Camp!? Guest Blog by THE Jason Hughes

I play in, and am a Storyteller for, the Underground Theater Vampire: the Masquerade LARP. For two years, I served as the Organizational Storyteller for the Camarilla, Anarch, Independent Alliance venue. During that time I ran a game that was heavy, dark, and brooding. Players were forced to make difficult choices at every turn and were in constant danger. Winning was surviving. The story was dark, but was it good? I had players burning out constantly.

 

I stepped down from the position and spent some time thinking about how to run games that embraced the themes of Vampire and the World of Darkness, but didn’t drive players to burn out or Out of Character conflict. After a time, I realized that the great villains (which is essentially what we are all playing in Vampire) were a bit campy and weird. They all had character traits that drove them to make poor, but interesting and entertaining choices. The best of them had a touch of ridiculous about them. Victory was never enough, it had to be gained in a certain way or through certain actions. Ultimately, great villains were campy.

 

Camp can be zany or subtle. A primary complaint about injecting camp into serious games is that too many Storytellers are already doing it badly. Vampires are battling anthropomorphic snowmen with little story beyond, “Wouldn’t it be cool if?” I am not a fan of genre-breaking silliness. Stories must have depth and connection to the world that we choose to mutually inhabit. Always ask yourself, “Will the story my Players tell sound ridiculous?”

Sinister, isn’t he?

Subtle camp is the difference between executing the prisoners and creating a death trap. When I defeat someone, if I want the best outcome for my character, that defeat should be resounding and complete. However, we shouldn’t want the best outcome for our characters, we should want the best outcome for ourselves as players. Instead of a resounding defeat or complete victory, we want story – a death trap that the rival can possibly escape creates that. A Roll Squad is no fun, a Death Trap could be.

 

Camp is a difficult word. Words have meaning and power, especially in roleplaying games, especially in LARP. I choose camp because it describes the absurd, slightly tongue-in-cheek way that good LARP interaction begins with. We encourage players to be be larger than life and play fearlessly. That requires them to act in ways that are theatrical, not realistic. Subtlety does not need to be lost.

 

“Theatrically” is not a bad word for the style of play that I advocate. However, I want to draw a line between Hamlet, in which a character does some patently ridiculous things in pursuit of revenge, and Titus Andronicus, a play so violent that it makes modern slashers look tame. Both are very theatrical. The characters make big choices and extreme actions, however Hamlet has a subtlety to it that makes it more interesting. Hamlet is also a touch campy (the right kind of campy). He suffers and monologues and wallows. Hamlet acts, but indirectly and in ways that would be less than advantageous for his “player.” That’s what I seek.

 

Sir Laurence, as Hamlet, Tragedy Embodied

The unrelenting gloom and horror of the World of Darkness (and other such games) needs a tinge of the ridiculous to be great. Batman’s greatest villain should be Salvatore Maroni, the Boss of Gotham. He is deadly, smart, and has managed to keep operating, more or less, in a city protected by Batman. There are plenty of fans of Boss Maroni, but he is not the Joker. The Joker is terrifying, homicidal, and campy. In Vampire, do you want to be “Black Suit Person #27” or do you want to be “The Rabid Mongoose of the South?”

 

The purpose of camp in serious games is to increase the potential story and to not leave behind fun in the unrelenting darkness. A small amount of mustache twirling creates a rivalry instead of a enemy. A small amount of the absurd gives players that moment of relief that stands in stark contrast to the serious drama around them. Both create more, and better, story and that is the ultimate goal.

THE Jason Hughes thinks about Larp constantly. He probably has a problem. His wife is very understanding.

Interview with Nathan and Bob 25 Years of Vampire

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Nathan and Bob of the podcast, 25 Years of Vampire:The Masquerade A Retrospective were willing to do an interview with us about their show. If you are doing a WoD podcast and would like to do a similar interview, please let me know. I think it is interesting to get into the heads of those of us who are podcasting and writing about these games and why. Please click the link below to listen to the interview. You can find their podcast on their website and on iTunes.

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Josh is the administrator of the Inclusive Gaming Network, and the owner of this site. 

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands

 

An Interview with Chill and Changeling the Dreaming 20th Anniversary Developer Matthew McFarland

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According to the Onyx Path development Blog the Changeling the Dreaming 20th Anniversary edition is nearing completion, and rumors about that the Monsters Sourcebook for Chill 3rd edition is nearing completion.  Given these exciting developments it only made sense for Victor Kinzer and Simon Eichhörnchen to ask Matthew McFarland who is leading development on both of these projects to talk a little bit about these projects and he graciously agreed.

Victor: Thank you for taking the time to chat with us.  For anyone who isn’t familiar, can you tell us a little bit about yourself and your history developing games?

Sure! I started writing games professionally in 1997. White Wolf Game Studio had an all-call for writers, and I sent in the first bit of a novella I was working on. That novella is thankfully lost to time, but it did get me a job writing on Giovanni Chronicles IV, and then I slowly infiltrated the rest of the World of Darkness lines and eventually got a full-time job as Dark Ages developer.

I left White Wolf in 2004, and went to grad school to become a speech-language pathologist, because while you can have steady work in the RPG industry, it was a little too unstable for me as a new dad. In 2012, my wife Michelle Lyons-McFarland and I started our own small press games company, Growling Door Games, Inc. We published two single-book story games (curse the darkness and A Tragedy in Five Acts), and then 2014 we obtained the license to publish a new edition of the classic horror RPG Chill.

Simon: What was it that attracted you to the projects you’re working on now?

Right now, I’m working on a couple of freelance projects for Onyx Path Publishing (which licenses the World of Darkness from the new owners at Paradox)[Editor’s Note, The World of Darkness is a property of White Wolf, AB a subsidiary of Paradox Entertainment Inc.], including the Beast Player’s Guide for Beast: The Primordial and the second edition of Hunter: The Vigil. Can’t talk much about Hunter; that’s Monica Valentinelli’s show, and I’m just a writer. Beast is very much my show; the game was mine pretty much from the ground up (though of course I had a really awesome team of people helping to put it all together), and I’m excited about the Player’s Guide. It’s a chance to flesh out the areas of Beast that I don’t think came through as well as we wanted in the core book, and also follow the time-honored tradition of adding new cool powers, new “splats”, and new toys for players to use.

Outside of Onyx Path, I just finished up writing a sourcebook for Chil called Monsters. It’s a bestiary book, in a way, but it’s also a look into the world of Chill and how the organization dedicated to fighting the Unknown, SAVE, approaches creatures that don’t fall into easily understandable categories (vampires, ghosts, werewolves, etc.). Monsters is the first book in a good long while that I’ve written entirely myself, and it was fun flexing those muscles again. (Monsters should be available for sale in August, by the way.)

Victor: The Changeling the Dreaming 20th Anniversary is the first new edition of the game since 1997.  Can you talk about what your approach was to updating Changeling to the world of the 20teens?

The 20th Anniversary Edition games were meant to keep the feel of the old games, but to update the world around them and (in the case of Changeling) become the revised edition they never got. As such, our approach was to look at what made Changeling awesome. We tried to keep the whimsy, but also the tragedy. One of the greatest explanations of Changeling I ever heard (from a friend and player in Atlanta many years ago) was that it’s like someone pointing a gun at your head and saying “be happy.” We tried to keep that notion, that dreams are hard to maintain in the face of the crushing pressure of the “real world,” but they’re all the more important because of that.

The other thing we wanted to do give changelings a little more magical “oomph.” I’m not a believer in “game balance” as it’s usually defined (that is, given a featureless white room, could two characters stand an equal chance of killing each other), but I do think that changelings in previous editions were a bit too fragile. We changed magical mechanics a bit, and brought in the notion of Unleashing (originally from Dark Ages: Fae) so that changelings have the chance to court disaster with the power of Glamour.  

