Vampire: The Masquerade is turning out to be a tough one to grapple with. I don't really want to talk about politics, because that's a black hole that swallows everything that gets near it, but the politics of this book are . . . not good.
It's nothing particularly hateful. On the balance, I'd say the book is on the right side of history. It's just closer to the center of the bell curve than I'm entirely comfortable with. Put in the starkest possible terms, the problem is this:
Vampires are really white.
And, look, it's a thing. It was the 90s. White people were whiter back then. If you stack 1999-era John Frazer up against the Vampire Revised core book, I guarantee you that I was at least 10-20% whiter, by volume. The difference is that I've since had nearly 20 years of personal growth, and this book
hasn't.
It's not that the book is racist. I mean, it is, but in that mostly benign 90s way, where it's rigorously colorblind and sometimes overly pious in its tokenism, but clearly committed to the notion that the races are "equal."
And I'm pretty sure, that given its subject matter, any depictions that might have wandered uncomfortably close to real world bigotry were dismissed as "we're equal opportunity offenders."
There is some justice to that. It's not like the Ventrue, a clan whose whole shtick can basically be summed up as "we may have lost our lives, but they'll never take our white privilege," is any better, morally, than the designated PoC clans, and in fact, in true White Wolf punk fashion, is often the punching bag when characters criticize "vampire society." It's just that you have one clan whose deal is that they have traditionally recruited the scions of nobility and have adapted to modern nights by moving into the board room. And then you have another clan of Arabian religious fanatics who are waging an implacable holy war against the underpinnings of civilization (in this case, it's vampires, so it's kind of justified, but in context, it's not a good look).
Vampire: The Masquerade resolves this tension by pointing out that Clan Assamite has recently started recruiting "westerners" (their word).
That's a pattern for the book. Non-white spaces are either closed off completely (basically all of east Asia is a no-go zone, thanks to the "mysterious" Asian vampires) or it takes pains to note that white people are included (as per the writeups for the Followers of Set or Assamites). The reverse is not true for the Clans that read as white. No mention of black Ventrue, or Native American Toreadors or anything like that. I'm 99% sure that the intent was that the Camarilla and Sabbat clans were all default inclusionary and none explicitly broke down along racial lines (in fact, the portrait on the Brujah clan page is probably meant to be a black man, but it's hard to say for certain with the art style - his skin is page-colored). However, that's the problem. White culture is invisible, and thus the white-coded clans represent broad generic archetypes, despite the fact that a nobleman from Edwardian England is even more alien to a modern American than a contemporary Japanese person from "the mysterious East."
I don't necessarily think the cure for this is more explicitly diverse Ventrue. If we're taking the clan's history at face value, then it makes perfect sense that it is lily-white. European nobility was overwhelmingly white, and modern finance hasn't exactly closed the racial gap. And it's not as if the Ventrue are going to benefit from good publicity by being inclusive. Plus, you know, given the age of the vampires and the social circles they came from, they're almost certainly hugely racist.
But if you're going to go with an all-white clan Ventrue (and the more I think about it, the more I agree that you
should), you kind of have a duty to point it out. To acknowledge whiteness as a political force, and, indeed, to draw parallels between vampirism and the exploitative power of white supremacist capitalism. Indeed, if you're doing it right vampires = white people is a metaphor that is
too on the nose.
I mean, not to belabor a point (too late), but there's a whole chapter devoted to the history of the kindred, and an important theme is how vampires crossed the ocean to escape the stifling order of the European elders, and you don't even mention the transatlantic slave trade? Nothing about characters having to be shipped as cargo rang a bell? The American revolution is discussed in the paranoid context of warring vampire factions, and not one peep about the ready availability of blood in a society where it was possible to literally buy and sell human beings?
That's how white vampires are. They can afford to forget about race as a force.
And so, despite my best intentions, this post wound up being heavily political after all. But that's not all of what
Vampire the Masquerade is. It's not even the bulk of it. At its heart lies the dream of bringing your Anne Rice fanfiction to life. And how does it fare at that task?
Passably. It has flaws. The system makes a hash out of probability. Having both a variable target number and a variable dice pool makes it very hard to have an intuitive sense of how likely something is, and some actions requiring multiple successes doesn't make it any easier. The end result is a system that feels like it is held together by the players' optimism.
But it also leads to a system that is at its most robust and functional in combat situations. A factor, I'm sure, that led to many games becoming extended brawls.
That ties into the system's biggest weakness - it's being pulled in too many directions. It wants to be a game of sexy vampires doing sexy things in a moodily-lit shadow world of decadence and deceit, but it also wants to be a game of personal horror, where characters have a tenuous hold on their morality and slowly become corrupted by the temptations of undeath, and also an occult conspiracy game, where long-buried secrets hold the key to an imminent apocalypse and
also a game about the conflict between rival ideological factions, with different visions of how the vampiric condition should relate to society at large. All these factors
can work together to tell some remarkable stories, but it's more likely that they don't.
That's probably the game's greatest strength, too. Roleplaying games are a chaotic storytelling medium at the best of times, and the players are likely to have different agendas about the direction they want the game to go (a fact that
Vampire, Revised sometimes seem to be in denial about) and it's good to have something for them to do.
UKSS Contribution: Probably Clan Tremere. The hubris of wizards attempting to wrest the secret of eternal life from the undead, only to fail and become vampires is pretty compelling. I also like the image of a sinister cabal of vampires, gathering in secret to perform mystical rituals. Plus, they're arrogant jerks, which is always something you want to see in your vampire conspiracies.
