Editing LeviathanTempest:ChapterFive (section)

==== Mystery Archeology - Exploration ====
The general gist is that the Tribe is, almost uniformly, preoccupied with history - their history and that of the Tribe as a whole. Clues about a Leviathan's nature, his ancestors, and the lost world of the Progenitors are all located both in human historical records, folklore, and relics of the fallen world. In this campaign style, the focus shifts towards the exploration of these sources, and the relentless pursuit of knowledge. The characters' Cohort is caught up in the search for some foundation of truth and stability on which to build themselves a future. This search can take place as actual archeology or in the study of folklore and history. For the purposes of this campaign style, however, the key element becomes travel. 

The idea is that the clues won't come to the characters. Even if someone out there knew what they were looking for, they're unlikely to scan an ancient clay tablet or extensively photograph a newly-discovered ruin. Some of the knowledge that the characters seek might well be beyond the reach of normal mortal actors - sunk deep into the depths, or deliberately concealed by hybrids or other members of the Tribe. Regardless of whether the characters are looking for lost relics or ancient manuscripts, the point is to keep them moving. There are a great number of strange little places in the world, and the idea is to make use of them to provide a sense of mystery. As with most stories about the Tribe, this style runs best at the margins - an isolated town near the ruins of its centuries-old predecessor, or, more exotically, a tiny village deep in the jungle or otherwise insulated from the modern world, where folklore of twisted monsters is still an element of daily life, and little superstitions honor or ward off the supernatural. The use of multiple small towns allows for each to have a distinct flavor, while preserving the overall sense of a big, strange world, full of little pockets of weirdness, seemingly adrift in time. 

These little pockets, in addition to providing a strong aesthetic background, provide the primary threats and conflicts to the characters. In addition to mundane concerns about insular communities coming into contact with disruptive outsiders (and it doesn't get much more disruptive than a Cohort), there's the possibility of other supernatural beings or forces that surround these relics and ruins. Rival members of the Tribe and teams of Marduk researchers might show up, but the threats might already be there - that quaint little village has its own Leviathan demigod, and he doesn't appreciate interlopers. Going deep into the wilderness presents its own threats in terms of isolation and inter-Cohort conflict, and also provides ample opportunities to run into clans of hybrids or even stranger threats. It's also not out of line to have the Cohort get a "false lead," and have whatever supernatural oddity present in the region have nothing at all to do with the Tribe and its cousins - ancient spirits or demonic entities, or pretty much any other element of the World of Darkness (if you're up to a bit of a crossover) - are all possibilities. 

In terms of theme, this style deals mostly with the idea of self-exploration. In fact, it externalizes the process. The biggest hurdle, then, becomes finding ways for the finds of the Cohort to be interesting and revelatory without providing the full picture or, worse, dictating an absolute truth. The last might provide interesting fodder for a game in which characters align themselves in face of their new knowledge, but any "final answer" will obviously render further physical exploration somewhat redundant. It might be possible, with some difficulty, to "weave" a series of hints and clues throughout the finds as a sort of roadmap, leading towards the campaign's conclusion. Ultimately, though, the meat of the game lies less in what is discovered and more in the act of discovery. The focus should always remain on how the past is relevant to the characters, not on what the past is or means. The idea is that the characters are struggling to make an identity, not discover one.