
is all about hexing anyone who slights them.
At dinner that night, Vanessa’s mom makes a comment

about the low cut of her shirt. Looking at the Darkest
Self description, Vanessa’s player decides that she
responds by screaming at her mother in tongues.
“What hex are you choosing?” the MC asks. “Wither,”
Vanessa’s player responds. “I’m hoping her tongue falls
out.” Vanessa rolls, and gets an 11. Just like it says in
the Witch’s Darkest Self, the hex does a lot more than
Vanessa had originally meant to - her mother swallows,
and a moment later is choking. She coughs up teeth,
and blood, and her whole tongue. The MC describes
how her tongue writhes about for a while on her plate,
flopping its way across her mashed potatoes.
Every Darkest Self has an escape clause. For The Witch,

it’s: “To escape your Darkest Self, you must offer peace 33
to the one you have hurt the most.” Vanessa’s player
decides that Vanessa isn’t ready to offer peace to
anyone just yet, and so she remains her Darkest Self.
If her mother calls the cops, then Vanessa will greet
them as her Darkest Self. If she gets cornered by Cassidy
in the school parking lot the next day, she’ll respond
to that situation as her Darkest Self. Vanessa’s player
can decide to have Vanessa work toward escaping her
Darkest Self whenever she wants, but she decides that
she’d rather have some fun with it first.
S
S
Advancement
Experience allows characters to become more powerful
over time, gaining access to new moves, increasing stats,
or expanding their influence over the world. Characters
can gain experience in a number of ways over the
course of play. Two of each PC’s stats are highlighted,
and whenever those stats are rolled, the player marks
experience. Certain Skin-specific moves will provide other
opportunities for PCs to gain experience. Finally, someone
Playing the Game
can spend a String to offer a tempting deal to another PC:

do something in exchange for an experience point.
Experience is marked on the character sheet by filling in

dots. Whenever a character reaches 5 experience, they are
able to buy an advancement. The advancement options
are listed on the character sheet.
A character cannot have more than 5 experience at a time

34 - they must buy an advancement in order to erase their
dots and begin gathering more experience.
Chapter Two
The Singleton Rule

You may only earn experience from each highlighted stat
and each move once per scene. Similarly, you may only
earn a String from any one move once per scene.
S
S
Gangs
Most Skins have the option to join or belong to a gang,
as an advancement option. The Mortal doesn’t have this
opportunity. The Queen starts out with a gang.
For example, the Vampire has:

You belong to a Vampire Coterie.
Every gang makes demands on its members. These

demands have a tendency to push the PCs out of their
comfort zones and into the territory of hard decisions.
When you join the gang, it’s good to have an idea of what
those demands are going to be like, in a general sense:
“They want me to hunt and feed with them, every few
nights.”
Every gang also has something that will trigger it into

blind action. When that trigger occurs, they will pursue
retaliation or dedicated response whether you want them 35
to or not. (You can always roll to manipulate an NPC to
prevent them from retaliating, though.) When you join
the gang, it’s good to have an idea of what those demands
are going to be like, in a general sense: “They strike back
whenever they feel that our kind is being marginalized.”
Finally, a gang can be manipulated into helping you. When

they help you with any task, add 1 to your rolls. When
they join you in any act of violence, inflict an additional
1 harm. Note that when they act of their own accord (in
response to a trigger, or as part of their demands), the
impact they have on the story will often vary - sometimes
they’ll have the power to outright kill people, and so on.
But when they act on your behalf, following your lead,
add 1 to your rolls and to your harm.
S
S
Seasons
If you’re playing for a single session, you’ll find that
conflicts escalate and get messy, and that some characters
will have lots of crossover. But chances are that things
won’t feel “finished,” in that neatly-packaged-up sense
of the word. That’s fine! A single-session game should be
about experiencing the PCs’ life, exploring their world,
and following through on a couple of messy conflicts.
Playing the Game
In a multi-session game, you’ll find that small goals will

sometimes gain momentum and evolve into major plot
arcs. Maybe the MC unveils a villain who challenges the
PCs and pits them against one another. Maybe the PCs
naturally turn to infighting and it leads to rooftop knife-
fights and racy affairs and dead bodies.
While that constantly unfurling action and unpredictable

momentum is very fun, it can get tiring to follow it on
36 without rest, ad nauseum. For that reason, Monsterhearts
has seasons - like the seasons in a television show.
Momentum builds across sessions, conflicts evolve in
Chapter Two
unexpected directions, and everything builds towards a

series of climactic moments. And then, the dust begins to
settle. That’s where the season ends.
Seasons work like this: after someone buys their 5th

advance, the Season Advances are unlocked, and there’s
one more session left after this one before the season
ends.
Season Advances can be bought just like regular advances.

In each Season, each character can only take one Season
Advance. Once they’ve been unlocked, every character
has access to them, regardless of whether or not they’ve
earned their 5th advance yet.
S
Season Advances are a big deal. They allow a character
to rewrite their nature, to become a different kind of
S
monster, or to grow up. They allow a player to change
characters altogether, or to take on a second character.
Unlocking the Season Advances also signals to everyone

that the current chapter of the story is coming to an end.
You’ve got the current session, and one session after that,
to bring things to their climax and resolution. Anything
that isn’t resolved at the end of next session is left hanging
in mid-air.
At the end of the Season, take a break and play something

new! If you decide to return to the game and do another
Season, skip forward in time. Set it at the start of the next
school year, or months later, or after some other logical
gap in time. This “reset” allows you to build up that same
momentum all over again.
Season Advances 37
The Season Advances are:

}} Change your character’s Skin.
}} Rewrite your Sex Move.
}} Rewrite your Darkest Self.
}} Retire your character and start a new one.
}} Gain 2 of the Growing Up moves.
S
S Change your character’s Skin.
When you change your character’s Skin, they become
a totally different type of monster. Perhaps they were a
Mortal before, but were bitten and become a Vampire.
Perhaps they were once Fae, but have died and come back
as a Ghost. Perhaps they were a Ghost, but were given a
new body and are now a Ghoul.
Vincent summarizes best how to handle this shift in

character type:

Playing the Game
The idea is that the character:

SS Keeps everything belonging to her intrinsic self.
Her stats, including [Strings], her moves, her
improvements, all for sure. Many other things, too.
SS Leaves behind everything belonging to her old life. […]
SS Gets everything belonging to her new life. Her new
moves, as she chooses them; her new gear and other
38 new crap.
Chapter Two
Rewrite your Sex Move.

Rewrite your Darkest Self.
Both of these advances are ultimately subject to
collaboration with the MC. Tell the MC your idea for a
new Sex Move or Darkest Self. The MC will help you make
sure it fits the template, and that it’s balanced in terms
of power level.
A new Sex Move or Darkest Self reveals something about

your character’s true nature; it demonstrates a shift in
their outlook, anxieties and pleasures.
S
Retire your character and start a new one.
This advance let you start a new character from scratch.
S
Retire your original character to a place of safety and
acceptance, removing them from the picture. Then, create
a new character to replace them. Be sure to follow all the
usual steps for your new character, including setting up
their Backstory and initial Strings.
Gain 2 of the Growing Up moves.

There are four Growing Up moves, detailed below. These
are powerful moves that let you navigate or even put
a stop to all the teenage bullshit going on around you.
Each Growing Up move allows characters to transcend a
different kind of dysfunctional behavior pattern, getting
closer to a place of being able to really take care of
themselves and those around them. When you choose
this Season Advance, pick two of these moves. In a future
Season, you could take this advance again in order to gain
the remaining two.
If you’ve got Growing Up moves on your sheet, it may be

unclear sometimes whether to use one of these moves or 39
the basic moves - if you’re putting someone in their place,
is that shutting someone down or is it calling people on their
shit? In these circumstances, the MC should ask questions
to figure out which one applies. Often, it can be clarifying
to look at the possible outcomes of each, and ask: which
matches up with the momentum of the story better?
The four Growing Up moves are: make someone feel

beautiful, call people on their shit, intervene against an act
of violence, and share your pain.
S
S Make Others Feel Beautiful
When you make others feel beautiful, roll with hot. On a

10 up, choose two:
}} they carry 1 forward;
}} they remove a Condition;
}} they mark experience;
}} you carry 1 forward.
On a 7-9, you can offer them an experience point to do
what you want.
Instead of sexuality and charisma being tools for gaining

Playing the Game
power over people, this move allows you to use them as

tools for supporting others and helping them grow. You
can use it to make people feel good about themselves
and accepted for who they are. Without this move, these
kinds of gestures can only ever be conditional and partial.
When you make others feel beautiful, however, a 10 up
helps them see the parts of themselves that are powerful
and true. This move can break the pattern of mind games
and conditional acceptance.
40
Call People On Their Shit
Chapter Two
When you call people on their shit, roll with cold. On a 10

up, choose one:
}} they lose a String against someone else;
}} they freeze up, break down, or bail.
On a 7-9, choose one, and they give you a Condition.
This move allows you to take a stand against bullying and

abuse. While other moves (shutting someone down, lashing
out physically) might otherwise take effect when you take
such a stand, calling people on their shit gives you the tools
to take power away from the abuser or the bully. You can
cause them to lose emotional hold over someone, or you
can cause them to freeze up and be unable to continue
with whatever it was they were doing. This move can
force PCs to freeze up as well as NPCs. When you force
someone to lose a String using this move, you get to
choose who they lose a String on. The only stipulation is
that you can’t choose yourself. This move can break the
S pattern of bullying and domination.

Intervene Against an Act of Violence S
When you intervene against an act of violence, roll with
volatile. On a 10 up, choose one:
}} they take -2 to their roll (NPCs either act at a
Disadvantage or fail entirely);
}} deal harm to them;
}} give them a Condition.
On a 7-9, they choose
}} take -2 to their roll (NPCs either act at a
Disadvantage or fail entirely);
}} target you with the violence instead.
This move allows you to defend others. When someone

is attacking another, you can intervene and either
impede that action or deal out eye-for-an-eye justice to
the assailant. Doing so can help you to protect the weak
and potentially even save a life. This move can break the
pattern of violence and fear.
Share Your Pain

41
When you share your pain, roll with dark. On a 10 up,
choose two. On a 7-9, choose one:
}} remove a Condition (from yourself or someone
who listened);
}} carry 1 forward toward helping yourself;
}} those who listened carry 1 forward toward helping you.
This move allows you to reach out to others and ask

for support. It allows you to articulate your needs and
connect with a community of people capable of meeting
them. When you choose your options from this list, you
can choose to heal yourself and others (from Conditions),
support yourself, or enable others to support you. If you
roll 10 up, it’s fine to select the “remove a Condition” option
twice, each time removing a different Condition. This
move can break the pattern of isolation and confusion.
S
S
Queer Content
This isn’t really a game about monsters. It’s a game about
the confusion that arises when your body and your social
world start changing without your permission.
Your story will be more interesting and real if it includes

queer content. It’s another dimension of isolation and
anxiety to explore through your characters. It’s another
way to keep the story feral, by breaking down our own
Playing the Game
expectations concerning “normal” (i.e. heterosexual)

relationships and desires. It’s also another way to introduce
messy, unrequited love interests into the picture.
When someone decides to roll to turn you on, you don’t

get to block that move by insisting that you’re straight
(or any other convenient excuse that you’ve got up your
sleeves.) The dice decide whether this sexy person’s sexy
behavior gains them a String on you. What you are in
42 complete control of, however, is your reaction to what they
do. If Lukas rolls to turn on Jackson, and succeeds, then
we know that Jackson has been turned on by another guy,
Chapter Two
at least this once. It doesn’t replace what was previously

true about Jackson, necessarily, but it does add a new
dimension to the character. Maybe Jackson’s still straight,
maybe his relationship with his girlfriend is still as stable
as it’s ever been, but we also know about these other
feelings he’s experienced. And given that Monsterhearts
is a game about messy, sexy melodrama, chances are it’ll
push Jackson into new and uncomfortable territory.
S
When I suggest that you introduce queer content, here
are some examples of what I mean:
S
}} Be willing to be surprised about who your character
turns out to be and what turns them on.
}} If you’re a vampire, ask yourself: does feeding on
boys feel the same as feeding on girls? Do your
feeding preferences line up with your sexual
preferences? In what ways is vampiric feeding
a sexual thing?
}} If you’re a mortal, take a couple as your true love.
}} Explore what it means to be betrayed by your body,
whether it’s becoming a flesh-eating monster that
stalks the night, or being trans and experiencing the
wrong puberty, or both.
}} If you’re the MC, introduce queer characters, and
make them fundamentally different from one
another. Let their sexuality and gender be incidental
in some cases, and let it be the chaotic thing that
drives the story forward in others.
Use the game to explore and challenge your own ideas

about gender, sexuality, relationships, what’s normal and 43
what’s monstrous.
S
S
Staying Feral
Every moment of the game leads into the next. When you
narrate something, others respond. Moves get triggered.
Dice get rolled, and those rolls create new situations to
react to. The fiction and the mechanics interact with one
another to create an emergent story, one that has its own
momentum and energy.
The interactions that you have with the other players

Playing the Game
and with the mechanics create a story that couldn’t have

existed in your head alone. It’s something feral.
You might have a strong impulse to domesticate the

story. Either as the MC or the player, you might have an
awesome plan for exactly what could happen next, and
where the story could go. In your head, it’s spectacular. All
you’d need to do is dictate what the other players should
do, ignore the dice once or twice, and force your idea into
44 existence. In short: to take control of things.
The game loses its magic when any one player attempts
Chapter Two
to take control of the future of the story. It becomes small

enough to fit inside one person’s head. The other players
turn into audience members instead of participants.
Nobody’s experience is enriched when one person turns
the collective story into their own private story.
So avoid this impulse. Let the story’s messy, chaotic

momentum guide it forward. In any given moment, focus
on reacting to the other players and to the mechanics.
Allow others to foil your plans, or improve upon them.
Trust that good story will emerge from the wilderness.
S
S
Chapter Three
The Skins
45
S
S
The List
Below are the summaries of each Skin included in
Monsterhearts. In the future, additional Skins may be
released to supplement this list. Each summary contains
a handful of words that capture the essence of the Skin, a
brief description of what their focus is, and then the high
& low stats of each.
The Chosen
Powerful, vengeful, conflicted, masochistic. The Chosen
is a monster slayer who finds themselves drawn to the
darkness.
The Skins
High stats: Hot, Volatile. Low stats: Cold, Dark.
The Fae
Alluring, exotic, fickle, vengeful. The Fae is all about
extracting promises, and delivering faerie vengeance
when those promises are broken.
46 High stats: Hot, Dark. Low stats: Cold, Volatile.
The Ghost
Chapter Three
Tormented, insecure, intuitive, fickle. The ghost is all

about channeling past trauma, seeing people’s true selves,
and having spooky powers.
High stats: Cold, Dark. Low stats: Hot, Volatile.
The Ghoul
Cold, unwavering, hungry. The ghoul died, and came back
with dulled emotions and a hunger for human flesh. The
ghoul benefits from being disaffected and malicious.
High stats: Cold, Volatile. Low stats: Hot, Dark.
The Infernal
Powerful, desperate, addicted. The infernal has a demonic
sugar daddy - someone who gets them things they want.
At a price.
High stats: Volatile, Dark. Low stats: Hot, Cold.
S
The Mortal
Vulnerable, codependent, magnetic, beautiful. The mortal
S
is all about benefiting from codependency, and racking up
experience.
High stats: Hot, Dark. Low stats: Cold, Volatile.
The Queen
Commanding, irresistible, bitchy, sexy. The queen is all
about turning cliques and popularity into weapons.
High stats: Hot, Cold. Low stats: Volatile, Dark.
The Vampire
Icy, manipulative, pretty, hypnotic. The vampire is all about
emotional entrenchment and emotional dominance.
High stats: Hot, Cold. Low stats: Volatile, Dark.
The Werewolf
Passionate, violent, muscular, fickle. The werewolf is all
about using physical violence and transformation to get
what it wants.
High stats: Hot, Volatile. Low stats: Cold, Dark.
47
The Witch
Manipulative, secretive, judgemental, brooding. The
witch is all about casting silent judgement, and powerful
hexes, from the safety of her own bedroom.
High stats: Cold, Dark. Low stats: Hot, Volatile.
S
S
The Chosen
The world needs you. It needs someone brave enough to
walk blindly into the darkness, and to shine a light for
all the lost souls out there. They need a champion. They
can’t do it alone.
There’s just that one nagging worry, the one that rears
its head at the worst possible moments: what if you’re
not good enough?
The Skins
48
Chapter Three
S
Names
S
Ajani, Ariel, Caleb, Dominic, Gabriel, Jackson, Morgan,
Raidah, Susie, Victoria
A common name, a strong-sounding name, a name

implying victory, a name implying tribulation
Look
strong, stubborn, average, bitter, outcast, anxious
unwavering eyes, disquieting eyes, radiant eyes, wounded

eyes, blue eyes
Origin
destined, marked by trauma, marked by the supernatural,
soul survivor, doing what’s necessary 49
Stats
Hot 1, Cold -1, Volatile 1, Dark -1
S
S Chosen Moves
Choose two:
 Mercy
When you decide to spare someone you have reason to
kill, take a String on them.
 Growing Pains
When you fail to protect your friends, mark experience.
 Final Showdown
Spend 4 Strings you have on an NPC to kill them. They are
irrevocably dead. They can spend any Strings they have
The Skins
against you to deal you harm, 1-for-1, on the way out.
 Come Prepared
You have an outlandishly large armory, complete with
ancient artifacts. Just in case the need arises.
50  To The Books
When the chips are down, and the sinister villain seems
unbeatable, you can turn to your friends for research
Chapter Three
help. Roll with the number of people assisting you. On a