Victor: One of the major focuses of Keep is inclusivity in gaming, so we have a few questions about the Gallain.  In a blog post about your early playtests for Changeling, you said the theme for the edition is  “powerful nobles hiding in freeholds and staying young while the changelings outside freeze”.  In previous editions the various groups of Gallain were presented with either less oppressive nobles or no specifically noble kith.  Since C20 includes all the Fae how are you including the non European kiths in the theme of this edition?

That’s one theme of the edition, and it definitely resonates more with the European Kithain than the Gallain. The Gallain are in the book, but they’re not the focus of the game (they’re in the Appendix and while there’s enough to play them, it’s severely truncated due to space constraints). I know that’s a roundabout way to answer the question, but the answer is that Gallain don’t get included in the same way, except perhaps insofar as to note that even the “commoner” Kithain, who are the bottom class of that particular system, still get to participate in that system. Gallain don’t, necessarily (which might not matter, depending on where they are).

Simon: Part of any good story is compelling antagonists. Changeling’s ultimate enemies, the autumn people, the people who disbelieve the fae out of existence, are a powerful metaphor for the destruction of culture. With that in mind, how do you go about creating autumn people that speak to that kind of horror while at the same time being sensitive to real world colonization experienced by the cultures reflected by the Gallain?

What’s scary about the autumn people, to me, is that they don’t have to confront the fae to destroy them. They’re not aggressive (necessarily), they’re confirmation bias made manifest. They’re a form of privilege, if you will, because they don’t see what they don’t need to see. I think that’s pretty relevant for the Gallain and their cultures, too (though of course, not all Gallain use dreams and Glamour the same way as Kithain).

Simon: Given that the Inanimae can reflect how different cultures perceive their environments how do you see the Inanimae fitting into the 20th Anniversary of Changeling?

One of the notions that the book brings up is that during the Mythic Age, everything dreamed, including the world. Bearing in mind that, like the other Gallain, the Inanimae don’t get a lot of space in Changeling 20th, I think the takeaway is that part of ignoring dreams and Glamour is ignoring the natural world. That’s something that people (both in the World of Darkness and in the real world) do at their peril, but it’s hard, and again, what makes autumn people scary and frustrating isn’t that they go out of their way to ruin the world (a la Pentex) but that they can blithely ignore the problems.

It’s easy to imagine an Inanimae looking at a changeling and saying, “well, sure, whine all you want, but people still write books, using paper that they make from the mulched-up bodies of my family.”

Womb of the Earth by Lydia Burris


Victor: When I first started playing the World of Darkness I was in a community of gamers where Changeling was incredibly popular, but in more recent years I’ve discovered that a lot of White Wolf fans feel Changeling doesn’t fit into the broader World of Darkness.  Where do you think this sentiment comes from, and did you make any changes in C20 you can tell us about that help the fae interact literally and thematically with the broader World of Darkness?

So, personally, I never had any trouble making Changeling fit into the greater World of Darkness. I used to do a lot of crossover (still do, for my Chronicles of Darkness games, where it’s much easier), and what it boils down to is that themes unique to one game might not work for all the others, but there are themes that are intrinsic to the World of Darkness as a whole. The death of creativity and passion is strongest for Changeling, of course, but tell me you couldn’t make that work for Vampire, too. Hell, “our way of life is dying” is perfect for Werewolf as well as Changeling. “Discovery and passion are intoxicating but dangerous:” Changeling and Mage.

Mechanically, of course there are some things you have to work around (not everyone has the same Traits, for instance), and if you’re doing crossover, you can’t just throw any old characters together and think they’ll work. I happen to think that’s true no matter what game you’re playing, though.

Simon: Throughout the CtD line the three major Gallain groups, the Nunnehi, the Menehune and the Hsien, are either excluded from or not a part of the Dreaming. Has this dynamic changed at all in C20?

We don’t get into the cosmology of it very much, due to space. Nunnehi and Menehune still deal more with spiritual expressions of Glamour than Dreaming-based expressions, though.

Victor: I’d like to talk briefly about another one of your upcoming projects, the Monsters sourcebook for the Chill Role Playing game published by your company Growling Door Games.  Can you tell us a little bit about Chill, and the Monster book specifically for anyone who isn’t familiar with the game?

Chill is an investigate horror RPG in which players take on the roles of members of SAVE (the Eternal Society of the Silver Way). SAVE is an organization dedicated to protecting people from the Unknown (the supernatural in general), which feeds on humanity’s fear, misery, pain, and sometimes just flesh and blood. Our first sourcebook, called SAVE: The Eternal Society, delved into the history and current state of the organization.

Monsters, like I mentioned earlier, is a bestiary book, but it’s also mostly written in-character, from the perspective of a SAVE researcher working on a classification system for monsters. It was a lot of fun to delve into how SAVE saw these creatures when she was writing it (in the 1980s) and then add commentary from a more contemporary agent. There are a lot of fun “Easter eggs” in the book that refer back to the Chill core book and to SAVE, and I think it will be fun for readers to see these characters’ stories as they read about these monsters.

The second edition of Chill presented adversary books in this format (Lycanthropes, Vampires, Apparitions), and I was always impressed with how skillfully the in-character information evoked the horror of the setting. I’m trying for something like that: Fun to read, evocative for players and Chill Masters.


Victor: I saw you comment online a few months ago about tweaks you were making to the Monsters in the book to remove some of the invisible bias that was present in previous editions of the game.  Can you talk a little bit about how you approached this and in general how you approach making those kinds of revisions to RPGs with established fan bases who may be resistant to any changes in their favorite games?

As far as making changes to games with loyal fanbases, I’ve always found that if you try to please everyone, you please no one. I love the 2nd Edition of Chill, and our edition draws very heavily on that one. I’ve always been very clear about that, and while I do get fans of the first edition sometimes who complain that our version isn’t enough like that one (the first edition drew more inspiration from pulp-horror and Hammer films), for the most part folks grasp what we’re doing and are with us.


I think the comment you’re referring to was in noting that there were quite a few creatures in previous editions that presented as female, and were said to “tempt” or “deceive” men. If you look at how female-presenting creatures appear in horror generally, you see a lot of that, so it’s by no means unique to
Chill or to RPGs, but since one of the big themes of Chill is that fear becomes manifest in the Unknown, I wanted to address that. I play a lot with the notion of unreliable narrators in Monsters, talking about SAVE making assumptions that it really has no business making, and members letting their own biases creep in. The kind of meta effect of that is that we wind up hanging a lantern on some of the sexist implications of previous work; Dr. Garrett, the narrator of Monsters, notes that female-presenting creatures are consistently described in certain ways that male-presenting or genderless creatures are not.

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands

Lore of the Bloodlines – Review

I was a backer of Lore of the Clans, a supplement for V20 and one of the stretch goals was Lore of the Bloodlines. I must admit I was not very excited for this book. Yes, there were various writers I liked that were going to write for it, but I found myself underwhelmed by a rehash of various bloodlines that had lots of information already in various books. How wrong I was.

First, the art done by Mark Kelly, Sam Araya, Felipe Gaona, Michael Gaydos, Key Meyer Jr. and Glen Osterberger, is freaking amazing. Seriously, I think this art compares to if not surpasses the iconic art of Tim Bradstreet. I know… that is a bold statement. See the image below.

By Mark Kelly Instagram @grimventures

Who’s here?

Lore of the Bloodlines looks at 9 bloodlines from Vampire: The Masquerade. Those 9, in the order they are presented: Baali, Daughters of Cacophony, Gargoyles, Harbingers of Skulls, Kiasyd, Nagaraja, Salubri, Samedi, and True Brujah. As noted, most of these bloodlines have had a lot written about them in the past. I wasn’t anticipating much that was new or exciting. From the Baali onward though, there were new plotlines, story hooks, and mechanics that changed my mind. The history of each bloodline is presented by new unreliable narrators. The Kiasyd are presented with a new history that ties them more powerfully to the Abyss (an element that has received significant investment in V20 materials, in particular V20 Dark Ages and Tomb of Secrets), as well as presenting a different story about their Fey connection.

