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My Complete and Utter Vampire: the Masquerade and World of Darkness Bibliography

September 28, 2015 13 comments

Vampmasq

It was about this time in 1990 that I first heard about the game that would become Vampire: the Masquerade. Having seen the writing on the wall for RPGs at Games Workshop, I was planning to leave, so I was looking around for freelance work. Ken Rolston put me in touch with a young game designer called Mark Rein-Hagen, and we had a series of transatlantic phone conversations about his idea for a game where all the players would be vampires.

This was a revolutionary concept at the time, and very much in tune with the 90s zeigeist. A new wave of Goth and Gothpunk was starting up. Though I wasn’t a part of it – I preferred Rainbow and Pink Floyd to the Sisters of Mercy – I had been weaned on Hammer horror before graduating to Augustin Calmet and Montague Summers, and I knew quite a bit about vampires. I was commissioned to write an introduction for the core rulebook, and I also got to see and comment on early drafts of the rules.

My introduction – framed as a letter from Dracula to Mina Harker after the events of Stoker’s novel – was popular, and it was reprinted in various places over the following years. I worked as a writer and editor on almost every release during the game’s first couple of years, and I attended my first GenCon in 1991 as a guest of White Wolf publishing. In addition to working on Vampire, I wrote introductions for both editions of Wraith. My last job for White Wolf was co-writing the second edition of A World of Darkness: Mummy with James Estes, with whom I shared an office at a multimedia startup at the time. It got very good reviews, and when White Wolf released Mummy: the Resurrection as a full game, Jim and I received a “based on” credit.

Vampire was always the flagship brand of the World of Darkness, going on to spawn a disappointing TV series titled Kindred: the Embraced and World of Darkness Online, an ambitious MMORPG that failed to set the world on fire. Initially billed as “a storytelling game of personal horror,” the original game ended up glossing over the psychological aspects of surviving as a vampire and focused instead on vampire society and politics. Its post-punk take on the children of the night can be said to have inspired movies like the Underworld series and TV series like True Blood and The Vampire Diaries, as well as a lot of urban fantasy fiction. It was also one of the first tabletop RPGs to have a significant appeal for female gamers. I look back on it with great affection.

Products
Wraith: the Oblivion, second edition (1998) – introduction Buy it here
Mummy, Second Edition (1997) – co-author Buy it here
Book of the Kindred (1996) – contributor (reprint)
Clanbook: Assamite (1995) – author
Wraith: the Oblivion, first edition (1994) – introduction Buy it here
Vampire Storyteller’s Screen (1993) – insert booklet
A World of Darkness (1992) – contributor: Britain Buy it here
The Succubus Club (1991) – contributor: “Annabelle’s Party” Buy it here
Chicago by Night (1991) – editor Buy it here
The Storyteller’s Handbook (1992) – contributor Buy it here
The Players’ Guide (1991) – contributor Buy it here
Vampire: the Masquerade (1991) – introduction Buy it here

Articles
“Bloodlines,” Adventures Unlimited #6, Summer 1996
“Purgatory,” White Wolf Magazine #28, Aug/Sept 1991 Buy it here

Also on this Blog
All posts tagged “White Wolf”

Other Bibliography Posts

My Complete and Utter Warhammer Bibliography (Warhammer, WFRP, HeroQuest, AHQ)

My Complete and Utter Warhammer 40,000 Bibliography (WH40K, Adeptus Titanicus/Epic Scale)

My Complete and Utter Cthulhu Bibliography

My Complete and Utter D&D/AD&D/d20 Bibliography

My Complete and Utter GURPS Bibliography

My Complete and Utter Fighting Fantasy and Gamebook Bibliography

My Complete and Utter Colonial Gothic Bibliography

My Complete and Utter Dark Future Bibliography

My Complete and Utter Video Gameography

My Complete and Utter Bibliography: The Rest of the RPGs

My Complete and Utter Bibliography: Odds and Ends

 

It was Twenty Years Ago Today (redux)

May 10, 2011 6 comments

I already used this title for the entry on my first video game project, but what the heck – reduce, reuse, recycle, right? What prompted it this time was the announcement of a 20th Anniversary Edition of Vampire: the Masquerade. That brings back some memories.