10 up, choose two. On a 7-9, choose one:
}} ask the MC a question (MC must answer truthfully);
}} your enemy gains the Condition secret weakness;
}} gain a String on your enemy;
}} carry 1 forward.
 Take the Blow

When you leap into the way and take the blow instead of
someone else, roll with Volatile. On a 10 up, you take the
harm instead of them, but reduce it by 1. • On a 7-9, you
take the harm instead of them.
 Light the Way

Whenever your friends follow through on your commands
or your lead, they add 1 to their roll. (If your friends are
NPCs, they instead act at an Advantage.)
S
Your Backstory
S
You have two friends who you can rely on for monster-
slaying support. Take a String on each.
There’s someone who knows that you’re the Chosen one,

and wants you dead. The MC gives them a name and two
Strings on you.
Advancement
Take another Chosen move.
Take another Chosen move.
Take a move from another Skin.
You have Unholy Allies.
Add 1 to Hot (max 3).
Add 1 to Cold (max 3).
Add 1 to Volatile (max 3).
Add 1 to Dark (max 3).
51
Sex Move
When you have sex, heal all of your wounds, and cure all
of your Conditions. If they disgust you, give them a String.
If you disgust yourself, give them a String.
Darkest Self
None of your friends can help. They’re not strong like
you are. You need to chase down the biggest threat
imaginable, immediately and alone. Any challenges or
dangers that you encounter must be faced head on, even
if they might kill you. You escape your Darkest Self when
someone comes to your rescue or you wake up in the
hospital, whichever comes first.
S
S
Playing The Chosen
Powerful, vengeful, conflicted, masochistic. The Chosen
is a monster slayer who finds themselves drawn to the
darkness.
Introducing The Chosen into a game shifts the attention

towards fighting a big bad villain, someone external to
the PCs. While The Chosen still creates inter-PC turmoil,
this shift can have a big impact on the tone of the game.
For Mercy to qualify, there must be at least the implied

possibility that you were going to kill them. This could
The Skins
include uttering and then retracting a death threat in the

lunchroom.
If you take Final Showdown, it signals to the MC that

you want to see doomsday monsters and powerful
underworld foes. Similarly, when you name a monster
52 during “your backstory,” use the opportunity to create
a character that you’re interested in exploring (and
confronting) with your character.
Chapter Three
S
S
The Fae
At the edges of this world, just beyond the veil, there are
colours that few mortals even dream of. Beauty enough to
shatter any heart. The Fae live and breathe at the edges
of this world. They keep a dusting of that magic tucked
behind their ears, just in case.
And the Fae are willing to share. They’re nothing if not

generous, asking for only one thing in return. A promise.
Keep it, and the true beauty of the world will be revealed.
Break it, and feel the wrath of faery vengeance.
53
S
S Names
Anders, Aurora, Crow, Gail, Harmony, Iris, Lilith, Ping,
Selene, Sienna, Walthus
A name taken from nature, a new age name, a soft-

sounding name, a mystical name
Look
dainty, girlish, gaunt, mysterious, disheveled
quick eyes, lyrical eyes, mesmerizing eyes, laughing eyes,

The Skins
piercing eyes
Origin
fae born, fae blooded, adopted, touched with the gift,
54 stole the gift
Stats
Chapter Three
Hot 1, Cold -1, Volatile -1, Dark 1
Fae Moves
You get this one, and choose one more:
 Faery Contract
If someone breaks a promise or contract made to you,
take a String on them. When spending a String to even
out the score and get justice on a broken promise, add
these options:
}} they fuck up something simple at a crucial moment;
}} add 2 to your roll on an act of vengeance;
}} they suffer 1 harm, whether the cause is obvious or not.
S
 The Constant Bargain
When someone asks you to do something important for
S
them, and you do it, roll with hot. On a 10 up, they lose
a String on you, and you gain one on them. • On a 7-9,
choose one or the other. • On a miss, you’ve shown that
they can walk all over you, and they take a String on you.
 The Wild Hunt

When you draw upon your most feral manner, echoing
the lithe movements of a cat or the voracity of a wolf, add
1 to your roll to turn someone on.
 Beyond The Veil

When you attempt to commune with the Faery King, gaze
into the abyss. On a 10 up, add this option to the list: find
a hidden String against someone. • On a 7-9, add this
option to the list: the visions are clear, but the Faery King
demands a favor of you.
 Lure
Whenever someone makes a promise to you, they mark
experience. Whenever someone breaks a promise to you 55
and you seek vengeance, mark experience.
 Guide
If you spend a String on someone willing, you can bring
them across the veil, into the faery court. The spell
doesn’t last long, though, before you’re both returned to
the mundane world.
 Unashamed
You can give someone a String on you to add 3 to your
attempt to turn them on.
S
S Your Backstory
You wear your heart on your sleeve. Give everyone one
String.
You’ve captured someone’s fancy. Gain 2 Strings on them.
Advancement
Take another Fae move.
Take another Fae move.
You belong to a Jury of Fae.
The Skins

56 Sex Move
When you lie naked with another, you can ask them for a
Chapter Three
promise. If they refuse, take 2 Strings on them.
Darkest Self
Everything you say is a promise. Everything you hear is a
promise. If a promise is broken, justice must be wrought
in blood. To escape your Darkest Self, you must in some
way re-balance the scales of justice.
S
S
Playing The Fae
Alluring, exotic, fickle, vengeful. The Fae is all about
extracting promises, and wielding faerie vengeance when
those promises are broken.
The Fae are hot and hard to resist. They use those attributes
to get promises from people, and those promises hold
cosmic power. Their low Cold and Volatile stats make it
hard to shut others down or keep them at bay. Instead,
they excel at getting close to people.
Faery Contract gives mechanical weight to broken

promises. You gain Strings and new powers. Those new
String-spending options are assumed to be magical in
some way. You can cause them to “fuck up something
simple at a crucial moment” just by sitting on the
bleachers and wishing that they would. Your will seems
to manifest itself in the world.
57
Write down any promises you receive. There’s no move
that allows you to force a promise out of someone, but
clever roleplaying and mechanical incentives can help you
here.
Beyond The Veil introduces the idea of a Faery King.

Choosing this move prompts a number of questions: what
is faery society like? What forces do you owe fealty to?
Your Darkest Self has a very ambiguous “escape clause.”

What is required to re-balance the scales of justice will
be entirely situational. You and the MC should both be in
agreement that things have been set right, before you can
escape yourself.
S
S
The Ghost
Ghosty ghost. You’re dead.
The Skins
58
Chapter Three
S
Name
S
Alastor, Avira, Catherine, Daniel, Kara, Lenora, Orville,
Rufus, Spencer, Tien
An antiquated name, a mournful name, a stuffy-sounding

name, a name from the old country
Look
Forlorn, meek, distant, stuffy, out of place, brooding
Hollow eyes, dull eyes, unnerving eyes, piercing eyes,

pained eyes
Origin
Murdered in cold blood, murdered in hot passion, left to
die, tragic accident, a confused death 59
Stats
Hot -1, Cold 1, Volatile -1, Dark 1
S
S Ghost Moves
 Unresolved Trauma
Whenever you project the blame and trauma of your
death onto your current situation, roll with dark. On a
10 up, give two people the blamed condition. On a 7-9,
give up to two people the blamed condition, but for each,
choose one:
}} You gain the delusional condition,
}} You can’t speak during this scene,
}} You suffer one harm,
}} You start re-enacting the scene of your death.
The Skins
 Creep
When you secretly witness someone in their most
intimate moments, perhaps showering or sleeping, gain
a String on them.
60  Vengeful
Whenever you lash out physically at someone with the
blamed condition, roll using Dark. Add 1 extra harm to
Chapter Three
whatever harm you deal.
 Forgive and Forget

Whenever you accept that someone isn’t responsible for
your pain and suffering, and absolve them of their blamed
condition, mark experience.
 Hungry Ghost
You find sustenance in sadness. When others dump their
emotional problems on you, roll with dark. On a 10 up,
they lose all their conditions, and you choose one:
}} Mark experience,
}} Carry one forward,
}} Gain a String on them
On a 7-9, they choose one:
}} They lose all their conditions,
}} They gain a String on you.
S
 Dissipate
You can walk through walls.
S
Your Backstory
Someone knows that you’re dead, and how you died. They
gain a String on you.
You’ve been inside someone’s bedroom while they were

sleeping. Take a String on them.
Advancement
Take another Ghost move.
Take another Ghost move.
You have a House of Spooks.
Add 1 to Volatile (max 3). 61
Sex Move
When you have sex with someone, you both get to ask a
question of one another’s characters. This can be spoken
by your character, or simply asked player-to-player. The
other person must answer honestly and directly.
Darkest Self
You become invisible. No one can see you, feel you, or hear
your voice. You can still affect inanimate objects, but this
is your only avenue of communication. You escape your
Darkest Self when someone acknowledges your presence,
and demonstrates how much they want you around.
S
S
Playing The Ghost
Tormented, insecure, intuitive, fickle. The ghost is all
about channeling past trauma, seeing people’s true selves,
and having spooky powers.
There are several different directions to take The Ghost.

The first is a callous and dangerous spirit, using Unresolved
Trauma and Vengeful to vent your pain upon the next
generation. The second is a voyeuristic and lonely spook,
forever trapped in a state of pubescent tragedy. Creep and
Hungry Ghost both contribute here. The third is someone
trapped in a cycle of confused self-haunting, vacillating
The Skins
between Unresolved Trauma and Forgive and Forget.

Certainly other interpretations are possible. The Ghost
has a great deal of emotional range to explore.
Other characters can remove the blamed Condition in the

same way that they would remove any other Condition.
62
When you use Dissipate to escape a scary or tense
situation, it still counts as running away.
Chapter Three
The 7-9 options for Hungry Ghost represent the dangerous

side of being someone’s shoulder-to-cry-on. They might
use your support in order to regain their composure and
wellness, or they might use your empathy as a tool to
gain power over you.
The idea behind the House of Spooks gang is that you

reside within a haunted house, or have somehow banded
together with the spirit inhabitants of a haunted house.
Discuss with the MC the physical limitations that your
gang experiences, as well as the amount of power they
have over those who enter the house.
S
S
The Ghoul
Death changed you. It took away your contemplative joy, it
dulled your senses, and it left you impossibly hungry. That
hunger is always with you, like a hum in your ears that
swells and crescendos until you can’t hear anything else.
Unattended, it will come to dominate you - but feeding it
may be just as bad.
There is a certain beauty to what you’ve become. Your

gaunt body, its unnatural form - it draws people in. Your
stark disinterest seems exotic. But underneath that
disaffected presentation - the hunger, the hunger.
63
S
S Name
Akuji, Cage, Cole, Georgia, Horace, Iggy, Mara, Morrigan,
Silas, Sharona, Victor, Zed
A cold-sounding name, a guttural name, a name that

evokes death or rebirth, a sorrowful name
Look
gaunt, striking, thin, stiff, disfigured
hollow eyes, quiet eyes, calculating eyes, harsh eyes,

The Skins
hungry eyes
Origin
resurrected, constructed, disturbed, rejected, sent
64
Stats
Chapter Three
Hot -1, Cold 1, Volatile 1, Dark -1
S
Ghoul Moves
S
You get this one, and choose two more:
 The Hunger
You have a Hunger for (circle 1): flesh, chaos, power, fear.
When you heedlessly pursue a Hunger, add 1 to rolls.

When you ignore a feeding opportunity, roll to hold steady.
 Disaffected
When you turn someone on, roll with cold.
 Short Rest for the Wicked

When you die, wait it out. Some hours later, you wake up
fully healed.
 What the Right Hand Wants

Your body was stitched together in parts and pieces. And
those parts and pieces echo different histories, want
different things. Create another Hunger. 65
 Watchful Golem
When you defend someone without them ever knowing
about it, mark experience.
 Satiety
When you satiate a Hunger, choose one:
}} heal one harm;
}} remove a Condition;
}} mark experience;
}} carry 1 forward.
 Ending
You remember how you died. When you tell someone
about it, give them the Condition morbid, and roll to turn
them on.
S
S Your Backstory
Someone reminded you what love was, when you thought
that death had stolen it away from you forever. Give them
2 Strings.
Did anyone watch you die, or watch you come back to

life? If so, you both gain 2 Strings on each other.
Advancement
Take another Ghoul move.
Take another Ghoul move.
The Skins

You have Necromantic Caretakers.
66
Sex Move
Chapter Three
When you have sex with someone, add “having sex with
[this person]” as an additional Hunger. If you already have
this Hunger, mark experience.
Darkest Self
You will maim, kill and destroy anything in between
you and the nearest object of your hunger. You will feed
relentlessly. You escape your Darkest Self when someone
restrains you or fends you off for long enough for you to
regain your composure – at least thirty or forty minutes.
S
S
Playing The Ghoul
Cold, unwavering, hungry. The ghoul died, and came back
with dulled emotions and a hunger for human flesh. The
ghoul benefits from being disaffected and malicious.
The Hunger gives you an option: you can crave human

flesh, like a standard zombie, or you can crave something
a little bit more subtle. It’s important that whatever your
Hunger is, satiating it is scary and messy. Surprising
someone and saying “boo!” won’t fulfil your Hunger for
Fear. You need to terrorize people, and make them afraid
to walk home alone at night. If your Hunger is for Flesh,
then a steak from the supermarket won’t do. Or it’ll do,
but you require pounds and pounds of steak every day.
Whatever the specifics, Hungers should be a big and
difficult struggle for your character to deal with.
Short Rest for the Wicked gives the MC a chance to frame

you into freaky, unexpected situations. Choosing to die 67
and then return to life is like saying, “Alright, MC, hit me.
I can take it.” Savour the pandemonium.
Watchful Golem allows you to add a gentle side to your

character without disrupting the unnerving sociopath
image that The Ghoul readily cultivates.
S
S
The Infernal
At first, it seemed innocent. It gave you things, made
you feel good about yourself. You came to it with your
problems, and it fixed them. When you asked how you
could return the favour, it told you to be patient - that all
debts would be settled in due time. That was the first time
you heard it mention debts.
You’ve got Satan as your corner-man, or a demon in your

brain. Or maybe the stars glow just for you. Regardless,
you owe a debt to something much bigger and scarier than
you’ll ever be.
The Skins
68
Chapter Three
S
Name
S
Baron, Cain, Chloe, Damien, Logan, Mark, Mika, Omar,
Ophelia, Poe, Yoanna
An authoritative name, a cowardly name, a name implying

doom, a fierce-sounding name
Look
distant, quiet, anxious, tense, frantic, vicious
empty eyes, calculating eyes, burning eyes, flickering

eyes, piercing eyes
Origin
bartered soul, last-chancer, returned, emissary, legion,
lackey, chosen 69
Stats
Hot -1, Cold -1, Volatile 1, Dark 1
S
S Infernal Moves
 Soul Debt
Name a dark power that you owe a debt to. Choose two
Bargains that it has made with you. It can hold Strings
against you. Whenever it collects 5 Strings against you,
trigger your Darkest Self.
 Dark Recruiter
When you bring an innocent soul to the dark power, mark
experience.
The Skins
 Unknowable
When you lash out physically against someone, on a 10 up,
they lose 1 String on you. • On a 7-9, add to your list of
options: they lose 1 String on you.
 Can’t Save Myself

70 When somebody saves you from forces too powerful for
you to reckon with, they mark experience, and you gain a
String on them.
Chapter Three
Your Dark Power

Come up with a name for your dark power, if you know its
name. Choose a title from the list, to describe this entity
that you’ve made your bargains with:
The Poisoner
The Trickster
The Connoisseur
The Fallen
The Glutton
The Emissary
The Butcher
The Tyrant
Or, if you prefer not to know what or who you have been
making bargains with, that’s fine - just let the MC know.
S
Bargains
S
Choose two Bargains that the dark power has made with you:
 The Power Flows Through You

You can give the dark power a String in order to add 2 to
your next roll (choose before rolling).
 Numbing It Out
You can give the dark power a String in order to remove a
Condition or up to two harm.
 Elsewise Power
You can give the dark power a String to use a move you
don’t have, just this once. This move can come from any
playbook.
 Uncanny Voices
You can give the dark power a String in order to realize
a secret about someone you’re talking to. The owner of
that character will reveal one of their secret fears, secret 71
desires, or secret strengths (they choose.)
 Strings Attached
You can ask the dark power for something that you really,
really want. The MC will attach a price to the thing you
want, and hint at an undesired twist in its nature. If you
pay the price, you’ll get what you’re after.
S
S Your Backstory
You owe debts. Give away 3 Strings, divided any way you
like between the dark power and the other characters.
Someone thinks they can save you. Gain a String on them.
Advancement
Take another Infernal move.
Take the remaining Bargains.
Create a new Bargain (MC approval).
The Skins
You supply for Needy Fiends.