You shouldn’t take these stories as definitive, nothing in the WoD is a definitive history. This is another view point that you can use to add to your stories. That is the fascinating thing about the V20 books, they look at material fans are familiar with, turn it on its head, and present a view that doesn’t discount anything previously written but it does adjust it in a way that makes you question The Truth.

Mechanics

Each bloodline has new merits and flaws that fit with their storylines. These bloodlines also have a new combination discipline or two, and potentially new versions of Elder powers. Each of these new mechanical elements is directly tied into the story hooks provided in the ‘fluff’ elements of each section. I particularly enjoyed the Salubri chapter because it tied in directly with some of the material from V20 Dark Ages. In fact, the way the Salubri are described in Lore of the Bloodlines is probably one of the best presentations of the modern iteration of the clan I’ve ever seen.

Part of me wants to give you a bloodline by bloodline breakdown, but I honestly feel like I would be taking something away from the book by laying out too many reasons you should purchase it. Lore of the Clans is a great book, and a fantastic complement to V20. Lore of the Bloodlines takes that model and does it one step better. It you’ve read everything on these bloodlines (as I have) you’ll still gain a lot here. Seriously, this is my favorite supplement for V20 so far.

From an author

I asked Matthew Dawkins, known by many as The Gentleman Gamer, for a quote. He is the author of the Harbinger and Kiasyd sections. If you had one element of what you wrote you’d tell readers to look for, what would it be?

I try to seed plot hooks into every paragraph of my RPG content. Whether I mention an interesting character you can add to a chronicle, an event you can reference or take part on, obscure knowledge to cite, fables to make your in-character observations more authentic, or myths and treasures for your characters to pursue. Both my chapters will have plentiful options for you to take up, ignore, or just enjoy the reading of, as you make your way through the book. More than anything, I want people to read about Harbingers of Skulls and Kiasyd and want their next characters to be from those bloodlines, or want to set their next chronicles with a heavy involvement from one, or both odd lineages.

At the moment the book is only available to  Kickstarter backers. It should be out for purchase in pdf and print on demand in the near future via Drivethrurpg.

Credits

Authors: Matthew Dawkins, Eloy Lasanta, Andy Peregrine, Neall Price, Eddy Webb, and Rob Weiland

Developer and V20 Line Developer: Eddy Webb

Editor: Jess Hartley

Art Director: Michael Chaney

Layout and Typesetting: Becky McGarity

Interior Art: Sam Araya, Felipe Gaona, Michael Gaydos, Mark Kelly, Ken Meyer Jr., Glen Osterberger

Cover Art: Mark Kelly

Josh is the administrator of the Inclusive Gaming Network, and the owner of this site. 

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands

Mage: Refuge a Prequel

Keep on the Heathlands recently published a review of the new Vampire the Masquerade mobile game from White Wolf Publishing, Vampire: We Eat Blood  All Our Friends Are Dead. After reading his review I was anxious to see what White Wolf did with Mage in Mage: Refuge. For anyone familiar with choose your own adventure books these games will be familiar. The game is fundamentally a piece of short fiction, but at various points during the story you are prompted to make choices about the protagonist’s actions, or decide on aspects of her personality, and those choices impact the outcome of the narrative.

Mage: Refuge is a solid example of a branching narrative game. The story feels urgent, and fairly claustrophobic, which is an appropriate feeling for the World of Darkness. The art and aesthetic does an excellent job of making the game feel immersive, and gives you a sense of just how disconcerting true magick can be. While an engaging experience, some of the design choices introduced accessibility concerns.

During the narrative, there are a few scenes where you find yourself in an altered state of consciousness. The nature of this experience is left intentionally vague but clues are dropped over the course of the game about what is happening. While you’re in this state the text goes from black on a white background to white on a black background, with a blue and yellow shift that moves constantly just behind the white text. I often had difficulty reading these scenes. I cannot imagine how difficult these scenes would be for someone with vision problems or data processing issues. Given the eye strain I experienced during these scenes I sincerely hope that future releases from White Wolf give more consideration to accessible design.

Sigil from Mage: Refuge

In general, despite some shortcomings, Mage: Refugee is a solid branching narrative game, and if you don’t have a history with Mage: The Ascension I think most players will find it very enjoyable. I am much less sold on Refuge as an introduction to the world of the awakened within the World of Darkness. In an early interview about the direction White Wolf would be taking the World of Darkness, Martin Ericsson said the central theme of Mage is the tension between safety and human potential (This is paraphrased, unfortunately worldofdarknessnews.com is no longer online and this interview was not archived in the WayBackMachine). The introduction to the Mage 20th Anniversary edition frames the central themes of Mage around personal responsibility and the fanaticism that comes from believing something so profoundly that you’re able to channel that belief into a magickal act. The horror of Mage often lives in the mirror, and at its core is about the road to hell being paved with good intentions, and the power to act on those intentions.

Through the lens presented in the introduction of M20, the conflict between potential and safety is merely one of many that emerge out of the more complicated soup of zealous belief and power. Power corrupts, and absolute power corrupts absolutely. I was sincerely hoping that when we began to see Mage products from the new White Wolf the quote from Ericsson would turn out to be a one off thing, as opposed to an indication of his fundamental understanding of Mage. Mage: Refuge does not focus on the corrupting nature of power at all, and instead focuses on the tension Ericsson emphasized in this early interview. Between the quote, and the narrative expressed in this game, it seems reasonable to expect this focus to be central to future White Wolf Mage releases.

The main character awakens in the story while in a nightclub, after coming to the realization that we are all one, and separation is a lie. It’s a wild awakening with no instruments or action on her part involved in the chaotic correspondence effects that take place during her avatar’s emergence. There is also no pre-existing belief system presented to frame her awakening, just some deep techno beats and a description of correspondence from Mage 1st Edition. This is also the only use of correspondence Julia expresses during the game. Julia spends the rest of the story in an existential dilemma, repeating the refrain of “Is this really happening”. Her awakening feels much less like a dawning understanding of her ability to change the world, and much more like the trauma metaphor commonly used during a werewolf’s first change or a changeling’s chrysalis.

In Mage 20th, it is made very clear that the act of manifesting magick is focused will through the lens of belief. In the game this is called paradigm. This lens is completely absent from Mage: Refuge, as Julia jumps effortlessly from paradigmatic practice to paradigmatic practice during the course of the game. Julia shares several traits with Katniss Everdeen that are commonly critiqued. She never actually manifests any personal inspiration. She is always choosing between which of the other Mages’ takes on reality she wants to support. While the format of choose your own adventure requires a limited set of choices, those choices could have been written as Julia recognizing changes she could make to the world. Instead they are all framed around other character’s visions she could attach herself to. Since the game basically opens with a wild awakening, as opposed to a faction controlled awakening, she needs to have some belief or revelation of her own that her avatar has guided her to, but that is unfortunately nowhere to be found. I have absolutely no idea what her paradigm is, and that’s fundamentally problematic for a Mage story.

The character’s relationship with her avatar is expressed through blog posts “she makes in her sleep”. With the exception of 1 story branch where you sell out the mystics to the Technocracy, all of your working manifests as wild/mystic magic. So, the technological relationship with your avatar feels incredibly out of place. Julia is also never pushed by what her avatar shares with her in these blog posts. They point towards a certain story branch being “correct”, but the description of your character’s state of mind after she reads her avatar’s blog posts never comes back to what her avatar is driving her to do. This is especially frustrating when you follow paths that are obviously in opposition to your avatar’s urging.

