Editing LeviathanTempest:ChapterFive (section)

==== The Demigodfather – Weird Underworld ====
	Leviathan focuses a great deal on marginal figures, and while the primary assumptions dealt more with the disenfranchised and isolated, the margins of society are also home to the things that it fears. Adopting the theme of threatening margins, it's possible to run a game that embraces the Leviathan's role as not merely a metaphorical opponent of society, but a professional one. Criminals are marginal, and the more successful of them have a certain mystique. Highwaymen were canonized as folk heroes, mob bosses as paragons of a certain dangerous aesthetic. Most Leviathans are already criminals in some fashion – why not go “all in?”

	The beauty of criminality for members of the Tribe is that it turns one of their most troubling traits – the ease at which they succeed in wicked and violent endeavors – and makes it into an unqualified advantage. The “weird underworld” of film and folklore has a certain respect for the power to do evil. The unrestrained exercise of cruelty and viciousness assumes the status of an emblem of personal freedom – the ability to do and be whatever one desires. The appeal of the diabolic lies in the fulfillment of desire, and Leviathans are nothing if not capable of breaking others in the pursuit of their desires. 

	A good approach for a campaign of this type focuses on the ways in which the criminal mystique is a construct, a re-evaluation of actions in an attempt to impart beauty on the grotesque. When a mafia hitman takes on a nickname or establishes some signature, he's not merely building up a professional reputation – he's trying to establish an identity for himself that he finds palatable. Perhaps he spares women, or children. Perhaps he won't kill a priest. All of these elements of “criminal honor” serve to insulate the criminal from the ways in which his actions are abhorrent to society as a whole. This process is analogous to the ways in which members of the Tribe damn themselves by degrees, accepting flimsy excuses to put a face of righteousness on their actions. 

	Crafting a “weird underworld” can be a great deal of fun, and when well-executed you should have a strong cast of colorful characters – both those of the players and their fellow inhabitants of the underworld. The major players in a fictional underworld always have a certain element of the mythic around them – think of a colorful mob boss from the comics, or Keyser Soze. The player characters can fulfill this sort of role, their mystique as much a function of their role in the criminal world as it is of their actual mystical nature. Cults might be gangs, or gangs become Cults. It's not even necessary for the characters to be professional criminals – as long as they are in some way entangled with the underworld, the Wake ensures that they'll be considered players in the game. 

	The concept of a glamorous coating on horrible actions can be a great source of internal conflict for the characters. A good way to achieve this is to focus on the contrast between the fictional and the actual. The characters can be confronted with the real, blood-and-guts outcomes of their actions, while simultaneously being presented with the “scrubbed” narrative of their exercise of power from other sources. In general, the goal is to strike a balance between “action” scenes, in which the characters achieve their ends using the vast resources available to them, and get to enact their legendary status, and “introspective” elements, as characters are confronted with their acts outside of the context of the “criminal myth” which restructures them. Characters might deal with more outrageous or violent criminals, but they're just as likely to come into conflict with criminals of opportunity or necessity. Ideally, there will be elements of uncertainty and a suggestion of the ways in which the “criminal myth” fails to cover up the squalor, violence, and hopelessness of the underworld, and the doubt and uncertainty, even self-loathing, that accompany it.