72
Sex Move
Chapter Three
When you have sex, the dark power loses a String on you
and gains a String on whoever you had sex with.
Darkest Self
You can’t get what you need, anymore. The world has left
you cold and alone, shivering in the wake of your own
addictions. The dark power will make some open-ended
demands of you, and it’ll promise you some lucrative
(and perhaps volatile) things in return. Every demand you
fulfill brings you a little closer to feeling whole again,
to rekindling the fire in your heart. Whenever you fulfill
those demands, remove a String it holds on you. You
escape your Darkest Self when the dark power has no
more Strings on you, or when you agree to an even worse
bargain with an even more dangerous dark power.
S
S
Playing The Infernal
Powerful, desperate, addicted. The infernal has a demonic
sugar daddy - someone who gets them things they want.
At a price.
The central mechanical game that The Infernal plays

is choosing when to give the dark power Strings (via
Bargains). The Infernal is extremely powerful when they’re
borrowing power heavily, but eventually they crash and
become powerless for a while.
It’s important to remember that the crashing part isn’t

a punishment, but part of a story arc. There’s no need to
avoid the crash, nor to stop using Bargains once the dark
power has 4 Strings on you. Your character is interesting
and powerful because they are compliant with this story
arc of meteoric power and sudden withdrawal.
With Dark Recruiter, the specifics of what it means to “bring 73

someone to the dark power” is left up to interpretation
and context. It might mean a sacrificial killing, it might
mean physically presenting them before the dark power,
or it might mean something different altogether.
With Strings Attached, you’ll never get exactly the thing

you’re looking for. The MC is instructed to add an
undesirable twist to the thing. If you want a car, it might
be stolen, or possessed, or have a dead person in the
trunk. You can always turn the thing down.
S
S
The Mortal
None of them would understand. What you have here, in
this dark and secret place, it’s beautiful. They’d warn you
that this sort of beauty is dangerous, like a raging fire.
Well some things are worth getting burned for.
Love has eclipsed all hope. And the dark has left you
feeling beautiful.
The Skins
74
Chapter Three
S
Names
S
Anne, Carla, Deirdre, James, Jonathan, Leena, Patrick,
Robin, Shen, Timothy, Wendy
A common name, a soft-sounding name, a pretty name,

an unadorned name
Look
quiet, desperate, awkward, beautiful, displaced
doe eyes, sad eyes, darting eyes, nervous eyes, human

eyes
Origin
new kid in town, kid next door, your barista, someone’s
girlfriend, someone’s boyfriend, nobody 75
Stats
Hot 1, Cold -1, Volatile -1, Dark 1
S
S Mortal Moves
You get this one, and choose two more:
 True Love
You always have exactly one lover. The first is chosen during
your backstory. If you ever fall in love with someone else
instead, give them a String and they become your new
lover. You always carry 1 forward to earning your lover’s
heart or fancy.
 Mess With Me, Mess With Him

When you use your lover’s name as a threat, add 2 to your
roll to shut someone down or hold steady. Your lover gains
The Skins
a String on you.
 Sympathy is My Weapon
Every time you forgive someone for hurting you, and
excuse their base nature, take a String on them.
76  Excuses Are My Armour
When you ignore some blatant problem with your lover
or how they treat you, mark experience.
Chapter Three
 Downward Spiral
When you gaze into the abyss, you may cause yourself 1
harm. If you do, add 2 to your roll.
 Down the Rabbit Hole

When you go poking your nose in affairs not meant for
your kind, someone involved in the situation gains a
String on you, and you mark experience.
 Entrenched
If you and another character have a total of 5 or more
Strings on one another, gain 1 to all rolls against them.
S
Your Backstory
S
The Mortal always declares their backstory last. Declare
one person to be your lover. Give them three Strings on
you. Take one String on them.
Advancement
Take another Mortal move.
Take another Mortal move.
Sex Move 77
When you have sex with someone, trigger their Darkest
Self.
Darkest Self
Nobody understands you, or even wants to. They’d rather
you disappear. Well, you’re not going to disappear. You’re
going to make life a living hell for them. You’ll betray the
wicked to the judges, the weak to the executioners. You’ll
pit humans and supernaturals against one another, until
everyone looks like monsters. Only seeing the pain that you’re
causing your lover will let you escape your Darkest Self.
S
S
Playing The Mortal
Vulnerable, codependent, magnetic, beautiful. The mortal
is all about benefiting from codependency, and racking up
experience.
For anybody else, giving away a String would represent

a loss of control. For you, it’s more symbiotic - you get
power by giving it away.
You don’t necessarily need to be in a relationship with

someone to declare them your True Love.
The Skins
Mess With Me, Mess With Him allows you to escape your
current problem by creating potential future problems for
yourself (by giving more power to your lover). The hidden
benefit here is that you’re better equipped to deal with
your lover’s problems than you are anyone else’s.
78 Entrenched gives you a concrete benefit for giving away

Strings. So long as you and another character have 5
Strings between one another (perhaps you have 1 on
Chapter Three
them, and they have 4 on you), you prosper.
Your Sex Move might seem negative, but remember: The

Mortal benefits from victim-hood. Their Darkest Self
transition need not be immediate - it could take place an
hour after you leave their place, for example.
S
S
The Queen
You’re one of the special ones. A sovereign beauty. You
deserve more than the rest of this wretched world does. You
deserve the will and worship of those around you.
And it’s not only because you’re better than them. It’s
because you make them better. Strong, beautiful, complete.
They’d be nothing without you.
79
S
S Name
Burton, Brittany, Cordelia, Drake, Jacqueline, Kimball,
Raymond, Reyes, Varun, Veronica
A lordly name, a cold-sounding name, a harsh-sounding

name, a name evoking leadership
Look
stunning, domineering, icy, stuck up
calculating eyes, captivating eyes, brooding eyes, murky

The Skins
eyes, vacant eyes
Origin
most popular kid in school, most dangerous person
80 around, occult leader, firstborn of the hive mind, source
of the infection
Chapter Three
Stats
Hot 1, Cold 1, Volatile -1, Dark -1
S
Queen Moves
S
 The Clique
You’re at the head of the toughest, coolest, most powerful
clique around. They count as a gang. Choose one of the
following strengths for your gang:
}} they’re armed (with guns and real dangerous stuff);
}} they’re connected (with money and designer drugs);
}} they’re talented (in a band or sports team);
}} they’re cultists (with dark oaths and willingness to die).
 The Shield
When you’re surrounded by your gang, subtract 1 from
any rolls against you. (NPCs act at a Disadvantage.)
 Bought Loyalty
You can give an NPC a String against you to add 2 to your
manipulate an NPC roll against them. (You can only choose
to do so before rolling.) 81
 And Your Enemies Closer

When someone betrays you, gain a String on them.
 Many Bodies
When you promise one of your gang members to someone,
add 2 to your roll to turn someone on. When one of your
gang members has sex with someone, it triggers your Sex
Move.
 Streaming
You have a telepathic connection with your gang
members. You can always hear their emotions and fears.
When you try to hear specific thoughts, gaze into the abyss
about it and add 1 to your roll.
S
S Your Backstory
Name three NPCs who are members of your gang. Gain a
String on each.
You find someone threatening. Give them a String on you,

and take two Strings on them.
Advancement
Take another Queen move.
Take another Queen move.
The Skins
Take The Clique again, detailing a second gang.

82
Sex Move
Chapter Three
When you have sex with someone, they gain the Condition
one of them. While the Condition remains, they count as
part of your gang.
Darkest Self
They’ve failed you. This is all their fault, and there’s no
reason why you should have to suffer the consequences
of their idiocy. You need to make an example out of each
of them, a cruel and unwavering example. You escape
your Darkest Self when you relinquish part of your power
over to someone more deserving, or when you destroy an
innocent person in order to prove your might.
S
S
Playing The Queen
Commanding, irresistible, bitchy, sexy. The queen is about
turning cliques and popularity into weapons.
The different strength options for The Clique don’t have a

specific mechanical effect. Rather, they help define what
your gang is going to be able to help you with and what
kind of power they will afford you.
The Shield works differently depending on whether the

person approaching you is a PC or an NPC. If it’s a PC,
then that character suffers -1 toward acting against you.
If it’s an NPC, then tell the MC that “The Shield puts them
at a Disadvantage.” That’s a specific MC mechanic that
will make NPCs who act against you weaker and more
vulnerable.
With And Your Enemies Closer, someone can only betray

you if you were depending on them to help you out in 83
some way. It’s valid to count a screw-up as a betrayal.
Streaming is the only overtly supernatural ability that The

Queen possesses (although Many Bodies does strongly
imply some kind of supernatural bond at work). Avoid this
move and you can make a mundane super-popular teen
queen character.
The title “Queen” is used in a gender-nonspecific way. It’s

fine to make a male Queen.
S
S
The Vampire
You are beauty eternal. You are the darkness that everyone
wants to taste, but no one wants to understand. It’s there
in your eyes, your carefully-chosen words, and your every
gesture: you no longer have a soul.
Some vampire revel in that fact, their afterlife a tapestry of

exsanguination and hedonism. Others hate the evil in their
skin, solemnly vowing to a chaste and lonely existence.
Either way, someone suffers. The choice is yours.
The Skins
84
Chapter Three
S
Names
S
Amanda, Cassius, Clayton, Helene, Isaiah, Jessamine,
Jong, Lucian, Marcell, Morana, Serina
A stately name, an antiquated name, a biblical name, a

brooding name, a snobby name
Look
intense, aloof, pale, predatory, smoldering, old-fashioned
dead eyes, hungry eyes, thirsty eyes, lusty eyes, pained

eyes
Origin
newly reborn, old by human terms, taken this century,
many ages old, maker, lord 85
Stats
Hot 1, Cold 1, Volatile -1, Dark -1
S
S Vampire Moves
Choose two:
 Hypnotic
You can hypnotize people who have no Strings on you.
Roll with hot. On a 10 up, they do exactly what you wish
and have no idea that anything is wrong. • On a 7-9, the
hypnosis works, but choose one:
}} they realize you hypnotized them;
}} they fuck up your commands;
}} their sanity is unhinged.
 Invited
The Skins
You cannot enter a home without being invited. Whenever

someone invites you, take a String on them.
 The Feeding
You feed on hot blood. If this is the first time they’ve ever
been fed upon, you both mark experience. When you feed,
86 choose two:
}} you heal 1 harm previously suffered,
}} you carry 1 forward,
Chapter Three
}} they don’t die.
 Marked for the Hunt

When you feed on someone, you establish a close bond
with them. When you gaze into the abyss concerning their
whereabouts or well-being, roll as if you had Dark 3.
 Cold as Ice
When you successfully shut someone down (7 up), you may
choose an extra option from the 7-9 list.
 Inescapable
You may spend a String on someone to demand that they
not walk out on you. If they still do, gain 2 Strings on them.
S
Your Backstory
S
You’re beautiful. Gain a String on everyone.
Someone once saved your unlife. They gain 2 Strings on you.
Advancement
Take another Vampire move.
Take another Vampire move.
You belong to a Vampire Coterie.
Sex Move 87
When you deny someone sexually, gain a String on them.
When you have sex with someone, lose all Strings on that
person.
Darkest Self
Everyone is your pawn, your plaything. You hurt them and
make them vulnerable, for sport, like a cat does with a
mouse. You feed to the point of death whenever you’re
alone with someone, though you take your time. You
escape your Darkest Self when you’re put in your rightful
place, by someone more powerful than you.
S
S
Playing The Vampire
Icy, manipulative, pretty, hypnotic. The vampire is about
emotional entrenchment and emotional dominance.
As The Vampire, you’ll benefit from getting under

people’s skins without ever provoking them to physical
confrontation. The Vampire is the master of hot-and-cold
dynamics.
We all know a lot of vampire myths, some of them even

contradictory. It’s up to your playgroup to determine
what holds true in your game. Are vampires allergic to
The Skins
garlic and crosses? If you don’t take Invited, it’s fine to

disregard the myth about vampires needing permission to
enter a private residence.
With Marked For The Hunt, it’s assumed that you can track
someone easily no matter how recently the feeding took
88 place, unless there’s some reason why their scent or blood
would have changed.
Chapter Three
S
S
The Werewolf
Everyone around you seems so willing to play the roles they
are handed, to quietly colour within the lines. They’ve been
tamed, domesticated. You’re of a different stock. You’ve
broken down the fence built to contain you. You’ve howled
at the moon, and heard it howl back.
The transformation is complete. This is what you were

always meant to be. Wild. Unwavering. Alive.
89
S
S Name
Cassidy, Candika, Flinch, Levi, Margot, Lorrie, Luna, Peter,
Tucker, Zachary
A trailer park name, a tough name, a name that evokes

the full moon, a primal name
Look
Primal, unkempt, lunatic, wiry, rugged, feisty
Fierce eyes, savage eyes, cunning eyes, predatory eyes,

The Skins
wolf eyes
Origin
Born a wolf, raised by wolves, ancestral power, awoken,
90 bitten, favoured by the moon
Stats
Chapter Three
Hot 1, Cold -1, Volatile 1, Dark -1
S
Werewolf Moves
S
Choose two:
 Scent of Blood
Add 1 to all rolls against those who have been harmed in
this scene already.
 Unstable
When you become your Darkest Self, mark experience.
 Primal Dominance
When you harm someone, take a String on them.
 Uncontainable
When you attempt to escape any form of physical
entrapment, roll with volatile. On a 10 up, you escape. •
On a 7-9 the MC will offer you a hard bargain: agree if you
want to escape.
 Bare Your Fangs 91

While you are your Darkest Self, you may use Volatile
instead of Cold to shut someone down or hold steady.
 Howl at the Moon

When basked in moonlight, add 2 to your Dark score.
 Heightened Senses
When you rely on your animal instincts to make sense of
a charged situation, roll with dark. On a 10 up, ask the MC
three questions. If you act on one of the MC’s answers,
add 1 to your first roll. • On a 7-9, ask one:
}} Where’s my best escape route or way in?
}} Which enemy is the most vulnerable to me?
}} What’s their secret weakness?
}} What poses the biggest threat to me?
}} Who’s in control here?
 Spirit Armour
When basked in moonlight, any harm that you suffer is
reduced by 1, and you add 2 to hold steady rolls.
S
S Your Backstory
You lack subtlety. Give a String to everyone.
You’ve spent weeks watching someone from a distance.

Their scent and mannerisms are unmistakable to you
now. Take 2 Strings on them.
Advancement
Take another Werewolf move.
Take another Werewolf move.
The Skins
You belong to a Wolf Pack.