If all of these problems weren’t fundamentally concerning enough, the game directly associates the Technocracy with the Sweden Democrats, an anti-immigrant political party. The game presents  arguments made by the Technocracy as “keeping those people with their superstitious ideas out of Sweden”. In game, this reads very much like a thinly veiled cover for xenophobia. When I did some basic reading on the real world Sweden Democrats, it became obvious that while they are not the most extreme xenophobic group in modern politics, the game still softened their message to preserve the aesthetic of “either side of the ascension war COULD be right”. While there are probably people who will disagree, I am uncomfortable using that equal playing field narrative with nationalist xenophobia. If you want to cast the Technocracy as nationalist xenophobes to inspect that theme in our culture, don’t pull any punches. Make a statement. If you choose to aid this group, the game’s epilogue is considerably more compassionate towards refugees than what many members of the Sweden Democrats have called for in real life. While I am a big fan of a more relatable Technocracy, softening xenophobia isn’t a reasonable approach to accomplish that goal, and if the Union is meant to be the unquestionable villain of this story, the choice is even more confusing.

When Mage came out in the early 90’s, the Technocracy were the bad guys. That changed when the 2nd edition Guide to the Technocracy came out. The game line has moved consistently towards a view of the Union as corrupted by hubris and power, but arguably no more than the Traditions who have their own bloody history. Large swaths of the player base considers the Technocracy to be the unsung heroes of the World of Darkness. Even in their darkest interpretations the Union is multicultural, and included the descendants of the Mokteshaf Al Nour, and the Dalou’laoshi. I unfortunately found no trace of that Union in this piece.

(warning: spoilers ahead) Beyond the accessibility issues, and the problematic relationship to the themes of more recent Mage releases, Mage: Refugee did something else that is a more fundamental red flag for me. Shortly after your character awakens you are approached by another Mage who in your most vulnerable moment pulls you into a private place and takes advantage of you sexually. This act plays a delicate game of skating dangerously close to rape while avoiding making it a clean cut example. The emotional violation is unquestionable though. A brief nod is given to asking for consent, well past the point in the scene where consent was called for. In order to go down the path where actual sex happens, the text implies you are all for what’s going on, but at the end of the branch you have the opportunity to undo what happened as you realize “What happened was wrong. What if you could rewind . . .”. If you make this choice you are taken back to an earlier point in the decision tree by Time Magick, so you have the exquisite joy of getting to read how you wanted it, but nope we’re going to go ahead and make it rape anyway, but you know it never really happened so it’s fine or something.

Vice by Lydia Burris (http://http://www.lydiaburris.com)

The most troublesome thing is you are allowed to think that the character Julia is interacting with during these scenes is an Ecstatic, and these scenes reinforce the most unfortunate player stereotypes about the tradition. Then mid game you find out, SURPRISE, he was a Nephandus the whole time. Ultimately the entire engagement with him is in no way related to the actual plot of the game. He comes up once as an example of “well he was a bad guy and he’s not Syrian”, but aside from that one exchange the entire Nephandus sub-plot could be excised and no damage would be done to the main narrative.

I’m not opposed to inspecting sexual assault through narrative, especially a horror narrative. I am a big fan of Jessica Jones, and works like Bluebeard’s Bride that present the societal horror of sexual assault, while also critiquing the aspects of our culture that it emerges from. Mage: Refuge doesn’t do that. It throws sexual assault into a secondary storyline that isn’t needed for the core plot, it doesn’t inspect the sexual assault as a cultural phenomenon, or critique it’s causes, and it does it all while putting the “player” of the game in a first person framing for the experience.

The problem is if the Nephandus storyline was removed, there wouldn’t be any traditional horror anywhere in the game. There is some unsettling political commentary, but that’s all. I have said on several occasions that the core horror of Mage lives in the mirror. As the introduction to M20 discusses, the primary theme of Mage is the horror that grows from believing something with the zeal necessary to change reality with will alone, and then having the hubris to act on that power. That theme was missing from this game almost entirely, and so, something had to fill the void. The fact that the writers chose to fill the void with sexual assault is more than a little concerning, both in terms of what it reveals about their views on narrative integrity, and their understanding of the fundamental horror intrinsic to the experience of being a Mage.

Mage: Refuge is a solid choose your own adventure game.  It’s well written, and shows an attention to quality and detail.  However, it also provides a lens into the potential future of the Mage property that some will probably enjoy, but for fans of the current edition, represents a fundamental change in thematic focus.  It is worth noting that this is a small example of what White Wolf might do with Mage, and even combined with previous statements,  White Wolf’s vision for future Mage  products may be very different.  I am still in the wait and see what manifests camp, but I have to admit that after playing Mage: Refuge I relate to the concerned fans a bit more.

Mage the Ascension: Refuge

iTunes, Play Store, Steam

$4.99

Author: Karin Tidblad

Co-Authors: Martin Elricsson

Art Direction: Eric Thunfors

Music: Kajsa Lindgren

 

Producer: Jon Svenonius

Programming & VFK: Stefan Svebeck

Scripting: Karim Muammar

Victor Kinzer has been roleplaying since he first picked up Vampire Dark Ages in high school.  He nabbed it as soon as it was released (he might have been lusting after other Vampire books for a while at that point) and hasn’t looked back since.  He role plays his way through the vast and treacherous waters of north Chicago, and is hacking away at the next great cyberpunk saga at http://redcircuitry.blogspot.com/.  Victor is an occasional guest on Tempus Tenebrarum (https://www.youtube.com/channel/UCvNp2le5EGWW5jY0lQ9G39Q/feed), and is working to get in on the con game master circuit.  During the rest of his life he works in Research Compliance IT, which might inform more of his World of Darkness storylines than he readily admits.

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

 

Vampire The Masquerade Prelude


Yesterday we saw the first releases of content from the new White Wolf. Like expected, they tackle some heavy themes. Though I’m only a chapter into the Mage The Ascension: Refuge, I’m enjoying the setting of modern day Sweden and the refugee crisis that is impacting that country. We’ll do a full review of that piece of interactive fiction soon, and I’m already impressed. Both of these games are called preludes, and the style of story should be familiar to many RPG fans. These are introductory stories for new characters being brought into the World of Darkness. White Wolf is  slowly peeling back the shadow curtain, giving us a glimpse into their vision for the One World of Darkness.

All images used are from the game and are the property of White Wolf and our use of them here is simply to help those on the fence decide if they will purchase the product, or not.

Vampires

This is a review of Vampire The Masquerade: We Eat Blood or All Our Friends are Dead. The first thing that hit me was the art style. I’m not art critic, but the image style helped sell this game to me. There is an ambiance it provides a subtle sense of depth and horror, you seem to get a sense of the distorted perception of reality that the narrator, Case, is experiencing.

From the start, the interface for the story is a series of text messages boxes. You have choices of specific responses, much like more advanced RPG dialogue trees. Some of these responses are truncated, but many of the options are pretty clear or fully developed. This creates a surprisingly deep immersive story. You’ll interact with several different individuals throughout, but you’ll mostly talk with Izzy, your close friend, possibly lover (if I read some of the sub-text correctly). The texts back and forth between Izzy and Case set the the scene. You start riding a run-down bus headed from somewhere to somewhere else. There was an event that led to your embrace, but this truth is only slowly revealed through play.

My first death happened during one of the first choice sections of the story. You can choose who you will feed from, and choosing the ‘goose-faced bus driver’ was a terrible decision and I saw the cracked screen and blood droplets that would begin to signal a common sight for me while I was working through the story. In fact, near the end, I was dying much more frequently than not. It might have been interesting to have a few more ‘fail-forward’ story arcs. Of course, that requires more content as well, so there will always be limits in this format.

Themes and Story Elements

There are a lot of subtle horror elements in the story line. There are elements of body horror, images are  slightly askew, hunger and a desire to feed are described vividly, pictures on screen alter with blood during feeding, and there is a bit of splatter horror. If you make it through your first feeding, if you are successful, the story really starts. My goal is to avoid spoilers from here, but I will talk about certain elements I thought were interesting or impactful.

