Everything

The vampire projects a portion of her consciousness into a nearby mortal’s mind, creating a mental link through which she can communicate wordlessly or even read the target’s deepest thoughts. The Kindred “hears” in her own mind the thoughts plucked from a subject as if they were spoken to her.

This is one of the most potent vampiric abilities, since, given time, a Kindred can learn virtually anything from a subject without him ever knowing. The Tremere and Tzimisce in particular find this power especially useful in gleaning secrets from others, or for directing their mortal followers with silent precision.

System: The player rolls Intelligence + Subterfuge (difficulty of the subject’s current Willpower points). Projecting thoughts into the target’s mind requires one success. The subject recognizes that the thoughts come from somewhere other than his own consciousness, though he cannot discern their actual origin without a successful Perception + Awareness roll (difficulty equal to the vampire’s Manipulation + Subterfuge).

To read minds, one success must be rolled for each item of information plucked or each layer of thought pierced. Deep secrets or buried memories are harder to obtain than surface emotions or unspoken comments, requiring five or more successes to access.

Reading thoughts with Telepathy does not commonly work upon the undead mind. A character may expend a Willpower point to make the effort, making the roll normally afterward. Likewise, it is equally difficult to read the thoughts of other supernatural creatures. However, the character may project her thoughts without expending a Willpower point. These thoughts, however, are still obviously intrusions into the target’s mind, but the character may attempt to disguise her mental “voice” with a roll of Manipulation + Subterfuge (difficulty equals the target’s Perception + Awareness) so the target doesn’t recognize her as the “speaker.”

Storytellers are encouraged to describe thoughts as flowing streams of impressions and images, rather than as a sequence of prose (powers such as Telepathic Communication are of more use for that). Instead of making flat statements like “He’s planning on killing his former

lover’s new boyfriend,” say “You see a fleeting series of visions: A couple kissing passionately in a doorway, then the man walking alone at night; you suddenly see your hands, knuckles white, wrapped around a steer-ing wheel, with a figure crossing the street ahead; your heart, mortal now and hammering with panic as you hear the engine rev wildly; and above all, a blazing anger coupled with emotional agony and a panicked fear of loss.” Such descriptions not only add to the story, but they also force the player to interpret for herself what her character gleans. After all, understanding minds — especially highly emotional or deranged minds — is a difficult and often puzzling task.