92
Sex Move
Chapter Three
When you have sex with someone, you establish a spirit

connection with them. Until either of you breaks that
spirit connection, by having sex with someone else, add 1
to all rolls made to defend them. You can tell when that
connection has been broken.
Darkest Self
You transform into a terrifying wolf-creature. You crave
power and dominance, and those are earned through
bloodshed. If anyone attempts to stand in your way, they
must be brought down and made to bleed. You escape
your Darkest Self when you wound someone you really
care about or the sun rises, whichever happens first.
S
S
Playing the Werewolf
Passionate, violent, muscular, fickle. The werewolf is all
about using physical violence and transformation to get
what it wants.
With both Scent of Blood and Primal Dominance, harm

refers to causing physical damage to a character that’s
recorded on their harm track.
If you’ve played Apocalypse World, you’ll note that

Heightened Senses is the parallel to that game’s read a
charged situation.
There are a number of different werewolf mythologies

around the world, many of which contradict one another.
In Monsterhearts, you can make decisions about which of
those mythologies hold true.
Since someone could potentially become their Darkest 93

Self at any time, we know that werewolves don’t always
need to wait until the full moon to transform. It’s up
to your playgroup to decide whether you can turn into
a wolf without becoming your Darkest Self. If a Darkest
Self transformation is required, you can provoke that
transformation by putting yourself at four harm.
Your wolf self has the same stats as your human self.
What changes is your role and place in the story - new
actions and opportunities will make sense in this new
context. Further, moves like Unstable and Bare Your Fangs
take effect when you become your Darkest Self.
S
S
The Witch
In every lock of hair, every furtive glance, every secret
note that transfers hands during history class – there is
an invitation. An invitation to be fucked with. Not that
witchcraft is about fucking with others, exactly, but it’s
hard not to notice how utterly malleable the world is, once
you know a thing or two about magick.
Of course, a good witch like you knows restraint. A good witch

turns a blind eye to all those invitations, and doesn’t think
about how sweet vengeance and control might be. A good
witch is above that sort of thing. At least, most of the time.
The Skins
94
Chapter Three
S
Names
S
Abrielle, Annalee, Cordelia, Darius, Evelyn, Gerard, Lucca,
Merrill, Sabrina, Vanessa
A pretty name, a pagan name, a cold-sounding name, a

pretentious name
Look
lithe, guarded, coy, edgy, brooding
calculating eyes, sinister eyes, playful eyes, smirking eyes,

deep eyes
Origin
voodoun, wiccan, shamanic, dabbler, gifted, awoken
95
Stats
Hot -1, Cold 1, Volatile -1, Dark 1
S
S Witch Moves
You get these two, and choose one more:
 Sympathetic Tokens
You gain power from sympathetic tokens - items of
personal significance that you take from others. Each
sympathetic token counts as a String.
 Hex-Casting
You can cast Hexes. Choose two that you know. To cast
them, either expend a sympathetic token during a secret
ritual, or meet the target’s gaze and chant at them in
tongues. Then roll with dark. On a 10 up, the Hex works,
The Skins
and can easily be reversed. On a 7-9, it works but choose

one:
}} the casting does you 1 harm;
}} the Hex has unexpected side effects;
}} trigger your Darkest Self.
96  Transgressive Magic
When your ritual transgresses the community’s moral
and sexual standards, add 1 to your hex-casting roll.
Chapter Three
 Bide My Time
If you’ve got a sympathetic token against someone, add
1 to all rolls to hold steady against their actions or to run
away from them.
 Sanctuary
You have a secret place for practising witchcraft. Add 1 to
all rolls you make within this space.
S
Hexes
S
 Wither
The person loses all of their hair, or their teeth start
rotting and falling out, or their period comes and it comes
by the bucketful, or their skin gets all sickly yellow and
spotty. Whatever the specifics, it’s bad.
 Binding
The person cannot physically harm others.
 Ring of Lies
Whenever the person attempts to lie, they hear a piercing
ringing noise. Big lies will often make their knees buckle
and disorient them. Severe lies can cause harm or even
brain damage.
 Watching
You enter a deep sleep, and begin to see the world through
the eyes of the hexed. You can feel their reactions to and
impressions of what they are seeing. 97
 Illusions
Pick one: snakes and bugs, demonic visages, false
prophecies, non-existent subtext. The hexed sees that
thing everywhere. You have no control over the exact
images or manifestations.
S
S Your Backstory
You start the game with two sympathetic tokens. Decide
whose and what they are.
One of the others caught you rummaging through their

friend’s stuff, but kept quiet. They get a String on you.
Advancement
Take another Witch move.
Take the remaining hexes.
Create a new hex (MC approval).
The Skins

You belong to a Witch Coven.
98
Sex Move
Chapter Three
After sex, you can take a sympathetic token from them.

They know about it, and it’s cool.
Darkest Self
The time for subtlety and patience is over. You’re too
powerful to put up with their garbage any longer. You
hex anyone who slights you. All of your hexes have
unexpected side effects, and are more effective than you
are comfortable with. To escape your Darkest Self, you
must offer peace to the one you have hurt the most.
S
S
Playing The Witch
Manipulative, secretive, judgemental, brooding. The
witch is all about casting silent judgement, and powerful
hexes, from the safety of her own bedroom.
Sympathetic Tokens can be anything personal - a lock of

their hair, a note they penned, their journal, or lipstick
that they lent you. These are things that you’ll need to
steal, borrow, or otherwise scheme to get your hands on.
It’s possible for someone to have access to Hex-Casting

without Sympathetic Tokens (say, another Skin takes the
move through advancement). In that case, the Hexes can
only be cast by chanting in tongues.
If you chose “the Hex has unexpected side effects” from

Hex-Casting, the MC gets to determine what those side
effects are.
99
With the Hex Illusions, you chose which type of illusions
the hexed sees, but the MC gets to describe the specific
visions and the reactions of the hexed.
S
S
Chapter Four
Being MC
Being MC
100
Chapter Four
S
S
The Others
The rules described in Playing The Game walk the players
through roleplaying a protagonist in a Monsterhearts
story. But a good story has more than just its protagonists
- there are supporting characters, antagonists, bit parts,
and an entire world existing around them.
In Monsterhearts, there is one player who takes on the

role of all of these additional characters. That person is
called the Master of Ceremonies, or MC. They are still a
player of the game, but they have a different role and set
of responsibilities than the other players.
Rather than being tasked with playing a single character

with integrity, the MC is tasked with playing the world
at-large with integrity, and doing so in a way that puts the
PCs in the spotlight.
The MC’s role, and the rules that they follow in carrying 101
out this role, are the subject of this chapter. Only the MC
need read this chapter and understand its contents.
The MC
As the MC, it is your job to balance priorities.
The game provides you with a short list of Agendas -

ultimate goals you have in introducing any narrative
twist or character. It is your job to decide which Agenda
needs the most attention in any given moment, and how
to pursue it. The game also provides you with a list of
Principles - best practises for creating compelling stories
and evoking the feel of a teen monster sex drama. It is
your job to decide how to interpret the Principles in a
given situation, and which ones to pay the most attention
to. And finally, the game provides you with a list of Hard
Moves - specific actions that you can take to create
S
S compelling situations and force hard decisions upon the
other players. A big part of balancing your priorities is
deciding which Agendas to focus on, which Principles
to follow most closely in any given moment, and which
Moves to make in order to deliver on those Principles.
Another part of balancing your priorities is using your

scene framing authority to give each player an equitable
share of the spotlight, and to give each aspect of the
characters’ lives its due as well.
It’s easy to think of the MC as the person who “creates the

story,” but this is a dangerous trap. In actuality, the MC
is the person who plays the world at-large with integrity,
and decides who and what has the spotlight at any given
Being MC
moment. It’s the job of the other players (as their PCs)
to take decisive action, make mistakes, screw up and
try again differently, sleep around, and stir the sleeping
dragons of one another’s natures. Story is what emerges
naturally from the immediate, instinctual interactions
between the players and their characters.
102
Another way that you will need to balance priorities is
that you cannot love the characters you create too dearly.
Chapter Four
The PCs have more agency and more spotlight than your
antagonists and background characters ever will. Should
you try to best them and subordinate them, you will find
yourself embarrassingly overmatched. That’s good! Your
characters aren’t supposed to be the focus of our story. It’s
easy to develop a close bond with any of your creations,
and to start to consider a non-player character (NPC) to
be a priority. Balancing priorities involves knowing when
to feed your sacred creations to the wolves. Or, more
accurately, to the PCs.
Play the world with integrity, and do so in a way that puts

the PCs in the spotlight. Say things in the service of Agendas.
Use Moves to enact Principles. Balance your priorities.
S
S
Agendas
These Agendas are the reason that you say things in
the game. Your goal is to make these three imperatives
come to life throughout the game. Doing so will create
interesting, unexpected stories about the messy lives of
teenage monsters.
}} Make the PCs’ lives not boring.

}} Make the PCs feel unaccepted.
}} Keep the story feral.
If you need a refresher on what it means to keep the story

feral, see page 44.
Always Say
You need to balance a lot of priorities as the MC, and it 103
won’t always be clear what direction you need to steer in
any given moment. A good way to clarify what you need
to say is to always say:
}} What the principles demand.
}} What the rules demand.
}} What honesty demands.

Always be scrupulous, even generous, with the truth. The
players depend on you to give them real information they
can really use, about their characters’ surroundings, about
what’s happening when and where. Same with the game’s
rules: play with integrity and an open hand. The players are
entitled to the full benefit of their moves, their rolls, their
characters’ strengths and resources. Don’t chisel them,
don’t weasel, don’t play gotcha.
S
S
The Principles
The Agendas tell you what your goals are, and the
Principles tell you how to accomplish those goals. These
are the things you should try to do over the course of the
game. Doing them will help to ensure that your Agendas
are accomplished and that the game is interesting and
rife with drama. Principles are a list of best practises.
}} Blanket the world in darkness.

}} Address yourself to the characters, not the players.
}} Make your move, but misdirect.
}} Make your move, but never speak its name.
Being MC
}} Make monsters seem human.

}} Make humans seem monstrous.
}} Give everyone a life.
}} Accept people, but only conditionally.
}} Happiness always comes at someone else’s expense.
}} Ask provocative questions and build on the answers.
104 }} Be a fan of the PCs.
}} Treat your NPCs like stolen cars.
}} Give your NPCs simple motivations that divide the PCs.
Chapter Four
}} Sometimes, disclaim decision making.
Blanket the world in darkness

Evoke melodrama and darkness in all of your descriptions.
Introduce sad hermits in the depths of stormy nights. If
a scene could be set in a cemetery, set it there. If a scene
could take place in someone’s bedroom at midnight, set
it there. This tone-setting will guide the players towards
melodramatic actions.
S
Address yourself to the characters, not the players
Don’t call your players by their names. Call them by the
S
names of their characters. Doing this will jostle them into
thinking as their character and playing that character
with integrity.
When you address yourself to the characters, the players

will begin to think like those characters. The thoughts
and emotions of those characters will seem more vivid,
bleeding into the player’s own experience. The character
will become more than a pawn in a game. It’ll be a
conduit for feeling all those melodramatic and beautiful
and hideous teenage things.
Make your move, but misdirect

Make your move, but never speak its name
You will be called upon frequently to make hard moves,
and that involves choosing from a list. The trick is to
misdirect the audience, so that it seems like your narration
is emerging directly from what they just did, a natural
consequence of it. Don’t announce your hard move, and
don’t call it by its name. Let the hard move inform your 105
narration, and then weave that narration seamlessly into
the dialogue happening at the table.

Maybe your move is to separate them, but you should never
just say that. Instead, say how Foster’s thugs drag one of
them off, and Foster invites the other to eat lunch with her.
Maybe your move is to announce future badness, but for
god sake never say the words “future badness.” Instead, say
how this morning, filthy, stinking black smoke is rising from
somewhere in the car yard, and I wonder what’s brewing
over there?
These two principles are cause and effect. The truth is that
you’ve chosen a move and made it. Pretend, though, that
there’s a fictional cause; pretend that it has a fictional effect.
S
S Make monsters seem human.
Make humans seem monstrous.
When you start the game, there will be monsters and
there will be humans, and they’ll seem like two separate
groups with distinct members. Your players will assume
that adult humans have their shit together, and that
adult monsters are lecherous parasites. Whenever
possible, make the situation more complicated than
that. Have monsters demonstrate unbelievable altruism,
sometimes, before retreating into pathology once again.
Show how “good people” have their clandestine and
perverse natures, sometimes, as wretched as any beast
of myth. The moment you draw a line in the fiction, start
thinking about ways to blur and bend it. Work to apply
this thinking to age and gender, as well as the division
Being MC
between humans and monsters.
An essential part of the teenage experience is dealing with

labels and prejudice. This is the point in a person’s life
when sex, gender, race, class, beauty, talent - they become
acutely aware of all of it. They feel controlled by labels
106 which only ever half-apply. Make sure those labels are
omnipresent. Make sure they have teeth.
Chapter Four
Give everyone a life.

You’ve got all these characters to play - the members of the
football team, the guardians and siblings of the monster
teens, teachers, shopkeepers, others. It’s important to
remember that when you switch between these various
NPCs, the other characters in your repertoire don’t just
power down and go to sleep. They’re off living their lives.
That means that they’re stealing money from one another,
sleeping around, snooping into matters that don’t concern
them, and all the other things that people do.
It’s not necessary to chart out the days of all of your

various characters. Instead, every once in a while, ask
yourself what they might be up to. If it’s been a session
since you saw Jeremy, wonder what mischief he might
have gotten into. Occasionally, surprise the other players
by reminding them that every character that touches the
fiction has a vibrant and messy life going on.
S
Accept people, but only conditionally.
Happiness always comes at someone else’s expense.
S
Whenever someone opens their arms to someone
else, it’s your goal to prove that their acceptance is
conditional. If someone says “I love you,” or “I’m here
to help,” look for the limits of that sentiment. Ask
provocative questions about it. Search for the “but…”
clause hiding between the lines.
Have your NPCs only give out lopsided and conditional

acceptance. When a PC makes an accepting motion
towards another PC, return to this principle. Acceptance
is never absolute, so start looking for its fault lines. Start
looking for its lopsided-ness and its many conditions.
Challenge it.
And when acceptance or kindness are given out freely,

when characters do make one another happy - look for
the person who’s suffering as a result. Salima may be in
a healthy relationship with Jackson, but Rocko’s in love
with Salima. How does Rocko feel? Rocko feels hurt,
abandoned, and jealous. He wants to usurp Jackson. The 107
more hurt and abandoned Rocko feels, the more likely he
is to lash out at Jackson or undermine Salima’s happiness.
Look for the Rocko in every otherwise-happy situation.
Ask provocative questions and build on the answers.

Ask questions all the time. Ask questions in order to
build up sensory details (“What does your room smell
like?”). Ask questions in order to reveal perspectives
(“So, what do you think about this bush party?”).
Ask questions to highlight potential story directions
(“Have you and Lorna ever hooked up? Have you ever
thought about the possibility?”). Ask questions to reveal
insecurities and fears (“Why don’t you want to sneak
back into Jake’s place?”). Ask questions to reveal sources
of tension (“He’s never seen you with a girl, but Brandon
keeps calling you a dyke. Why?”)
Whatever answer you get, trust it and build upon it. Add
your own details to the answers that players give, and
incorporate whatever they say into future descriptions. If
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S someone answers a question with something provocative
and interesting, maybe even something that changes the
game, go with it. Let their answers steer the story in new
and unexpected directions. Ask questions in the hope that
you’ll be surprised by what you hear.
Be a fan of the PCs.

It’s not your job to thwart the PCs. It’s not your job to
oppose them. It’s your job to introduce difficult situations,
and to Make the PCs’ lives not boring. The best way to do
that is to be a fan of the PCs, to play the game in order
to witness their struggles and triumphs. Being a fan of a
character doesn’t mean removing them from harm’s way,
though - it means putting them directly into it and hoping
that they beat the odds and emerge triumphant.
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108
Chapter Four
“Make the characters’ lives not boring” does not mean

“always worse.” Sometimes worse, sure, of course. Always?
Definitely not.
The worst way there is to make a character’s life more

interesting is to take away the things that made the
character cool to begin with. The gunlugger’s guns, but
also the gunlugger’s collection of ancient photographs -
what makes the character match our expectations and
also what makes the character rise above them. Don’t
take those away.
The other worst way is to deny the character success when

the character’s fought for it and won it. Always give the
characters what they work for! No, the way to make a
character’s success interesting is to make it consequential.
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Treat your NPCs like stolen cars.
Think of the characters you play as stolen cars. You’re in
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control of them for a time, but you don’t own them and
you can’t really keep them. You hold onto them for as
long as they’re fun and useful, and abandon them when
they become dead weight.
The other players, they own their characters and are

loyal to them. That isn’t the case for you. Joyride your
characters. Play them recklessly, and play them knowing
that they aren’t going to last. If you do so, you’ll have
constant drama, constant sex, constant violence, and
constant chaos. That’s ideal.
Give your NPCs simple motivations that divide the PCs.