 

The setting is the United States, particularly Seattle, New York, and Los Angeles, though, at times, this feels slightly forced. This may have been due to the decisions I made, but I could easily see this story being set anywhere and it might have been interesting to leave the exact locations a bit more obscure. Some of the NPCs in the story may appear in earlier White Wolf books, I’m not sure, but there appears to be at least one Anarch character from the original LA By Night book. I’ll let you determine who that is yourself.(Editor’s note… I was wrong about Alonzo, not the same character.)

 

You Are What You Eat

White Wolf has gone on record saying they would like to elaborate on some elements of Vampire that focus more on what the Kindred get from mortals. One way they have chosen to focus on this is to have the conditions of feeding impact the disciplines a vampire will have access to. The characters in the story reference this, and this reference is something I find intriguing. See the image below.

 

Elders dismiss the “You Are What You Eat,” concept, which makes me wonder if there will be some form of mechanic in the 5th edition rules based on generation or on length of time as a vampire that will allow for some impact? Perhaps you’ll be able to retain the ability for certain disciplines longer the older you are? This is complete conjecture, but it is an interesting idea and I’m looking forward to how it might be implemented. At the very least, it gives me some plot hooks to build into games.

 

The Beckoning

This is referenced very briefly, and may be a plot line only applicable to a specific clan. That being said… this sounds cool. Something is pulling elder vampires away from their territory leaving a power vacuum. Whatever sort of story element this offers in game, I’m excited to hear more about it. The brief reference in this story is a great hook. It’s got me interested.

 

Masquerade Meta-Plot

 

Most of the early story takes place focused around Case, Izzy, and their transition into vampirism. As you dive deeper into the story, elements of the Vampire meta-plot begin filtering in. We are granted a few references to the Book of Nod, mentions of a few of the great clans, one magical one in particular, and references are made to the Anarchs. All in all, this is a prelude and we are not force fed information on the World of Darkness and this is great. This is a hint at some of the awesome story elements that we will see in 5th edition Vampire and the other new products in the One World of Darkness.

 

This Prelude and the Mage prelude are a great way to get reacquainted with the World of Darkness. Are you ready for it?

 

Vampire the Masquerade: We Eat Blood And All Our Friends Are Dead

iTunes, Play Store, Steam

$4.99

Author: Zak Sabbath

Co-Authors: Sarah Horrocks

Martin Elricsson

Music: Lola Zaza

Audio: Björn Iverson

Game Design: Martin Elricsson

Editor: Karim Muammar

Producer: Jon Svenonius

Programming: Stefan Svebeck

Art Direction: Anders Davén

Technical Artist: Staffan Norling

Josh is the administrator of the Inclusive Gaming Network, and the owner of this site. 

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

Narrative Dissonance and Humanity in the World of Darkness

World of Darkness

Who is the true, underlying villain in the original “big five” games of the World of Darkness?  I can’t really think of a more loaded question related to White Wolf’s flagship IP.  At first glance, it seems as though every game has its own villain: Werewolf has the Wyrm; Mage has the Nephandi, and in some editions the Technocracy; Wraith has, well, everyone; and Changeling has humanity itself.  Some editions of Changeling shied away from the Humanity-as-villain narrative, but whether the enemy was the Shadow Court or uncaring nobles, those foes can be traced back to what humanity’s abuses have done to the Fae.

If you look closely, the theme of humanity-as-villain is central to most of the game lines, with Vampire being the one exception.  In Wraith, Oblivion historically is a more productive force than it is today.  Every description of harrowings talks about how they were once a critical part of attaining transcendence, but over the centuries have become increasingly dark and twisted.  When you look at how Oblivion has manifested in the other dark kingdoms, such as the Dark Kingdom of Ivory, where there is no great human administrative infrastructure, the “sins” of Oblivion seem less cosmological and more the result of humanity’s relationship with their darker impulses.  This is hardly the only game where we see these tropes.

Mage is an even more acute example.  As the Technocracy-as-villain narrative has been intentionally subverted over time, we have seen the horror of Mage shift, holding up a dark mirror.  Mage is a game about a human being displaying enough hubris to believe they have the power to change reality and the wisdom to do it properly, and then act on that belief.  In many ways, the greatest enemy in Mage are the main characters, and every time you spend experience you are giving that villain more power.  While some view mages as a class of “others” like vampires or werewolves, they are arguably the most distilled expression of human existence in White Wolf’s canon of work.

When the villain lives in the mirror, the villain is humanity.

PentexartIt’s a little harder to see this theme in Werewolf. When you trace the Wyrm’s story, it doesn’t take  long to see the paragon of destruction as a victim, and that leaves the Weaver as the real villain. No matter how much emphasis you put on pattern spiders, or the Weaver’s other spirit minions, her greatest avatars are humans.  Pentex is seen as doing the Wyrm’s work, but they function as a strictly controlled and organized corporation.  I can’t think of anything more Weaver-like or symbolic of modern human advancement than the corporation.

That leaves Vampire, the largest and most financially successful game in the World of Darkness.  This is where these themes fall apart.  Humanity isn’t the primary villain in Vampire; Humanity is idealized in the system as its primary morality trait.  The hierarchy of sins for Humanity, which acts as an in-game guide to which actions will send a character into a crisis of morality, reveals a collection of scolds that elevate Christian moralism more than they reflect anything true about innate humanity.

The humanity dynamic is obviously inspired in part or whole by the challenges faced by Louis in Interview With the Vampire. The Embrace, the struggle with shame and guilt, and many of the social/political themes of Masquerade draw heavily on Anne Rice’s early work, and as a standalone piece inspired by and inspecting some of the questions Rice posed in her books, Masquerade holds up very well.  The problem is that White Wolf then published 4 more games that present a much less flattering view of humanity, and the new White Wolf has publicly stated they want to engage more fully with events from the real world.  In a world where Duterte not only exists but has a non-antagonistic relationship with America’s President, I have a hard time envisioning White Wolf engaging with real world events and political themes while presenting Humanity as a glorified ideal to which Vampires cling.

Are Paths the answer?

Vampire provides an alternative to Humanity in the form of the Paths of Enlightenment, which serve as alternate moralities a vampire can use to hold their beastly hunger in check.  In my personal experience, the Paths of Enlightenment become a way to get around tracking morality far more often than they prompt players to meaningfully inspect themes of self justification, which is how they were originally framed.  The burden of calling for morality checks falls on the ST, and in a Sabbat or Independent game where five players each have a different path of Enlightenment, knowing when a given player has violated their path is cumbersome enough that it is often ignored.

It is also wortTuskegee_University_sealh noting that the current relationship between speculative fiction and the idea of “The Other” is very different than it was in the early 90’s when the first edition of Vampire the Masquerade came out.  Vampire swept several issues related to humanity’s less savory tendencies under the rug.  Vampires aren’t sexist, because why would you care about gender when you are an immortal entity with no sex drive?  Young vampires wouldn’t enter the early days of their unlife with that perspective, though they might shift their views on gender after their first run in with a 500 year old female Tremere – assuming they survived the encounter.  

Additionally, our conversations around prejudice have become more nuanced. Claiming vampires become nothing more than ravaging beasts if they victimize people, regardless of their races, genders, sexual orientations, etc., while allowing humans to take similar actions with no repercussions creates some messy narrative dynamics.  A Kindred held to the sins of the path of humanity would fall to their Beast long before they got around to internalizing the “more enlightened” philosophies that allow them to resist that fall if you allow vampires to demonstrate the kind of monstrosity mortals have perpetrated during the Tuskeegee Syphilis Trials, or the Trail of Tears. As many players have pointed out, we shouldn’t minimize these horrors by pretending that only supernaturals are responsible for such acts in the World of Darkness.  In 2017 it’s hard to ignore these reflections of humanity and if we try to play Vampire without them the game ends up being reduced to little more than the urban fantasy escapism that the new White Wolf has said they want to avoid.