Make your NPCs straightforward and obvious enough
that the other players know how to react to them. Give
them obvious goals and obvious means to achieve them.
And then make sure that their goals divide the PCs,
pitting them against one another. By making your NPCs
transparent, you will ensure that the game isn’t about
getting information out of NPCs. By giving them divisive 109
goals, you will help focus the game on the dramatic
conflict between the PCs and everyone they encounter
in the world.

In your game, make all your NPCs just not that complicated.
They do what they want to do, when they want to do it, and
if something gets in their way, well, they deal with that now.
What they do in life is follow their parts around - their noses,
their stomachs, their hearts, their clits & dicks, their guts,
their ears, their inner children, their visions.
Then, you can make PC-NPC-PC triangles - and make your

NPCs even more human - just by making sure that their
uncomplicated self-interests involve the players’ characters
individually, not as a group. Show different sides of their
personalities to the players’ different characters.
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S Sometimes, disclaim decision making.
In order to keep the story feral, give away your decision-
making power from time to time. You’re doing this
already when you ask provocative questions and build upon
the answers. You can give your decision-making power
over to your characters, or to the other players.

You can (1) put it in your NPC’s hands. Just ask yourself,
in this circumstance, is Birdie really going to kill her?
If the answer’s yes, she dies. If it’s no, she lives. Yes, this
leaves the decision in your hands, but it gives you a way
Being MC
to make it with integrity.
You can (2) put it in the players’ hands. For instance,

“Dou’s been shot, yeah, she’s shuddering and going into
shock. What do you do?” If the character helps her, she
lives; if the character doesn’t or can’t, she dies. You could
110 even create a custom move for it, if you wanted, to serve
the exact circumstances.
Chapter Four
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Hard Moves
Hard moves are the things you do whenever the players
look at you expectantly, waiting to see what happens next.
Whenever someone fails a roll (6 or less), make a hard
move. Whenever people put themselves in harm’s way,
make a hard move. Whenever it’s unclear what should
happen next, make a hard move.
When the PCs are already at one another’s throats,

creating their own compelling drama, back off. As long as
your Agendas and Principles are being accomplished, you
can relax and enjoy the show. When the dust begins to
settle again, make a hard move.
Don’t tell people you’re making a hard move, and don’t

call it by name. Just do it, weaving it into the conversation.
These rules are here to make sure that you always have
something interesting to say, but by all means steal the
credit for yourself. Use hard moves all the time, but don’t 111
call attention to the fact that you’re doing so.
}} Separate them.
}} Put them together.
}} Announce off-screen badness.
}} Announce future badness.
}} Inflict harm (as established).
}} Make them pay a price.
}} Tell them the possible consequences and ask.
}} Leap to the worst possible conclusion.
}} Turn their move back on them.
}} Expose a dangerous secret to the wrong person.
}} Take a String on someone.
}} Trigger their Darkest Self.
}} Herald the abyss.
}} After every move: “What do you do?”
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S Separate them.
If two PCs are working together, or they’re trying to spend
a romantic evening together, separate them. Have hooded
villains kidnap one of them. Have a friend call from the
ER to demand the help of one of them. Figure out how to
divide them, and then take advantage of the fact that you
have them isolated.
Put them together.

Pick two characters that have major gripes with one
another. Pick two characters that are afraid of one
another. Pick a predator and a prey. Pick any interesting
combination of characters, and put them together. If
possible, set the situation up so that it’ll be difficult for
either of them to just walk away gracefully. And then see
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what happens.
Announce off-screen badness.

Announce future badness.
Remember: all of the characters you play throughout
the game, they have lives. Some of those lives aren’t
112 very interesting for our purposes. But some of those
lives are pregnant with chaos and conflict. Whenever a
brilliant scheme comes to mind, something that one of
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those characters would be off doing, drop hints about

their actions. Foreshadow their dramatic return to the
spotlight. Hint at bad things that are taking place off-
screen. Announce bad things that are going to happen in
the near future – or might happen, if the PCs don’t do
anything about it.
Inflict harm (as established)

Say Rico’s standing in the middle of the courtyard, and
one of your undead motorcycle gangsters has a gun
pointed at him. Rico takes the stupid way out, and bolts
for it. He rolls a 6. You’ve established that Rico’s in danger
of getting shot, and a gun would probably do 2 harm at
this distance. So, bang. Rico’s been hit for 2 harm.
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Make them pay a price.
Tell them the possible consequences and ask.
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When the PCs are after something, and you’ve got an
obstacle in their way, make it clear what kind of price
they’ll have to pay to get what they want. If they’re trying
to get into a new club with fake IDs, the bouncer sees
through their bluff. He’ll let them in, but it’ll cost them:
maybe money, maybe some action from the cute blond
boy, maybe a favour. Or maybe it’s not a price, but a risk.
They can sneak in the back, but they might get caught and
the police might get called in. Tell them what’s at stake,
and let them decide whether to take the chance.
Leap to the worst possible conclusion.

Whenever your NPCs have an incomplete understanding
of the situation (which should be the case most of the
time), have them leap to the worst possible conclusion.
If Jake’s mom knows that he wasn’t home during Bryah’s
murder, and she finds a gun in his bedroom, maybe she
becomes convinced that her son is a murderer. Have her
leap to the worst possible conclusion.
113
Turn their move back on them.
Sometimes, the PCs create their own trouble, and all you
need to do is capitalize on it. Have their actions create
unexpected consequences that put them in dire straits.
So, Logan takes a swing at the leader of a gang? Maybe she
trips backwards, and smashes her head on the sidewalk.
It’s gushing blood. She’s non-responsive. The rest of the
gang looks bewildered and furious. Now what?
Expose a dangerous secret to the wrong person.

Sometimes, the wrong person will just happen to witness
something. Like, Jake transforms into a werewolf and
bounds off into the darkness, and all you need to do
is narrate Sergeant Davis standing there, wide-eyed,
trembling. Sometimes, the wrong person will finally put
together all the clues. Jake’s mom has probably been
pulling fur out of the dryer lint trap for months, and
noticing strange disturbances, and heard her son howling
like a mongrel dog late at night. Sooner or later, she
realizes what’s happening.
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S Take a String on someone.
NPCs can hold Strings on PCs. When a PC reveals
something of their true nature, or gives their power
away, or somehow lets an NPC gain some leverage over
them, you have a perfect opportunity for an NPC to take
a String on them. When Jake (PC) asks Roca (NPC) out to
the Spring Formal, and Roca turns the offer down, have
Roca take a String on Jake. She knows how to manipulate
him and his emotions now.
Trigger their Darkest Self.

Use this move sparingly, and only when the situation
is perfect. Tell someone what makes them snap, what
pushes them into the darkest corner of their nature. Then
let them run with their Darkest Self.
Being MC
Herald the abyss.

The PCs can choose to gaze into the abyss, and establish
a sort of dialogue with it. But sometimes, the abyss is
going to reach out and start that conversation on its own.
The abyss is going to be really different for each PC, and
114 so what it means for the abyss to reach out and contact
them will be different in each case. Maybe voices follow
them around. Maybe they have fever dreams. Maybe
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phantoms show up and ask for tea.
After every move: “What do you do?”

Whenever you use one of these moves, do so to create
interesting situations that the PCs can react to. That also
means giving them a chance to react. After every move,
ask this question, over and over again: “What do you do?”
Eventually, the question will become automatic, and players
will instinctively leap to respond to everything you say.
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S
Chain Reaction
Any given conflict between characters, one move alone
probably won’t resolve it. Very often it’ll take several moves
and counter-moves, a whole back-and-forth between them.
Hitting rolls on a 7-9, especially, usually leaves a whole lot
unresolved, primed for followthrough or a counterstrike.
The moves cascade very naturally. […] Outcomes nest

and double up and flow seamlessly into new moves. Just
remember the rule - if you do it, you do it; to do it, you
have to do it - and see their logic through.
Moves – whether PC moves or Hard Moves taken by the 115

MC - should never result in a fictional dead-end. They should
always push the story in new directions, so that there is
something new for the PCs to react to. It doesn’t matter if
the PCs succeed or fail, the story should gain momentum and
characters should be pushed forward into new situations.
When the MC makes a hard move or introduces a new NPC,
it should be done with an eye towards adding momentum
to the story. And no matter what, remember - it always
ends with, “So, what do you do?”
The Long Example

At the end of this book (in the Gazing Into the Abyss
chapter), you’ll find an extended example of play. It
demonstrates how all of the Agendas, Principles, and
Hard Moves might work in a specific situation, as well
as demonstrating how moves set off chain reactions and
lead the PCs into making more moves. See page 150.
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Managing NPCs
You’ll have lots of different characters to juggle: teachers,
parents, peers, other monsters, freaky cultists, police
chiefs, and more. The MC Booklet comes in handy here.
It’s a reference booklet (one letter-sized page, folded in
half) with fill-in sections to help you manage your NPCs.
Inside, there’s a full-page chart. List each NPC along the

left-hand side. Describe them briefly in the next column.
To save space and keep the list manageable, you’ll probably
want to keep your description succinct: “police chief,
jake’s dad, alone” is about the right amount of information
Being MC
here. NPCs can collect Strings on people, and the next

column is where you can keep that recorded. A single
NPC might have Strings on three different PCs, meaning
that you need to leave enough space here for multiple
entries. The final column, labelled Other Information, can
record anything else that comes up during play. NPCs can
116 gain Conditions, which you can record here. Or an NPC
might have an important item, like an heirloom monster-
hunting weapon. They might know an important secret,
Chapter Four
or be host to a body-hopping demon. These are all great

things to make note of in this section.
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S
NPC Strings
NPCs can gain Strings on PCs. They’re recorded and
managed by the MC. As a result, you will have a number
of separate String tallies to keep organized.
The MC has created an NPC named Heraldo, an

ostentatious vampire lord. Heraldo’s fallen for one of the
PCs - a mortal boy named Robin. Robin’s friend Vanessa
(another PC) doesn’t trust Heraldo as far as she could
throw him. The MC also has an NPC named Bradford,
Robin’s father. The father and son have a complicated
and messy relationship.
Heraldo has two Strings on Robin, and one String on

Vanessa. Bradford has two Strings on Robin. Thus, the
MC has three String tallies to keep track of between
these two NPCs. Vanessa and Robin have Strings on the
NPCs as well, but they keep track of those in their Skin
booklet, just like they do for PC Strings. 117
The MC can spend NPC Strings on someone to:

}} Put the NPC’s action against them at an Advantage.
}} Add an extra harm to whatever harm the NPC is
dealing to them.
}} Offer them experience to do what you want.
}} Come out of nowhere with a hard move.
NPC Strings are always held on a specific PC, and can only
be spent when interacting with that PC. Remember that in
order to do it, you have to do it. Spending a String means
that in the fiction, your NPC is in some way cashing in on
the emotional hold they have over this PC.
The astute MC will note that some of these are things that
can be done without Strings (placing Conditions, forcing
characters to hold steady, making hard moves). Strings
represent a context for these actions.
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S Let’s imagine that a mean vamp has our innocent heroine
cornered. He threatens to kill her. That’s a moment where
the MC is likely to make the hard move: force someone to
hold steady. Now, imagine that the mean vamp encounters
her when she’s surrounded by strong friends in a public
place. She’s safe here. He makes a snarky comment that
suggests he knows where she lives. That’s a moment
where the MC could spend a String to come out of nowhere
with a hard move, and force her to hold steady.
In the first case, the MC was poised to make a hard move,

by virtue of following her principles and creating a sticky
situation. In the second case, the String gave that hard
move a context and justification: spending it affirmed
that this seemingly innocuous situation was actually
Being MC
sticky and dangerous, by virtue of the emotional power

that one character was exercising over another.
Spending NPC Strings creates a context for hard moves.

Through play, the MC will develop a sense of fairness
and context for hard moves. NPC Strings shift the
118 baseline of what’s considered fair, allowing the NPC to
strike without warning or suddenly reveal an unexpected
amount of power.
Chapter Four
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Advantage & Disadvantage
PCs can have -1s and +1s applied to their rolls. Since the
MC doesn’t roll dice, NPCs don’t have dice rolls to apply
bonuses and penalties to. Instead, NPCs can act at an
Advantage or Disadvantage.
NPCs act at an Advantage whenever:

}} They’re able to take advantage of a PC’s Condition
while acting against that PC.
}} You spend one of their Strings on a PC to put them
at an Advantage against that PC.
}} Something would grant the NPC +1 to their action.
}} A custom move or special rule makes them do so.
NPCs act at a Disadvantage whenever:

}} They have a Condition that would interfere
with their action.
}} Something would grant the NPC -1 to their action.
}} A custom move or special rule makes them do so. 119
Essentially, whenever numerical bonuses or penalties

would be granted to an NPC, translate them into
Advantages and Disadvantages instead. Advantages and
Disadvantages cancel one another out.
When at an Advantage, an NPC’s actions have one of

these added effects:
}} The action gains the NPC new followers or support;
}} The action leave the NPC better protected
in some way;
}} The action set the NPC up perfectly for a follow-up
action of some sort.
When at a Disadvantage, an NPC’s actions have one of

these added effects:
}} The action alienates the NPC’s friends and allies;
}} The action leaves the NPC exposed to danger;
}} The action leaves the NPC exhausted or without an
escape plan.
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S You’ll notice that the Advantage and Disadvantage lists
mirror one another. It’s fine to interpret this list flexibly,
or even narrate an Advantage that makes sense in context
but doesn’t fit the list.
If you know that one of your NPCs would be acting at

a Disadvantage, don’t let that stop you from taking the
action. For example, The Queen has a move called The
Shield. When surrounded by her gang, NPCs act at a
Disadvantage if they try to mess with her. The player
didn’t take this move in order to be left alone; they took
it so that NPCs would accidentally expose themselves to
her wrath. Give the players what they deserve, and say
what honesty demands. Sometimes, that means feeding a
Being MC
Disadvantaged NPC to the wolves.
The Advantage and Disadvantage rules are something to

keep in mind as you make a hard move, or something to
remember when you glance at an NPC’s notes. It’s better
to interpret the constraints loosely than to slow the game
120 down by fretting about how to implement an Advantage
option exactly as listed.
Chapter Four
Blending In
Unless a player says otherwise, it’s assumed that all of
the PCs are able to blend in. Everyone looks just normal
enough to go to school, or the local pool hall, or wherever
it is that kids go these days. Sometimes they trip up and
do something that attracts suspicion. Sometimes, their
secrets are going to be exposed to the wrong people. But
generally, their peers and teachers should be oblivious to
their monstrosity until they choose to reveal it.
Ask questions about how blending in works for each