The Future

downloadWhite Wolf has announced that Vampire 5th Edition is slated for 2018, and they are planning on making some pretty dramatic changes to the systems, including changes to what the Beast represents.  If the Beast changes, then the relationship between the Kindred and their morality could change as well.  Personally, I’d like to see a core morality mechanic that emphasizes the creeping alien nature of immortality.  I would like to see a mechanic that accommodates what happens when a genocidal despot or a mass murderer styled after the likes of Dylan Roof is embraced without invoking a Path of Enlightenment that exists only in Vampiric society.  I want to see an edition of Vampire that joins the rest of the World of Darkness in forcing us to stare into the mirror to find our horror instead of allowing us to pretend that some alien other is the true monster in the night.

This may be a tall order, and I know that, like all changes to an established and loved product, a large swath of fans would protest a change to Vampire this drastic.  However, Twenty years of thematic development in the rest of the line and the goals laid out by the new White Wolf necessitate some shifts.  I can’t pretend to know exactly what this change would need to look like, but I think while Vampire 5th ed is in development it’s important to talk about our future hopes for the line, because White Wolf has reached out to their fans and by all indications is really listening to what we have to say.  Instead of just posing a solution, I would like to ask the question: “What morality dynamics would you like to see for Vampire 5th ed, and how can the game more acutely focus on the horror of the human condition instead of the evil of the alien vampire other?”

 

Victor Kinzer has been roleplaying since he first picked up Vampire Dark Ages in high school.  He nabbed it as soon as it was released (he might have been lusting after other Vampire books for a while at that point) and hasn’t looked back since.  He role plays his way through the vast and treacherous waters of north Chicago, and is hacking away at the next great cyberpunk saga at http://redcircuitry.blogspot.com/.  He is an occasional guest on Tempus Tenebrarum (https://www.youtube.com/channel/UCvNp2le5EGWW5jY0lQ9G39Q/feed), and is working to get in on the con game master circuit.  During the rest of his life he works in Research Compliance IT, which might inform more of his World of Darkness storylines than he readily admits.

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

The Curse in MES Werewolf: The Apocalypse

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Buy The Book Here!

My Boss is Great, Scary, but Great

I love my boss, but he scares the crap out of me at the same time. Our meetings are usually only 10-15 minutes. We’ll be sitting around the table, running through power points, and he’ll drop in. “Mark, you’ve got 2 minutes today, 1 up, 1 down, 1 action,” is a common opening for him. We’ve trained for this, over and over again, generating quick highlights outside of our regular reports. He reads everything, it seems like, and there is no point in covering the minutiae. In fact, if you try, he’ll often scoff and glare. For some reason… his expression is enough to stop any of us mid-sentence.

I make it sound like he’s mean, or an asshole, but none of this is true. He listens with the time he has, he takes action, and he does everything he can to take care of those who work for him. He sent one person’s wife overseas for experimental surgery when she got cancer. She’s fine now. This is the type of man that will literally drop everything to help, but he’s never around physically for long. He’s got too much going on.

What would it take for me to leave this job? I’m not sure I would, even for triple my salary and 20 weeks of vacation. It’s weird working for someone like our boss, but he’s loyal to us, and I feel like he’s the best type of alpha leadership everyone asks for. That makes a lot of the odd behavior worth it.

Buy the Book

From W20

What is The Curse?

In Mind’s Eye Theatre Werewolf: The Apocalypse, the Curse is a reaction that humanity as to the innate Rage which the Garou emit. Humanity is always uneasy around the Garou, instinctively cowering in fear or trying to leave their presence as soon as possible. The curse has less impact if a Garou had not gained Rage in the last 24 hours.

There are 5 stages to this version of The Curse. Introduction, 5 minutes, 30 minutes, 60 minutes, and 90 minutes. Introduction raises the anxiety of all normal humans in the room. 5 minutes leads to stuttering and stress behaviors, like avoiding eye contact or hair pulling. 30 minutes leads to early panic attack behavior. In 60 minutes, humans and wolves become hostile to the Garou, and 90 minutes causes full Delirium. Bone Gnawers and Glass Walkers double the time before they cause these effects in humans, and the same for Red Talons with wolves.

What does this mean, mechanically and story-wise for Werewolf LARP using these rules? It is hard, almost impossible to be a Garou and interact successfully with human society. This is part of the reason Garou retreat into their Septs and focus so much on their own communities. The easiest way for a Garou to effect the normal world is to use Kinfolk intermediaries. That will require a lot of trust, and trust issues run deep in people with a lot of pent up anger (from personal experience). When crafting a backstory, it is possible for a character to have spent time in either human or wolf society, but they would have to have a lot of control over their Rage. That’s not easy, but it can happen. Garou can be great leaders. Rage and anger can be fantastic motivating forces from a leader in a team. Garou have to be careful how much they interact with people, but they can still be leaders to humans if they do so in a backroom leadership sort of way.

How do you build The Curse into your games?

 

Josh is the administrator of the Inclusive Gaming Network, and the owner of this site. 

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

A Red Rose on Marble: Review of Vampire: The Masquerade 1st Edition

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Introduction

My first experience with Vampire was a LARP at the local State University in my hometown. I was 15 or 16 and I’d been talked into making a character by a friend. By that point, the first edition of Laws of the Night was out, and for a long time I didn’t realize that was effectively the 3rd edition of LARP rules for Vampires in the World of Darkness. When the Revised table-top rules came out, I played with friends and dove head first into the various games. At the time, the only 2nd Edition game I can remember reading was Werewolf, and even that I quickly replaced with its Revised version. So, I ‘grew-up’ with the Revised rule-set for the World of Darkness as my standard and even though I occasionally picked up an older Clanbook, or supplement, the game for me was highly polished and well crafted. That was largely my vision of the WoD until recently.

Martin Ericsson has mentioned his desire to recapture the spirit or essence of the first and second editions of Vampire and I had to admit, I didn’t know what he meant. So, I decided I would do my due diligence as a fan and seek out a copy of the game, as written in those early nights. A friend was generous enough to send me a copy of 1st Edition Vampire: The Masquerade a few months ago and I’ve slowly worked through it while reading about a dozen other gaming books.

My first impression was that it reminded me of quite a few books I loved that were written in the late ‘80s and early 90’s. For example, I was a big Robotech fan, and Palladium’s style was distinctive. V:TM, as different, transgressive, and progressive as it was, still has the vibe of a role-playing game of its era. That is not a negative critique. In fact, some of that vibe is part of its charm. It feels like a bit of a relic, but a relic that is still potent and possibly dangerous. 1st Edition Vampire is like its namesake, a being willing to sap your time and energy. It is a lovely monster able to see into your inner darkness. In some ways, I think it does this much more effectively than the Revised or even 20th Anniversary edition does. Why?

There are a few reasons, but they weren’t really easy to put my finger on at first. There is a lot of similar basic content from edition to edition, and though the rules were tweaked a little here and there, the core Storyteller System is the same. What’s different then? I think answering that question is complex, but I’m going to try and lay out a few of the elements I’ve noticed between the two.

party-conflict_orig

The Center of Conflict

In Revised, we are presented with a centuries long conflict between various clans of vampires. These vampires are split into two larger sects and several smaller, and arguably, equally important groups. The 13 major clans are embroiled in conflict with the Antediluvians, Caine, other Clans, and occasionally other supernatural elements of the World of Darkness. What is missing in this equation? Humanity. The central conflict in Revised is intra-Vampiric. Brujah versus Ventrue, Camarilla vs Sabbat, Inconnu hiding from the Jyhad (the ancient fight between elder and younger Kindred), these conflicts are between other Vampires.

In 1st Edition Vampire, these conflicts are only hinted at. They exist in the background. In 1st edition the central conflicts are, The Beast vs Humanity, Humanity vs Vampires, and Anarchist vs Establishment. These themes are present in Revised, but they are less central to the writing. To be clear, I’m talking only about the core books here, the 1st and 2nd edition adventures frequently focus on Vampire vs Vampire conflict, often conflating Kindred conflicts with mortal ones in a very confusing way. Dark Colony is a great example of this. As a setting, New England is Gothic and during the late 80’s early 90’s had a ton of Punk elements. However, the story lines presented in Dark Colony focused on ‘Armies’ of vampires in conflict with one another. This, in an area of the US where there were at most 100 vampires across New England. I think I’m exaggerating that number too, I am pretty sure it was closer to 40.

Buy at Own Risk

Buy at Own Risk

That being said, the 1st edition Core Book lays out a human focused world. Yes, you are a vampire, but you need to remember your humanity because you have to live with humanity. Based on demographics, you interact with humans more than you do with vampires. Kindred society is written as a slightly intangible element of the unlife of the Kindred. Considering the population density of vampires to humans was suggested to be around 1 to 100,000, that makes sense. Humanity is incredibly important for feeding, for social life, for a sense of belonging. The fight against the Beast is a constant one, because you are constantly surrounded by those whom you feed upon. In Revised, humanity fades into the background. Are they important? Yes, but not in the visceral way in which they are presented in 1st edition.

Story Goals/Motivations

Players and characters have multiple goals and they are presented with several options in all versions of the game. However, keeping in mind the central conflicts we discussed above, the goals of vampires in 1st edition are different from those in Revised. In 1st edition we are presented with several goals that players may focus on. All of them are based on some element of how vampires deal with humanity.

Humanity

Staring on page 129, Vampire 1st edition examines Humanity, the importance of clinging to a version of human behavior that is, honestly, unrealistic. Why is humanity put on a pedestal by vampires? There are a few reasons that I can see for this. Vampires have to contend with frenzy and the closeness of their Beast. The Beast is a visceral manifestation of the inhuman desire for blood that lives just below the surface of the Kindred mind. That’s one explanation at least.

To me, the Beast is simply the reflection of humanities capacity for inhumanity. Humanity has a beast, all of us have the ability to let slip an anger that cannot be contained, to harm others, to demean others, to lose empathy and murder. The Beast is a mechanic that brings those elements of our character as a species to the forefront. Vampires are monsters because they inherently lose their empathy for other human beings. They have to lose that empathy, if they don’t, they struggle to feed. Feeding from animals will only sustain you for a short time.

the_players_guide_to_the_sabbat

Not Following Humanity

This is why Humanity is so important, it represents holding to a higher ideal than real people are capable or even cognizant of, so that the Vampire can attempt to retain their empathy. What if they don’t care about being empathetic to their cattle? In 1st edition the vampire’s choices are Wassail or Golconda, they either embrace their humanity or they descend into complete and utter depravity. This binary is less pressing in later books because of all the various Paths and Roads of Enlightenment that are offered. By removing the central question of humanity or oblivion, one of the central themes of the game is drastically shifted away.

Golconda

This search for enlightenment is presented directly after the section on Humanity. Golconda is presented as a common story line for players to seek. This changes in later versions of the game. This mystical state of being is relegated more and more to rumor, and even the Iconnu that have supposedly reached the state are represented as having probably fallen victim to falsehood by elder Cainites. In Revised, Golconda is played down significantly as a goal for the Kindred, its not impossible to reach, but it doesn’t feel like something you would have in most story lines.

In 1st Edition though, the search for Golconda, presented as difficult and rare, is still something that is achievable and there are specific, if seemingly limited benefits from this state. The vampire no longer experiences frenzy, as they have recognized the Beast is a part of who they are. If you ask me, they realize that the Beast is simply what makes them human, and by accepting that, they return to a state closer to normal people. The other two benefits of Golconda mentioned are a reduced need to feed and the ability for elder vampires to gain sustenance from humans and animals, even if they have the Methuselah’s thirst.

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Diablerie

Between the sections on Golconda and Diablerie is another section, which I’ll touch on last. It’s peculiar to 1st edition and I think that peculiarity makes it special. That being said, Diablerie is the clearest element of Vampire on Vampire conflict in 1st edition. Young vampires hunger for the power of their elders as it brings them closer to Caine and closer to great power. The Diablerist in Revised has a significant social stigma attached to them, and though this is mentioned in passing in 1st edition, it does not appear as strongly in 1st. Diablerie is a valid path for the players, though it might keep them from attaining the last goal we’ll look at.

amaranth_-_alejandro_colucci

The Rebirth

When I came across the Rebirth I actually sat slack jawed for a few minutes. For me, the condition of vampirism presented by White Wolf had always been one of eternal torment. I had no inkling that in the 1st edition of the book the idea of returning to humanity was presented as a central story idea for player characters. “It is possible for a Vampire to escape the curse and become mortal again. Though it is exceedingly difficult, it is a major theme of the game and something that will direct the ambitions and thoughts of many characters.”

Holy… a major theme??! Not even close for any game I’d ever played in. I had never heard of this being a theme of Vampire: The Masquerade. By the time Revised came around it is basically impossible to turn a Kindred into a mortal once more. Yet, at the start, Rein – Hagen and the other writers had intended for Vampire to have this strong kernel of hope as an element of the game. This again is an element that makes humanity important. Wanting to be human again is a theme in a lot of vampire literature, so it makes sense, but it was removed as an element of Vampire through the years. I can’t even imagine wasting time fighting over who was in charge of undead politics if my characters knew this was possible. I can see most of them spending their nights, at least for their first 50-100 years, trying to be Reborn. Of course, this Rebirth isn’t easy, it requires killing one’s sire, or an antediluvian perhaps, sacrificing oneself, performing an arcane ritual, or even reaching Golconda. As a major theme of the game though, it changes things drastically.

Goals in Revised

Revised provides different goals. Kindred in revised are focused more on Vampiric politics, fighting against or for the Elders, and though Golconda is mentioned as something that some Vampires strive toward, it isn’t as immediate of a goal as it seems in 1st edition. The Rebirth was removed as a plot motivation early in Vampire. Which makes sense if you are focusing on the theme of eternal horror that Revised Vampire seems to express better than its earliest incarnation.

convention-of-thorns

That is one area in which Revised provides something that 1st doesn’t capture well. In Revised, the idea that you have become forced into a society of monsters in which you will never escape is visceral. This is the battle of humanity in Revised. Camarilla society may espouse the values of Humanitas, but most Kindred lose their connection to those whom they feed upon. Killing becomes commonplace, normalized, and this disconnection, this lack of empathy is a central element the Beast can play upon. Manipulating younger vampires becomes natural to Elders, it’s how they survive, and being a childer to one of these elders is a curse. Imagine being forced to work for an abusive boss, now imagine you can never quit, never find another job, and never get promoted. That is one of the core horror elements that Revised develops excellently. It’s simply a different horror than 1st edition Vampire.

Other Elements

Introduction

Both editions start off with a story that explains the world of Vampire. Revised presents a narrative, a sire explaining the world of the Kindred to their childe to be. 1st is written as a note from a vampire to a human associate where they explain the hidden world of Vampires. The story in 1st has shades of Interview with the Vampire, and in some ways so does the story in Revised. Each is quite obvious in its exposition. Revised though, is accompanied by well crafted background images, art, and evocative pages. 1st is accompanied by a bit of Tim Bradstreet art, and pages that evoke a worn well crafted letter or journal. Both are awesome, but different. Revised speaks to a slightly sexy, exciting, powerfully impactful game were you play the Monster in the Dark. 1st speaks to a gritty, personal, slightly unfinished game that has a ton of hidden lore where you play the monster who wishes they were still human.

Font

Both editions use a different font at times, but the main font in Revised is small, maybe 11 point at the largest. Its readable, but at times almost too small. 1st edition is larger but overall the font styles seem similar between editions. This is a subtle thing though, the font for Revised is very late 90’s and the font in 1st is clearly early 90’s and they obviously fit into the era they are from. Maybe I’m the only font geek that would care, but this is something that set the tone for the book for me.