PC. Be willing to accept far-fetched answers. If someone
playing a Vampire doesn’t want to deal with the whole
sunlight situation, accept their answer when they say,
“I dunno, I have a magic ring that protects me from the
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sun?” This gives them a chance to bypass the conceits
about a monster archetype that they find uninteresting,
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and allows you to both focus on what is interesting.
When the players talk about how their characters blend

in, use your NPCs to reveal how the rest of the world sees
them. Make it clear that these characters are blending in,
but just barely.
Nobody really knows that Helena is a Ghost. But

people tend to not even notice she’s there, and then act
surprised when she says anything. People bump into her
in the hallway all the time, like she’s practically invisible.
Her classmates laugh at the fact that her fashion
choices are decades out of date. But she’s still able to
show up to class like any other kid, and her teacher still
expects her to turn in his Grapes of Wrath essay like
everyone else.
Maybe nobody knows that Allister is a Fae. But people

make mean comments about how dainty he is. A few
people are spreading rumours about the fact that they 121
saw him prancing around the woods naked, talking
to himself. Maybe someone’s even suspicious that he
might have some kind of strange power over them. But
everyone assumes that he’s human. After all, what else
could he be?
The PCs are able to blend in with the rest of human

society, but they might still know what one another
really are - and it’s almost certain that some people will
learn their secret over the course of a game. Whenever
someone learns about a PC’s monstrous nature,
remember to ask, “So, now that they know what you
really are, what do you do?”
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Under Each Skin
It’s important that your MCing helps to highlight what’s
cool about each of the PCs, and sets up situations that
meaningfully engage what’s important to them. When
a player chooses a Skin, they are hinting at something
that’s interesting to them. When they choose Skin moves,
more hints. The actions they take in the game and the
things they say are similarly hints, suggesting to you what
it is that they want the game to be about.
Give players the opportunities they’re hoping for. When

someone chooses to be a Werewolf and takes the
Being MC
Uncontainable move, they clearly want to be locked up

at some point. The move is only interesting if the PC has
a chance to use it. So when you’re making your hard
moves, ask yourself if there’s some way you can contain
this big bad wolf. Maybe the police show up and arrest
the PC when he botches some criminal activity. Maybe
122 his girlfriend, aware of his lycanthropic condition, insists
he be chained up during the full moon. However you do
it, respond to the flags that players create. Give them
Chapter Four
what they want, what they fear, and what they’re curious
about. Play to both their strengths and their weaknesses.
People come to the game with expectations around

monster mythology. They’ll expect that because things
worked a certain way in a book or on a television show,
the same will be true in Monsterhearts. It’s important to
establish a common set of expectations around monster
limitations and powers. If a Skin doesn’t mention monster
limitation or power, then it isn’t necessarily a fact in
Monsterhearts. Players should ask questions about these
bits of mythology in order to determine what is and isn’t
fact in the game. For example, some vampire mythology
states that vampires cannot cross running water, but the
Vampire Skin makes no mention of it. The player and MC
should come to a conclusion together.
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In some cases, the Skin will contain a bit of monster
mythology in an optional Skin move. Examples include
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Invited for the Vampire and Guide for the Fae. These bits
of mythology will only apply to that character if they
take the move.
Here are some Skin-specific things to watch out for:
The Chosen
The Chosen is a monster-hunter, which means that when
this Skin is in play you need to introduce scary, city-
changing monsters. Maybe you’ll need a werewolf mafia
boss, or a kraken that dwells in the sewage system, or a
horde of cultists with strange burn marks all over their
faces. If The Chosen takes Final Showdown, you should
introduce monsters that are otherwise nigh-immortal.
Consider creating a custom move for one of these villains,
like “Whenever this demon dies, it reconstitutes itself
elsewhere after a few hours.” Final Showdown is the only
reason that you should make your villains hard to kill. If
they take To The Books, then they’re looking for mysteries
and bizarre supernatural puzzles. 123
The Fae
Fae mythology tends to revolve around woodland
locations. If there’s a Fae in your game, set it at the edge
of a thickly-forested area. Since Fae have several moves
that revolve around promises, create some NPCs that
make promises without forethought, and others that
are guarded and tentative. Occasionally make promises
that you know will create hell for the characters that
pronounce them. There are several references to The
Faery King in this Skin, so you’ll need to pay attention to
how interested the player is in faery politics and courtly
intrigue. If she’s interested, introduce it into the game
where possible. If she’s uninterested, let it rest.
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S The Ghost
The Ghost is fixated on its death. You can interact with
that by deciding how the town reacted to their death.
Is the whole town still in mourning? Or did they largely
fail to notice when a teen murder occurred? Ask lots of
questions about how the ghost feels, being immersed in a
world that’s moved beyond them. If Creep or Dissipate are
taken, that’s a flag that this player wants to be sneaky and
invasive. Put lots of private conversations behind closed
doors - The Ghost will revel in finding ways to listen in.
Have at least one spooky old mansion in the game, so that
The Ghost’s gang (a House of Spooks) has a place to take
residence if that advancement is chosen.
The Ghoul
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If The Ghoul takes Watchful Golem, then give them

someone to defend and introduce lots of threats to that
person that would take place behind their back. Allow
The Ghoul an opportunity to step in and be a silent
hero. Ask leading questions about how The Ghoul’s
body might be deteriorating, in order to create a context
124 for the possible introduction of The Ghoul’s gang (the
Necromantic Caretakers).
Chapter Four
The Infernal
During character creation, The Infernal player will select
a descriptive title for their dark power, from a list. Ask the
player questions about their dark power, starting with the
title they chose. Some players will want to put all of the
decisions about who or what their dark power is in your
hands. This is fine. Even if they have a strong initial idea
about their power, remember to add your own twisted
perspective to whatever it is they suggest. The dark power
itself should be turned into a Threat and tied into a Menace
as soon as it makes sense, and their Craving/Offering/
Capacity should inform how you play them, along with
the player’s answers to your previous questions.
Regardless of its origins or motives, have the dark power

always offering things to The Infernal with strings
attached. Have the dark power make off-handed and
ominous remarks about debt. Keep their true intentions
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cloudy unless someone specifically goes snooping around,
trying to uncover them. Put The Infernal in situations
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where it’s tempting to use and abuse their Bargains.
Strings Attached is a powerful Bargain, and you should let
the player use it in powerful ways. If they want a new car,
or the key to someone’s house, or a perfect boyfriend, give
it to them. But play evil genie, and give it to them with
some terrible consequences or unnatural twists.
The Mortal
Find opportunities to tempt The Mortal away from
her lover. Create situations where The Mortal will be
dependent on other people, and occasionally pull out a
hard move to separate them. If The Mortal takes Mess With
Me, Mess With Him, that’s a strong hint that you should
have some dangerous people corner The Mortal when
she’s alone. You might find it useful to create a concerned
best friend-type character who wants to separate The
Mortal from her lover. That sort of triangle will help
create compelling drama and difficult choices.
The Queen 125

From time to time, have one of The Queen’s gang
members start acting against her best interests, especially
if The Queen takes And Your Enemies Closer. If there’s no
drama within the gang, it will start to resemble a piece
of equipment instead of a powerful social circle. Learn
through play whether the player wants their Queen
to have to face other social leaders and kingpins, and
introduce those kinds of gang politics if it’s what the
player is after.
The Vampire
Be flexible in interpreting vampire mythology, and be
willing to accept that things might work differently in
Monsterhearts than they do in your favourite vampire
literature. In some source material, vampires find ways
of walking around in the daylight - mystical rings, heavy
cloud coverage, trenchcoats and masks, etc. If The
Vampire’s player wants to introduce one of these devices
into the game, let them. That way, you can take the device
away at a crucial moment.
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S The Werewolf
It’s up to the group to establish whether The Werewolf
can transform without becoming their Darkest Self.
Since moonlight features prominently in both werewolf
mythology and two of The Werewolf’s moves (Howl at
the Moon and Spirit Armour), if there’s a werewolf in your
game make sure that lots of scenes happen at night, under
the light of the moon. If they take Uncontainable, find
opportunities to contain them - getting put in the back
of a cop car, getting chained down during a full moon, or
getting kidnapped by vampire rivals.
The Witch
Give The Witch reasons to be angry with people. Ask leading
questions that reveal how people have disappointed or
Being MC
frustrated The Witch, and have people say snarky things

to her in the hallway. That way, the hexes will flow freely.
When The Witch casts a Hex, ask lots of questions that
reveal how awesome the magical rituals are. Don’t let
magic be a stale and uneventful part of the game. When
The Witch is at their Darkest Self, pay close attention to
126 PC-PC interactions. Be quick to ask, “Does that count as
slighting you?”
Chapter Four
S
S
After Graduation
While the default assumption in Monsterhearts is that
the PCs are teenagers who go to high school together,
this doesn’t need to be the case. It’s fine to have the
game focus on twenty-somethings who work together,
or a sports team, or some similar departure from the
high school milieu.
If you choose to shift away from that default, it’s

important to know what the high school setting and
teenage protagonists were providing. Otherwise, you
might lose some of the magic that keeps this game alive
and interesting.
The PCs need to be in the midst of a major transition.

They need to feel alienated - both alienated from their own
bodies and alienated from the world at large. They need to
be put together in an environment of petty social politics.
127
The game flourishes when PCs are passionate, dramatic,
catty, loveable but unlikeable, confused, and divided
against themselves. It doesn’t have to be teenagers who
share a home room, but that’s the assumption that the
game is based on.
On page 136, there are instructions for creating a

homeroom seating chart, and using it to create
compelling drama. If your game doesn’t take place in
a high school classroom, try to find an appropriate
equivalent to the seating chart.
S
S
Chapter Five
Teaching & Running
Teaching & Running the Game
the Game
128
Chapter Five
S
S
Before You Start
Before you start a game of Monsterhearts, you’ll need to
do some setup work. First, arrange a dedicated time to
play with your friends. Be clear that it takes 3-4 hours
to play a session of the game, and that the game might
entail multiple sessions if everyone is on board.
You’ll need to print one copy of each of the following: all

of the Skins, the Reference Booklet, the MC Booklet, and
the Menace Booklet. Each of these is a double-sided piece
of letter paper that needs to be folded in half.
These materials can be found at

You’ll also need pencils, erasers, and dice. At a minimum,

you need two dice, but two per player may be preferable.
Some groups like to have snacks on hand while they play, 129
or to get together for a group dinner beforehand. Clarify
the food plan when you invite people to play.
S
S
Guiding Character Creation
The first session of a Monsterhearts game always starts
with the creation of characters - specifically, the players’
characters (PCs). For the most part, this is a step-by-step
process. Since you’ll probably want to explain rules
and context as you go through this process, creating

characters can take between 30-60 minutes all told.
First, randomly distribute the Skins evenly amongst

yourself and the players at the table. Each player should
have 2-4 Skins in front of them at this point. Explain that
they aren’t necessarily the character type in front of them,
but that they are going to introduce that Skin to the group.
Starting with you, go around clockwise and have everyone

announce one of the Skins in front of them, and then read
its flavour text (the italicized text below the name) in their
most melodramatic voice. If you have The Witch, read the
130 flavour text in a shady, calculated manner. If you have The
Werewolf, read with a hungry snarl in your tone. When
you read a Skin, let its tone seep into yours, and really
Chapter Five
ham it up. Go around the table, and have everyone read

for one Skin. Then go around again, taking turns until all
the Skins have been read aloud.
Once all the Skins are introduced, put them back in the
centre of the table. Everyone but the MC now chooses one
to play. If two people want to play the same Skin, that’s
okay, so long as you can print out a second copy of the
booklet. No more than two people can play a single Skin.
The Skin booklet acts as a workbook for creating the

character, as described in Choosing a Skin (page 8). Lead
everyone through picking a name, a look, and an origin.
At this point, explain what the stats are, and how rolling
dice works. Introduce the players to the list of basic moves,
so that the players have some sense of how their stats will
be used. Explain how to assign their stats, (page 10).
S
After reviewing the basic moves and allotting stats,
explain how Skin-specific moves work (page 11). As some
S
moves generate Strings or Conditions, explain what
they are and how they work. Do the same thing for how
experience works.
Walk through both Darkest Self and Sex Moves with the
group. Explain that Darkest Self can be triggered in a
number of ways - through failing a roll, as the result of
a hard choice, or to avert death. Point out the fact that
each Darkest Self has an escape clause that can draw the
character back to their normal self. You may want to have
players read their Darkest Self and Sex Move aloud to the
group now, or wait until it becomes relevant during play.
At this point, the characters are almost complete, except

for Backstories. Explain Strings again, and then complete
Backstories (page 12). The final stage of Backstories is
to determine which stats start out highlighted. After
stats have been highlighted, remind players of how
advancement works, and how that relates to their
highlighted stats. 131
Teaching the Game

As the MC, it’s likely that you’ll be responsible for teaching
the game to others. Teaching something as complex as a
story game can be difficult! What order should you teach
things in, and how much information should you give
them all at once?
The key considerations to have in mind when teaching are:

}} Teach the mechanics in a concentric way.
}} Teach the context as you teach the mechanics.
}} Use examples and demonstrations.
}} Teach as you go.
}} Teach what they need in order to make informed
decisions.
S
S Teach the mechanics in a concentric way.
It’s easy to get caught up in the details, or how everything
fits together. After all, you’re knowledgeable about the
game, so that’s the level at which you’re processing this
information. But new players are at a different level, and
that kind of information can be overwhelming to them.
Start with the most basic piece of information, and state
it as simply as possible. Then introduce the next piece of

information, one that builds on what you’ve said already
and expands their knowledge. Start simple and expand
out. This is called concentric teaching.
With moves, the simplest thing you can say is, “You can
just say what your character does. Sometimes, what
they’re doing counts as one of these moves, and then
we’ll have to roll dice and follow some rules.” Start with
that, and then expand out concentrically from there.
Teach the context as you teach the mechanics.

There’s a reason why Monsterhearts has all of these
rules. It’s because they all do something to help create
132 interesting stories with interesting characters. It’s
important that as you teach players about the mechanics,
you mention what these mechanics do for the story.
Chapter Five
When you explain Strings, don’t just talk about how you
get them and spend them. Talk about what it means to
have emotional leverage over one another, and what
Strings can represent.
Use examples and demonstrations.

People need examples in order to confirm and solidify what
you’re teaching them. Use short examples throughout
any explanation that you give.
When you explain how to roll dice for moves, pass two
dice to someone. Say, “Let’s say you’ve got Hot 2, and
you’re rolling to turn someone on. Go ahead and roll.
Great. Add those two dice together, and add in your Hot 2.
What’s the total?” This will help make what you’re saying
concrete, and will clarify any misinterpretations.
S
Teach as you go.
If you spend the first hour of a game explaining the
S
entirety of the rules, you’ll lose buy-in from any players
who aren’t excited about the intricacies of game design.
So avoid doing that. Instead, teach as you go. Trust that
it’s okay to teach your players some of the details now
and the rest later. Many people have a limit to how much
knowledge they can absorb in a single period. They need
to be able to put their knowledge into action before
they’re ready to learn more.
Teach what they need in order to make informed decisions.

While giving players too much information can overwhelm
them, giving them too little information will lose their
trust and confidence. Give players the information they
need in order to make informed decisions. Make sure they
understand the choices that they are making. If someone
makes a bad choice early on, like picking a Skin move that
they later realize they’ll never use, be generous and allow
them to go back and change their decision.
When people are picking Skins, note that they should 133
read the Darkest Self on the back and the Skin moves on
the inside. Suggest that if they find what they’re reading
interesting, that this Skin will be a good choice. Before
they choose their Stats and Skin moves, explain how
rolling dice and acting on moves works. Tell them what
they need to know, when they need it.
S
S
The First Session
In Apocalypse World, Vincent Baker lists the things to do
during the first session:

Just because it’s the first session, whatever, you’re still

playing the game.
SS MC the game. Bring it.
But especially do these:

SS Describe. [Blanket the world in darkness.]
SS Springboard off character creation.
SS Ask questions like crazy.
SS Leave yourself things to wonder about.
SS Look for where they’re not in control.
SS Push there.
134 SS Nudge the players to have their characters make moves.
SS Give every character good screen time with
other characters.
Chapter Five
SS Leap forward with named, human NPCs.

SS Hell, have a fight.
Do all of those things. Constantly leap forward with

sensory descriptions, melancholic backdrops, and
probing questions. Use your scene framing to put
characters together and see what their chemistry is like.
Ask questions, and when there’s no clear answer, make
finding an answer part of what the game is about.
In addition, do these things:

}} Create a homeroom seating chart.
}} Follow the characters around.
}} Learn what they want and what they’re afraid of.
}} Wonder what kind of Menace might be dwelling
within this town.
S
Use the first session to establish some names and
personalities, to build an initial roster of NPCs. The next
S
section talks about the process of creating a seating chart,
and why it matters to Monsterhearts.
Don’t try to frame the characters into an intense

rollercoaster of action scenes right away. Instead,
spend some time following them around. Learn their
daily routine. That way, when it gets upset and turned
upside down later, we’ll have a frame of reference to
understand why that drama is interesting. Learn what
each character wants, and what they’re afraid might
happen to them. This way, you can tempt them and
create chaos for them later on.
While it’s important that play be centered on the PCs,

look for places where you could eventually introduce a
Menace. If the PCs live a life of petty crime, daydream
about a police force Menace - the stern chief of police
and the crooked beat cops. If the PCs dabble in dark arts,
daydream about a demon or warlock Menace - someone
with more power and access than they do. 135
S
S
Seating Charts
At some point during the first session of the game, early
on, you should establish a seating chart for home-room.
This does a few things: it allows you to collaboratively
populate the setting with extra characters, it allows you

to establish relationships between the characters, and
it reminds everyone that the game draws on petty high
school politics.
Draw a simple classroom outline - a teacher’s desk at the

front, and several rows of student desks. Three rows of
five is ideal for our purposes, despite the fact that real high
school classrooms typically have double that many desks.
The process of populating the classroom is your

chance to bring one of the game’s Principles to life: Ask
provocative questions and build on the answers. Choose
one of the players, and ask, “Where in the classroom
136 do you sit?” Pencil their name in the appropriate seat.
Then next to them, write in an invented name, and ask
a leading question, something designed to provoke new
Chapter Five
relationships and new dynamics in the game. As an

example, you could ask, “So, you sit next to Todd… why
don’t you trust him?”
Continue to invent new classmates, ask provocative

questions about them, get the players to create some of
the classmates, and get the players to choose where their
PCs sit. Create classmates that have obvious hooks into
the PCs. If there’s a Werewolf character on the football
team, one of the classmates you create should be Aseem,
star quarterback. You should ask of the werewolf, “What
did Aseem do to piss you off, last practice?”
Further examples of leading questions include:

}} Why did Jenna miss so much school last year?
}} Last summer, what did Desmond get arrested for?
}} Are the rumours about Miguel true? What are they?
}} Is Lucia actually gay, or is this a weird attention thing?
S
S
The Party, The Fight,
The Disappearance
As the session kicks off, collaborate on a seating chart, or
find some other way to establish a social milieu. Spend
some time playing out a classroom scene, provoking
the PCs in little ways and seeing how they react. Maybe
there’s a class bully, and he walks past one of the PCs and
knocks over his books. What does he do? Maybe there’s
a totally cute girl, and she asks out a PC. What does the
player say?
Use that early scene to gather information. But when

that scene runs its course or starts to drag, frame
ahead to something interesting. Maybe Rolf’s throwing
a big party that night, and everyone’s got to figure
out whether they’re going and how they’re going to
procure drinks. Maybe a tough guy in leather picks a 137
fight with one of the PCs, and a brawl breaks out in the
school cafeteria. Maybe second period teacher has gone
missing, and there have been numerous homicides over
the past six months. Introduce some sort of action, and
ask the players how they respond.
Once things are in motion and you’ve got a roster of

NPCs to work with, you should find that scenes naturally
lead into one another. One bad situation triggers
another, and the narrative develops its own momentum.
If the pace starts to lag, turn to your Principles and
Hard Moves. Usually something will jump out as an
obvious and interesting next move. If not, return to the
sure-fire list of options: throw a party, stage a fight,
announce a disappearance.
S
S
Chapter Six
Real Monsters
Real Monsters
138
Chapter Six
S
S
Villains
One of your Agendas is to make the PCs’ lives not boring. It’s
important to stir up trouble, make people feel unwanted,
and set the stage for bloody melodrama. Sometimes, you’ll
be able to do this by blanketing the world in darkness and
asking provocative questions and building on the answers.
Other times, you’ll be able to do this by introducing
parents and classmates who accept people conditionally.
But sometimes, those mundane tools won’t be enough to

get under their skin. These teenage monsters might start
feeling comfortable living double lives, or maybe start
making altruistic gestures to their fellow monsters. You’ll
need a wedge, a way to divide these PCs and pit them
against each other once more. After all, another of your
Agendas is to make the PCs feel unaccepted. Keeping things
unstable and tumultuous is vital to this goal.
This is where villains come in. Villains exist in our stories 139
in order to provoke the PCs. In a way, introducing a villain
is like making a hard move. You should make your move,
but misdirect. Make it seem like the villain has been a part
of the world all along, and that they enter the story now
for reasons derived entirely from the fiction.
A good villain is one that people love to hate. Rather than

existing to block the PCs from doing something, they
should exist to introduce new opportunities and conflicts
into the story.
Ultimately, the PCs are stronger than any villain you

introduce. Remember to treat your NPCs like stolen cars.
They aren’t your property, so you don’t need to worry about
losing them. Have fun with your villains, cause chaos with
them, and abandon them the minute they’re played out.
S
S The player characters are monsters, but they’re also
just teenagers. There’s a difference between monsters
and monsters. One of the things villains let you do is to
underscore this difference. Real monsters kill people. Real
monsters eat babies. When you introduce a villain, you
have the opportunity to remind people how real monsters
behave. Don’t waste this opportunity proving how edgy
your villain is. Use it to put things the PCs care about
at stake. Use it as a dark mirror for the PCs, showing
them that this is how you could be. Use it for something
meaningful, or don’t use it at all.
When the PCs become their Darkest Selves, they become

Real Monsters
villains in their own right. Each character’s Darkest Self

is like a permission - a permission to burn bridges and
hurt people and to never have to justify their behavior to
themselves. When a PC becomes their Darkest Self, you
should use your principles and your expert knowledge of
villainy to help them be the worst that they can be. Maybe
you’ll even have your own Villain waiting in the rafters,
ready to join the fallen PC in debauchery and evil.
140
Menace
Chapter Six
When you create a villain, or a cult of vampire-

worshippers arrives in town, or the police launch a
major enquiry into a mysterious death, you have the
perfect opportunity to create a Menace. A Menace is a
package of information that makes it easy for you to
manage outside threats, and play them in interesting
and suspenseful ways. A Menace is something you create
between sessions, to give you interesting things to say
when everyone looks to you expectantly.
A Menace is composed of the following parts:

}} An outline, quickly summarizing what the menace is;
}} Stakes, questions about what might happen if the
menace gets its way;
}} Threats, the villains and dangers introduced by
the menace.
S
A good Menace has a few essential qualities. First, it
is powerful enough to shape the social landscape of
S
the game. The specific repercussions it might have are
always posed as questions, in the Stakes section. Second,
a Menace always relates to at least one of the PCs. If
the Menace doesn’t interact with the hopes, fears or
strengths of at least one of the PCs, then it’s irrelevant
and should be abandoned. Finally, a Menace should widen
the scope of the game, introducing new backdrops, new
kinds of antagonism, and new risks. If there’s already been
a badass vampire queen in your game, then introducing
another badass underworld lord is redundant.
When you fill out a Menace Sheet, start with an outline.

In a few sentences or notes, describe what this Menace
is all about. Then, think about what could happen if the
menace got its way, or what hard choices the characters
might be forced to make when confronting it. Record
these ideas as open-ended questions, in the Stakes section.
The MC has introduced two vampiric characters into

the game so far, both of whom have created interesting 141
problems for the PCs - a Mortal and a Witch. The MC
decides to group these vampires into a Menace. She
takes out a new Menace sheet and writes in the outline
section: “The Vampire underworld is making a bid for
power in the city of Newfordshire.”
Next, the MC creates a few Stakes: “Will the vampires

manage to take control of the police department? Will
Vanessa (The Witch) find a magical defense against
them? Will Heraldo (a vampire NPC) fall for Robin (The
Mortal)? Will the vampires expose themselves?”
S
S A Menace is made up of one to three Threats. Threats
are villains or concrete dangers – they’re the actual
manifestations of the Menace that the PCs will have to
deal with. For each Threat, write its name and a few notes
about it, and then choose a Craving, Offering and Capacity
to reflect its true nature. Cravings are the impulses that
might drive a villain or group into action. Offerings are
what they use to try and sway the PCs. Finally, Capacities
are what they are willing and able to do if you cross them.
Each Craving, Offering, and Capacity has a hard move

tied to it. When you’re called on to make a hard move,
consider these as part of your list.
Real Monsters
Cravings
}} Intimacy (isolate them)
}} Notoriety (lash out and provoke reaction)
}} Ownership (viciously protect coveted things)
}} Transcendence (enlist others to do unethical bidding)
Offerings
142 }} Sex (tempt them and seek promises)
}} Power (shower them with outlandish gifts)
}} Inclusion (show them what they’re missing)
Chapter Six
}} Support (save their skin at a vital moment)
Capacity
}} Sudden Violence (outright kill someone they love)
}} Cold Betrayal (turn their friends against them)
}} Calculated Sacrifice (lose an eye to gouge an eye)
It’s important to tie the Craving, Offering and Capacity

of your Threats in with the PCs. When you are choosing
options, think about whose buttons each choice will
help you push. Don’t create characters that seem cool on
paper but won’t actually interact with the protagonists in
a meaningful way.
S
The first Threat tied into this Menace is Heraldo.
Heraldo is a sort of iconic master vampire, and the MC
S
thinks that he craves either Notoriety or Transcendence.
Either would be fine, but his interactions with Robin
would be more interesting if it was Notoriety. The MC
decides that Heraldo offers Power, and begins to form
a mental picture of Heraldo: ostentatious, a high roller,
and deeply sensitive to judgments about himself. Finally,
the MC decides he has a Capacity for Cold Betrayal.
Threat: Heraldo (ostentatious master vampire)

Notoriety (move: lash out and provoke reaction)
Power (move: shower them with outlandish gifts)
Cold Betrayal (move: turn their friends against them)
The second Threat tied into this Menace is Vampiric

Underlings. The MC decides that they crave Ownership
(of the town), they offer Inclusion (into vampirism), and
they have a capacity for Sudden Violence.
Threat: Vampiric Underlings (preparing for hostile takeover)

Ownership (move: viciously protect coveted things) 143
Inclusion (move: show them what they’re missing)
Sudden Violence (move: outright kill someone they love)
Each Threat can optionally come with a custom move

attached to it. Custom moves let you highlight the weird
or unique within a Threat. They’re new moves for the PCs,
not for you. They should generally follow the same format
as the other moves in the game. Those formats are:
}} When you [do something], roll with [a stat]. On a
10 up, [a good result].  On a 7-9, [a mixed result
or hard choice].
}} When you [do something], [an effect is triggered].
}} You have the ability to [do something]. When you
do so, [a certain effect is triggered.]
S
S The MC creates a custom move for Heraldo: Whenever
you compliment Heraldo or accept a gift from him, he
gains a String on you. Now, Heraldo looks like:
Threat: Heraldo (ostentatious master vampire)

Notoriety (move: lash out and provoke reaction)
Power (move: shower them with outlandish gifts)
Cold Betrayal (move: turn their friends against them)
Custom Move: Whenever you compliment Heraldo or
accept a gift from him, he gains a String on you.
The MC decides not to create a custom move for the

Vampiric Underlings at the moment, as nothing seems
Real Monsters
particularly compelling.
While both of the example Threats are about vampires and

their schemes, the range of things that could constitute
Threats is significantly wider than that. You can create a
Threat out of any character or group of characters that
wants something from a PC and could pose a serious
threat to their social or physical wellbeing. It’s important
144 to note that if you can’t imagine an entity offering
something to the PCs, or you can’t imagine its actions
having dire consequences for a PC, then it probably isn’t
Chapter Six
a Threat. If a horde of undead birds begins circling the

town, and you can’t imagine them communicating with
the PCs and offering them something important, then
they are just some interesting background colour – part
of the landscape, blanketing the world in darkness. If,
however, you can imagine them bringing the PCs gifts,
or whispering advice to them in a raspy voice, then by all
means grab your pencil and make them a Threat.
S
S
Chapter Seven
Utterly Malleable
145
S
S Mad Science
Custom moves are an important tool for the MC. They
let you tinker with how the game plays, expanding the
scope of the action or focusing in on abilities or dangers
that are unique to your particular game. Once you start
playing around with custom moves, you’ll quickly realize
that Monsterhearts is designed to be tinkered with.
Moves all follow a similar pattern. Skins are all composed

of the same building blocks. Almost everything hinges
Utterly Malleable
upon open-ended lists - agendas, principles, moves, name

lists, looks, origins, threat types, all of it.
Once you have a firm grasp on the game and some play
experience, you can get your hands dirty tinkering with
all this stuff – writing new basic moves, new Skin moves,
or even entirely new Skins. There’s never any demand for
you to tinker in this fashion, only an invitation. If you’ve
got a mad scientist streak in you, this chapter examines
146 how best to conduct your experiments.
Shifting the Action

Chapter Seven
Basic moves inform the group about what actions are

important to the genre, and how those actions propel the
fiction forward. If you want to change what’s important
to the genre, and how those actions interact with one
another, you can do so by modifying existing basic moves
or adding entirely new ones.
For example, if you and your friends want to play a game of

Monsterhearts that involves walking between dimensions
and realities, and maybe you want that portal-walking
to be a source of tension and weirdness, you can create
another basic move to add to the list. The basic moves all
follow the same pattern:
}} When you do [something], roll with [a stat]. On a
10 up, [a good result].  On a 7-9, [a mixed result
or hard choice].
S
In this case, the [something] is already specified. What
stat does portal-walking tie into? At a glance, I would
S
guess that it’s Dark. The finished move might look like:
When you walk between dimensions, roll with dark. On

a 10 up, you arrive in a safe and useful place.  On a 7-9,
choose one:
}} You arrive in the midst of a dangerous situation;
}} You arrive somewhere else altogether;
}} You arrive with the conditions disoriented
and terrified.
New moves can also represent subtler shifts in the social

dynamics of the story. For example, in my experience
the teen monster genre doesn’t have a lot of room for
characters helping one another – it’s doing it yourself or
getting someone else to do it for you. However, maybe
you decide that you’d like to change that dynamic, to
create a move that encourages people working together
and helping one another.
If so, you can create a new basic move for doing exactly 147
that. The [something] is helping people, but that needs
further clarification. Can it be used to help anyone, or is it
limited to fellow PCs? Perhaps you decide that it’s limited
to helping PCs. The next thing to decide is which stat it
relies on. While a case could be made for Hot, none of the
stats really feel relevant. You could simply say “roll with
+1” instead of specifying a stat, giving everyone an equal
ability to help those around them.
Finally, you need to determine what the move actually

does. On a 10 up, there should be a good result. “They add
+2 to their roll” is an easy solution here. On a 7-9, there
should be a mixed result. One option would be to have the
MC introduce an ugly bargain, using language like “The
MC will tell you what danger you’re exposing yourself to
by helping them; if you accept the danger, they add +2
to their roll.” Alternately, you could have an automatic
drawback, like “They add +2 to their roll, but you gain the
Condition exposed.” The finished move might look like:
S
S When you help another PC, roll with +1. On a 10 up, they
add +2 to their roll. On a 7-9, the MC will tell you what
danger you’re exposing yourself to by helping them. If
you accept the danger, they add +2 to their roll.
Modifying Skins
Maybe you want to tinker with The Mortal a little bit, to
create a character that’s obsessed with their best friend,
rather than their codependent lover. The first step would
be crafting an alternate to True Love, one that awards
Utterly Malleable
a best friend tag instead of lover. Looking over the other

moves, it’s easy to use Mess With Me, Mess With Him
and Excuses Are My Armour as is, by simply subbing in
best friend for lover.
Perhaps you decide that Downward Spiral and Entrenched

both feel odd for this modified Mortal. Scratch them out!
Write something new to fill their place. Rewrite the Sex
Move if necessary - same for the Darkest Self. Each Darkest
148 Self follows the same format:
}} [Some nebulous statements about your outlook]
and [some sinister actions that you must take while
Chapter Seven
in this state]. You escape your Darkest Self when [a

certain criterion is met].
Often, you’ll find that you can achieve great results with
only a few modifications. In the case of the best friend-
centric Mortal, I would personally do very little: rewrite
True Love, and probably replace Downward Spiral, and
rewrite the first half of the Darkest Self. That’s it.
Changing the MC Toolkit

Maybe you’re designing a Threat, and you wish there were
a fourth Craving option. Create it! Make sure that whatever
you create is going to lead to dynamic situations, and put
the PCs firmly in the spotlight. If you’re doing that, you’re
golden. Whenever you tinker, keep your agendas and
principles in mind.
S
Creating New Skins
S
There are a lot of monster tropes out there that are still
untouched. Where’s The Succubi? What about a Skin
that’s focused on channeling animist spirits? What about
The Psychic?
Skins aren’t just different types of monsters. They also

represent different relationship dynamics, insecurities,
and outlooks. The Werewolf is more than just a
lycanthrope; it’s also that over-protective boyfriend you
had in college, the one who was fiercely loyal but also
fiercely domineering. When you create a new Skin, it’s
important that you design with this principle in mind.
Otherwise, your new Skin will be one-dimensional and
hard to connect with.
Each Skin is composed of the same elements:

}} A list of names, and a list of naming patterns
}} A list of looks (general appearance; eyes)
}} A list of origins 149
}} A stat line (two stats at 1, two stats at -1)
}} 5-7 Skin moves, and directions on how to pick
initial moves
}} Your Backstory (which gives away and gains some
initial Strings)
}} A Sex Move, which reflects something of their
outlook and powers
}} A Darkest Self, with an escape clause built into it
Many Skins have a special thing to keep track of in their

“Other” section, whether it’s an added currency or a
special relationship. The Mortal has their lover, The Witch
has sympathetic tokens and Hexes, The Fae has promises
held and broken, The Ghoul has Hungers, and almost every
Skin can gain a Gang during play. Be clear about what
special currencies need to be tracked for your new Skin.
S
S
The Long Example
What follows is an extended example of play,
demonstrating how moves chain together and play
proceeds from moment to moment. It follows the same
characters seen in the book’s other examples: Vanessa the
Witch, Robin the Mortal, and Cassidy the Werewolf. In
order to better see the MC’s tools in action, the example
is written in first person from their perspective.
The Long Example
Vanessa’s mom is in the hospital, so she’s staying with

Cassidy’s family - something that she’s not at all pleased
about. Her pride’s still wounded from the beating that
Cassidy dished out to her in the locker room, even
though they’ve theoretically made up.
School’s out for the day. I frame a new scene: “Vanessa,