Art

The art in Revised is polished, beautiful, well drawn. I could go on and on about how awesome it is. Bradstreet is amazing, an artist that everyone should appreciate and admire. Bradstreet’s art in 1st edition, though? Iconic, but not the art I was really drawn to while I was reading through the book.

No, ironically the art that interested me the most was the single image story that was placed throughout the book. This story tells a tale of a woman who becomes embraced, proceeds through torpor, conflict, and power to the modern age. She then follows a similar predatory path to the one in which her existence began. She embraces a man that resembles her sire. Ultimately, she is killed, and the man she embraced is freed from the Curse of Caine and he returns to his mortal life. This story is compelling for the humanity lost by the woman in question as she proceeds through her unlife, and just as compelling for the way in which she steals the life of the man she embraces and the way he fights to regain that life. I’m not sure who the artist for that story is, it doesn’t look like Bradstreet’s art, but I’d love to give whomever they are credit.

My favorite Bradstreet Art - Check out his website

My favorite Bradstreet Art – Check out his website by clicking the Nosferatu

Character Options

1st edition Vampire assumes the 7 Camarilla clans are the only options for characters. This reduces the amount of conflicts possible with this rule set. Revised provides us with the 13 clans from the beginning, including the pillar Sabbat clans and the Independents, whom were only hinted at in 1st edition’s core book. This limited set of options focuses the story more on the nuances between Kindred and humans. Of course the conflict between Brujah anarchs and Ventrue bluebloods is present, as are other elements of conflict between the Camarilla clans. However, it doesn’t feel like powerful creatures fighting against one another is the central theme of the game. In Revised, the camera lens is firmly on the world of the Kindred, in 1st, the story is shot from the shoulder of the vampire, as they gaze upon the herds of humanity on which they prey.

When I read 1st edition I could see why people wanted to play this game so much. I wanted to play Revised when I read it as well. Vampire: The Masquerade has changed a lot over the years, and if you ask me, one is not better than the other. They are simply different. I can respect the desire of the new White Wolf to try and recapture some of the themes in 1st edition. Those themes are important. Humanity should be important to the Vampire. Humanity sustains them, humanity is the essential element which they must draw upon to survive. Finding ways to refocus the camera on humanity, will have an interesting impact upon the games that people craft together. I look forward to 5th edition Vampire, if it finds a way to capture the essence of 1st edition, and the skillful hand of Revised and the 20th anniversary edition, then it will be a wonderful game to add to my collection.

This article was written by Josh (he/him/his) the admin of this spectacular website. Consider donating to our Patreon if you would like to support other columnists.

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

Is She Hot? The Question Female Gamers Dread

As a female bodied gamer, character creation can be difficult sometimes. No, I’m not talking about the sexist view that women are bad at math, or that complex rules are too hard. I am talking about the answer to the question that I feel most female gamers or female presenting gamers dread. This loaded six word question that means something different when it is asked of a female presenting gamer.

 

Question: What Does Your Character Look Like?

Yes, when a male presenting gamer is asked this question it means exactly what it means, no hidden subtext. Does Valeros have brown hair or black hair? What armor is Harsk wearing? What instrument is Lem carrying today? All of these are perfectly normal questions with normal answers. However when this question is asked of female presenting gamers, it usually does not just mean ‘What does your character look like’ but another question instead.

 

Real Question: Is She Hot/Attractive?

How much skin is Seoni showing? What size are Feiya’s breasts? Is Alahazra’s Charisma high? These are a few of the many subtext questions asked of female presenting gamers. Everyone at the table wants to know if our characters are sexually attractive, and if their characters can get with ours. A fantasy takes over in their minds where they feel if they can befriend our character and get with them, that they can get with us in real life. I know many relationships have come about from first starting an in game friendship (including my own!) but that relies on attraction between the parties being mutual, instead of one sided.

 

Perils of Attractive Characters:

My PFS character Kita (and crappy photoshop skills!)

My PFS character Kita (and crappy photoshop skills!)

Take for example my character Kita. Kita was a Sorcerer in the Pathfinder rules set, so it was beneficial for Charisma to be my highest stat. My first PFS module was The Overflow Archives and I was excited to play in a game at my local gaming shop. In the module there was a section with some fey characters that you could either talk to or fight, and I chose to talk. It was then the party at the table realized my character had high Charisma, and even though they were annoyed I chose to talk instead of fight I was suddenly much more popular. One of the orcs gave me a ride on his shoulders in a flooded part of the dungeon. I got healed almost instantly when I was hurt by the party Cleric.

After the game was over, the Orc player asked me to coffee. I told him I don’t drink coffee so I’d have to decline. Then it was lunch at a restaurant I luckily did not like, so I said no again. Then he asked where I’d like to eat and I walked away, and have not returned to that gaming group. At no point did I learn anything beyond this player’s name, and they knew nothing of me other than my name and that I played a cute female character. They didn’t even ask if I was in a relationship or anything else before making it clear they were looking for a date.

 

Freedom of Unattractive Characters

darkestdungeon.com

Ragin Jane Scarlett, the Woman With No Neck

Conversely to the above, I once played a pirate in the Skulls and Shackles adventure path named Ragin’ Jane Scarlett. She was a Barbarian and guard of her male friend and partner in crime Thomas Stringer. It was often said of Jane that she had no neck, just muscle. She was gruff and unattractive, and had no romantic interest or motherly feelings, and was nothing but platonic towards her adventuring partner. They formed a strong pirate crew and made terror on the high seas for those unfortunate enough to cross them.

No one at this group asked me to coffee, no one flirted with me in character as a veil for out of character. The only ones who made passes at me were a couple NPCs that I scared into submission. It was freeing and refreshing. I’ve played several more unattractive or not specifically attractive tabletop characters, including just playing men instead.  I find that most GMs and players leave alone male characters when it comes to their looks and don’t bring it up as often if at all.

 

Attractive/Unattractive Characters and LARP

Rook (and more crappy photoshop!)

Rook (and more crappy photoshop!)

At one point in my LARP career, I played an attractive Brujah named Gianna (not pictured) who was a prostitute in her mortal life, inspired by Ros on the Game of Thrones show. Gigi, as her coterie and bloodline called her, wore short shorts that I shyly wore to game with tights under. I posted a selfie in the shorts after game, proud of wearing them. Almost instantly there were comments from the other players about the naughty thoughts they had and what they wanted to do with me. I did not ask for a review of how I looked or how nice the shorts and tights made my butt look. I deleted the picture because of how uncomfortable the comments made me, but I and many female presenting gamers deal with these comments constantly. Some can’t even post pictures of new Pokemon slippers without commenters asking for nude pictures.

I currently play Rook (pictured above), a Nosferatu that I have written about before. Once when visiting a game, I showed up already in costume. No one flirted with me in character because they found me or my character attractive. I looked unattractive with a gaunt face and giant cloak. I enjoyed an evening being able to be unharassed. Once the game was over, I stood up straight and revealed that my body is in fact female. I had several people whom I did not talk to all game tell me that the RP with me was good. They were all male presenting with surprised looks on their faces that I was female bodied. Up to that moment they disregarded me because they couldn’t see my female body, and I loved it.

 

The Answer: It Doesn’t Matter!

When I’m asked what my character looks like, I sigh.  I am always ready for them to follow up with “Is She Hot?” when I fail (on purpose usually) to mention their attractiveness. I tend to ask them why it matters and most of the time I find that it doesn’t actually matter. These are my experiences, and yours may be different. I feel that if you ask your female presenting friends you’ll find similar patterns of behavior towards their characters. When they play ugly or unattractive characters they will be treated normally. Female characters that are attractive are targeted by others who want to push their fantasies on the character. Perhaps keep this and the follow up article in mind next time you want to ask “Is She Hot?”


Anna uses she/her pronouns and is an avid LARPer.. Outside of LARP Anna is a feminist and part of the LGBTQ* community. She’s a console gamer, and is the proud owner of two loving cats. She can be found on Twitter at https://twitter.com/squeenoodles

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.