150 you probably get back to Cassidy’s house before she
does. Her dad’s back from the office already, his coat
flung carelessly over the banister. TV’s on, and he calls
out a warm greeting from the next room. What do
Chapter Seven
you do?” Since we haven’t seen these two characters

interact yet, I’m putting them together.
I don’t have any particular plan for this scene, other

than to let story emerge from the feral unknown.
Vanessa’s player shrugs and says, “Well, Vanessa doesn’t

have any issue with Cassidy’s family, so she’ll walk into
the living room and take a seat next to him. ‘Hey, Mr.
Lupa. How’s it going?’”
Looking at the list of Principles, Make humans seem

monstrous stands out. I say, “Mr. Lupa’s got blood on his
collar, and his right eye is swollen shut. He’s managing
to hold both a bottle of whiskey and a cigarette in his
left hand. ‘Oh, just fuckin’ peachy.’”
S
Vanessa’s player: “Vanessa doesn’t care about Mr. Lupa
one way or the other, but she does want some leverage
S
over him, and a way to even the score with Cassidy.”
“So, what do you do?” Even when the players speak

in third person, I make sure to address myself to the
characters, not the players.
“Well, I get up and walk over to the fridge. I walk in front

of him, rather than behind the couch. A little slower than
necessary, adding some extra sway to my step.”
“Are you turning him on?” I ask.
“Yeah, in a second,” Vanessa’s player responds. “Is the

fridge in clear view of the couch that Mr. Lupa’s on?”
I see where she’s going with this, and since it’s my job
to be a fan of the PCs, I am happy to help her set the
situation up. “Definitely. And they’ve got one of those
fridges where the freezer is on the bottom.”
151
“Perfect. I’m going to open it up, and look through the
freezer for something to use as an ice pack for the
man’s face. But I’m definitely going to bend at the waist,
not the knees. While in my miniskirt. And for good
measure, I’m going to call out to him, ‘Hey, do you guys
have any ice packs?’”
“Roll it,” I say, grinning. Cassidy’s player has an epic

scowl on her face.
Vanessa’s player rolls to turn someone on, and gets a

4 and 5. Her hot score is an unfortunate zero, though,
leaving her with a total of 9. On a 7-9, the person being
turned on has to choose an option. “Give themselves to
you” is tempting, but I don’t think it makes sense in the
fiction yet. So I settle with, “give you a String against
them.” I narrate my choice, “You hear the bottle of
whiskey drop out of Mr. Lupa’s hand and fall onto the
floor. ‘Fuck,’ he whispers to himself. He’s clearly hot and
bothered by what he sees. Take a String on him.”
S
S Vanessa’s player marks the String down, and narrates
returning with a bag of peas. “I sit uncomfortably close
to him, and hold the bag of peas to his head. I coo some
sympathetic words at him. Is that turning him on?”
It probably is, but she only gets to roll that move on

Mr. Lupa once in any given situation. Vanessa’s player
narrates kissing a bruise on his forehead, and lingering
a bit too long. I’m not sure what would be better,
to have him reject her advances or respond in kind.
So I choose to disclaim decision making, and turn
to Cassidy’s player. “What would your father do in a
The Long Example
situation like this?”
Cassidy’s player thinks for a second. In the past, we’ve

seen some pretty bad parenting from this character.
“Honestly, I think he’d cave. He’s a rat bastard.” I have
no qualms with that answer. Since I treat my NPCs
like stolen cars, it’s fun to watch them lose control and
crash from time to time.
152 I wait until Vanessa’s undoing Mr. Lupa’s buttons and
his hand is gripping her thigh to say, “Mr Lupa lets out
a small moan under his breath, and whispers, ‘Leanne,
yes.’” I’m accepting people conditionally. Vanessa can
have her revenge sex, but only if she’s willing to hear
another woman’s name being called.
“Whatever,” Vanessa’s player says, “this gives me power

and leverage over him no matter what he calls me. I
bring my leg around and straddle him, reaching a hand
into my backpack for a condom.”
I look around the room. The consensus seems to be that

we fade to black at this moment, rather than continuing
on with the nitty-gritty details of their sordid encounter.
That’s totally fine with me. I ask, “What’s your Sex Move?”
Vanessa’s player reads it out, “After sex, you can take a

sympathetic token from them. They know about it, and
it’s cool. I think I’m going to stand up pretty abruptly
once we’re done, grab the bottle of booze that he was

S
drinking, and walk away from the couch. I leave my
panties wherever they ended up, and I kept the rest
S
of my clothes on.” The bottle of booze counts as a
sympathetic token for Mr. Lupa, no problem.
I glance at my Principles, and remember that happiness

always comes at someone else’s expense. Both of these
characters got what they wanted, which means I might
want to make a hard move in order to live up to my
Principles. Ah, put them together! “Cassidy, this is
probably the moment when you walk through the door.”
I’m right; she does. Cassidy’s player says, “Right away I

see Vanessa swaggering away from the couch, my dad’s
booze in her hand.” I interject, “He’s sliding his pants
back up as you enter, too. Vanessa’s panties are clutched
tight in his left hand. Has this kind of thing ever
happened before?” I’m asking provocative questions.
“Once, with Leanne.” Nice.
“And what did you do about it last time?” 153
“I bashed the girl’s face in, which is exactly what I

plan to do now. First, I’m going to reach out and
grab the bottle from Vanessa’s hand.” Cassidy’s player
grabs some dice, asking, “does that count as lashing
out physically?”
“Well,” I reply, glancing at the basic moves for guidance,

“you’re not actually attacking Vanessa, at least not yet.
I think this counts as holding steady in a tense
situation. Can you just coolly swipe the bottle right
out of her hands?”
If Vanessa had been actively protecting the bottle, the

answer would probably have been different. I probably
would have said that Cassidy couldn’t get the bottle
without beating it out of Vanessa’s clutches.
S
S Cassidy’s player rolls to hold steady, and gets two 4s.
With a cold of -1, that gives her a final score of 7. She
chooses to keep her cool, meaning that she swipes the
bottle without a struggle.
“Vanessa, how do you respond?” Cassidy’s clearly got a

next move planned, but it’s part of my job to make sure
everyone gets their time in the spotlight. Besides, I’m
curious to see how Vanessa will react.
“I run a hand through my dishevelled hair, kind of

rubbing her face in the fact that I just got with her dad.
The Long Example
I smile my most malicious smile, and say, ‘Cass, welcome

home sweetie.’” She’s rolling to shut someone down, by
demonstrating that she has all the social power here,
but she botches the roll.
I have an opportunity to make a hard move here, as

direct and nasty as I like. But I’m pretty sure that
Cassidy’s about to deal out some punishment, and I
don’t really want to interfere with that. So I focus on
154 the dad, and choose to expose a dangerous secret to the
wrong person. “As the two of you are facing off in the
lobby, Mr. Lupa notices somewhere weird hanging out of
your backpack, Vanessa. It’s still unzipped, so he opens
it up. Whatever witch-y stuff is in there, he begins to
pull it out and rifle through it. Books, objects of power,
all that stuff.” I make my move, but misdirect – so
that it seems like he’s discovered this stuff because the
fiction set it up, when in actual fact he discovered it
because I picked an option from a list.
I gesture, indicating that they should return to their

hostile exchange. Cassidy’s player says, “I’m going to
take a step forward, and try to smash this bottle against
the side of Vanessa’s face. Does she have any Conditions
I can take advantage of here?” Nope, she doesn’t.
Cassidy’s player rolls 1 and 4 to lash out physically. With

her volatile stat at 2, that’s just barely in the 7-9 range.
She deals harm, but has to choose from a list of ugly
options. “Oh, I’m totally going to turn into my Darkest

S
Self. Werewolf transformation, here we come. First,
though, I’m going to spend a String on Vanessa to add 1
S
to whatever harm I deal.”
Looking at the harm guidelines, I’m not sure if it would

count as 1 or 2 harm by default. If it broke and cut
her up, it’d probably count as 2. I decide to disclaim
decision making, and ask Robin whether the bottle
breaks. “Uh, sure.”
The bottle breaks over Vanessa’s head for 2 harm, and

Cassidy spends a String against her to bump that up
to 3 harm. “Vanessa, your head is ringing and you
immediately feel the warmth of running blood on the
side of your head. That’s 3 harm total. And at that
moment…” I trail off, letting Cassidy jump in.
“…yeah, at that moment I reel backwards, my eyes

bloodshot and glowing red. It looks like I’m rocking
back and forth for a second, but it’s actually my bones
realigning themselves and patches of fur bursting out
of my flesh. I tear my clothes up pretty bad, but they 155
don’t fall away. It seems like I grow a foot, and the
transformation ends with a loud howl that shakes the
mirror beside you right off the wall.”
Cassidy’s her Darkest Self now. Her dad’s probably

sneaking out the back door, or huddled up in terror.
Vanessa’s bleeding profusely and might need medical
attention. I follow up with the most important move in
the MC’s arsenal.
“Vanessa, what do you do?”
S
S
Mediography
Games
Apocalypse World
Vampire: the Masquerade (3rd ed)
Movies
The Craft
Disco Pigs
Ginger Snaps
Mediography
Jennifer's Body
Kaboom
Let The Right One In
Lost Boys
Nowhere
The Twilight Saga
156 Television
Being Human
Buffy the Vampire Slayer
Misfits
Roswell
The Vampire Diaries
True Blood
Music
30 Seconds to Mars, Andrew Jackson Jihad, Brand New,

Bright Eyes, Bush, CoCo Rosie, Coheed and Cambria, City
and Colour, Cursive, Dresden Dolls, The Faint, Hellcat
and the Prowl, The Hellfreaks, Horrorpops, Iggy Pop,
Jackalope, Jack Off Jill, Ladytron, Low Shoulder, Mass
Undergoe, Misfits, Mother Mother, The Mountain Goats,
My Chemical Romance, Okkervil River, Panic! at the Disco,
Paramore, Placebo, Portishead, Pretty Girls Make Graves,
Sneaker Pimps, Spookshow, Stateless, Still Corners,
Toadies, Type O Negative, Venetian Snares, Widowspeak

S
S
A Perfect Moment
Let's say you don't have time to watch all the same
movies and television shows that I did, but you still want
to understand this teen monster genre.
Here's the entire genre, distilled down into a single

moment. It's one of the last scenes of Jennifer's Body.
Major spoliers on this page.
Needy has decided that enough is enough. Jennifer

might be her best friend, but she's also a flesh-eating
demon who's wracked up a pretty serious body count.
Needy's the only one who can do something about it.
Jennifer must die.
And so Needy breaks into Jennifer's room in the middle

of the night. She's got Jennifer pinned to the bed,
straddling her. There's an x-acto knife in Needy's hand,
and she's wrestling to drive it home. She somehow 157
manages to overpower Jennifer and drive the x-acto
knife into her chest.
"My... tit."
"No," says Needy, "Your heart."
Jennifer wilts. There's a moment of silence. And then her

mom walks in and flips on the light. Cut to Needy in an
insane asylum.
There's not a single thing missing from that scene.

Someone murders their best friend. An element of
messy sexuality. Punchy, over-the-top dialogue. Betrayal.
Melodrama. Crude violence (with a boxcutter, no less!)
And finally, the mundane world suddenly rearing its head.
Flawless.
S
Index
Advancement 34
Backstory 12–14
Characters
Blending In 120–121
Guiding Character Creation 130–131
Retiring 39
Conditions 28
Customizing. See Tinkering
Darkest Self 12, 32
Rewriting 38
Death 30
Dice 19
Equipment 14
Experience Points 34
Feral 44
First Session 134–135
Forward 28–29
Gangs 35
Hacking. See Tinkering
Harm 30
Healing 31
Highlighting. See Stats: Highlighting
High School
After Graduation 127
Blending In 120–121
Party, Fight, Disappearance 137
Seating Charts 136
Look 9
Materials 6, 129
MC
Advantage & Disadvantage 119–120
Agendas 103
Always Say 103
First Session 134
Hard Moves 111
Menace. See Menace
NPC Strings 117–118
Party, Fight, Disappearance 137
Playing NPCs 101, 116
Villains 139
Principles 104–110
Priorities 101
Seating Charts 136
Teaching the Game 131–133
Under Each Skin 122–126
Villains 139
Mediography 156
Menace 140–145
Components 140
Cravings/Offerings/Capacity 142
Custom Moves 143–144
Stakes 141
Threats 142–144
Modifying. See Tinkering
Moves 11
Basic Moves 11, 20–24
Gaze Into The Abyss 24
Hold Steady 22
Lash Out Physically 23
Manipulate an NPC 21
Run Away 23–24
Shut Someone Down 21–22
Turn Someone On 20
Chain Reaction 115
Custom Moves (Threat) 143–144
Growing Up Moves 39–41
Call People On Their Shit 40
Intervene Against an Act of Violence 41
Make Others Feel Beautiful 40
Share Your Pain 41
Hard Moves 111
Sex Moves. See Sex Moves
Skin Moves 11
Talking & Moves 18
Name 9
Notes from the Apocalypse 5, 38, 103, 105, 108, 109, 110, 115, 134
Origin 10
Queer Content 20, 42
Rolling Dice 19
Scenes
Experience Point Limits 34
Scene Framing 17
Strings Limit 34
Seasons 36
How Season Advances Work 36–37
Season Advances List 37–41
Sex Moves 12
Rewriting 38
Skins 8
Changing Skins 38
Creating New Skins 149
List 46–47
The Chosen 48–52
The Fae 53–57
The Ghost 58–62
The Ghoul 63–67
The Infernal 68–73
The Mortal 74–78
The Queen 79–83
The Vampire 84–88
The Werewolf 89–93
The Witch 94–99
Playing The Same Skin 9
Under Each Skin 122–126
Stats 10
Highlighting 13
Initial Stats 10
Strings 25
NPC Strings 117–118
Significance of Spending Them 26
Spending on NPCs 26
Spending on PCs 25
Teaching the Game 131–133
The Long Example 150–155
Tinkering 146
Custom Moves 143–144
MC Toolkit 148
Modifying Skins 148
New Basic Moves 146–148
New Skins 149
Your Backstory. See Backstory

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Most teenagers get to grow up without encountering

anything scarier than gang violence, drug overdoses and

Kaleigh Barton, my Fae

Daniel Wood, my Editor

Legalities & Credits

Titles in Yataghan, by Daniel Midgley.

Cover photo by Konradbak, via Dreamstime.

For more visit

Buried Without Ceremony

7 Chapter One: Creating Characters

150 The Long Example 3

Specifically, it’s a story game about supernatural romance

And let’s be honest. You play because you have a guilty

This game is unabashed about its subject matter: it’s a

Where This Came From

NOTES FROM THE APOCALYPSE

All these rules do is mediate the conversation. They kick

The game is played in sessions lasting from 3-4 hours.

There are a number of supplies that need to be gathered,

All of the print-outs required are located at

teenager is. (For more on playing non-teenage characters,

Everyone except the MC creates a character at the

players a taste of what the Skin is all about. To familiarize

The instructions listed in the Skin walk the player through

If two people in the group are interested in playing the

The first decision is your Name. There’s a unique list of

The next decision is your Look. Choose one item from

Each character has four stats: Hot, Cold, Volatile, Dark.

Hot means fucking gorgeous, alluring, exciting, smokin’,

Cold means stone-cold, calculating, collected,

Volatile means impulsive, wild, feral, quick-tempered,

Dark means weird, mysterious, sinister, dabbling in

When creating a character, you’re told what stats to start

Glance at the basic moves listed next to the stat boxes;

In addition to these basic moves, each Skin has access

Each Skin has slightly different rules for which of these

Most of these Skin moves are tied to stats in the same

Some moves don’t relate to a stat at all, they just describe

Fill in the bubbles to track which moves you have chosen.

Some Skins have additional decisions to make at this point

You’ll notice there’s a section marked “Other Moves” on

Once the characters are completed, it’s time to introduce

First, go around the table, and have each player describe

Once the characters have been introduced, it’s time to

If The Mortal is in play, then the player to the left of The

When it’s your turn to establish your backstory, read out

Robin establishes his backstory last. The Mortal

Once this process is complete, go around the table again

It’s Robin’s turn to have stats highlighted. “Who’s got

What You Start With

Answer these questions however you want to. It’s fine

If it’s plausible that your character would carry a gun to

Be cautious, though, about the choice to have your

Since the default setting is a high school, there are a few

Play to find out what happens, what’s important, and

When play begins, the MC is going to ask lots of questions,

The process of starting a new scene is called scene

The MC has authority over scene framing. This means

Sometimes, you’ll say something that falls under the