1990-91 was a busy time for me, and in many ways my work on Vampire was what made it possible. Seeing that Games Workshop was de-emphasizing roleplaying games in favor of miniatures, I decided to jump ship. I ended up moving from Nottingham to Denver, getting married, writing a lot of material for Vampire and GURPS, and getting my start in video games.

By 1990 Warhammer Fantasy Roleplay, the reason GW had hired me in the first place, had become the red-headed stepchild of the GW family. There had been some expectation among the upper management that it would increase miniatures sales: those of you who bought the earliest editions of The Enemy Within, Shadows Over Bogenhafen, and Death on the Reik may remember that they came with miniatures deals, just like the Warhammer battle packs had done. WFRP came out alongside the first edition of Warhammer 40,000, and comparisons were made. Miniatures were where the money was, and games were seen – at least by some – as merely a tool for selling them. Roleplaying products became less and less important over the four years I worked there, until in 1989 a roleplaying division, Flame Publications, was set up with a staff of three: me, artist Tony Ackland, and editor/manager Mike Brunton. Perhaps significantly, we were housed well outside the main studio.

I saw the writing on the wall, and started looking around for other opportunities to write roleplaying material. My friend Ken Rolston, the creator of the acclaimed WFRP adventure Something Rotten in Kislev, passed my name along to a new outfit called White Wolf, who were making a game where all the players were vampires. This was a radical concept at the time, and I was interested. I also knew, as Ken would say, way too much about vampires, having graduated from Hammer to Montague Summers to Augustin Calmet and every other source I could get my hands on over the course of a lifetime.

I remember talking to Vampire creator Mark Rein-Hagen by phone from my living room in Nottingham. He had sent me a draft of the game, which I had read and commented on, and we were discussing a prologue which would set the scene, convey the tone, and give some basic information. The idea of a letter came up: a letter from a vampire who was moved by conscience to spill the innermost secrets of vampire society and culture. Just offhand, I said, “Why not make the letter from Dracula?” and Mark paused for a moment. “That sounds awesome,” he said, “but you need to make sure it sounds right. Throw in words from lots of different languages, to show how old and experienced he is.” We talked for a little while longer, and I ended up writing the prologue that appeared in first edition Vampire. Looking back, I think I was a little too clever with it, but people seemed to like it. I’ve lost track of the number of places it was reprinted.

I moved to the States in October 1990, and worked on a steady stream of contracts for the new game as well as writing GURPS Vikings and GURPS Middle Ages 1. White Wolf invited me to GenCon as their guest: I had never been before, because Games Workshop didn’t send people and I could never afford to go to Milwaukee from Nottingham on my own dime. Someone would meet me at the airport, I was promised. No one did. It was a late-arriving flight, and I sat while Milwaukee airport closed down around me. It was a time before cell phones, so I had no way to reach anyone, and I asked for a general page to go out for anyone from White Wolf Publishing, but it never happened. Eventually I got a cab and found a hotel, where the only room available this convention weekend was a suite that cost a fortune, and then I made my way to the Mecca center the following morning.

Arriving at the White Wolf booth, the first person who spoke to me was Travis Williams. Anyone who has met Travis can tell you, he’s kind of – well, imposing would be a good word. “WHERE the HELL was YOU?” he asked, in the tones of someone who was seriously considering busting a cap in my white ass. He’s not what anyone thinks of when they hear the word “roleplayer.” That memory has stuck with me ever since.

Vampire was the hit of the show, although few people – except perhaps Mark Rein-Hagen – had any idea of how big it would become. I hung out at the White Wolf booth, pushing copies and generally having a good time. My relationship with White Wolf lasted for five years, from the early Vampire titles through Wraith (I wrote prologues for the first and second editions: the first was a letter from from Byron – I felt clever because I was sure everyone expected him to be a vampire – to Mary Shelley, and the second saw Byron having hooked up with Hemingway to publish an underground newspaper for the dead and bitch about each other’s writing styles) and Mummy (I co-wrote the second edition with my buddy James Estes, and lobbied unsuccessfully to turn it into a full World of Darkness line – which did actually happen years later, and they were good enough to give James and me a “based on” credit). But my day jobs in video games development gave me less time for writing, and like many tabletop RPG publishers White Wolf became slower and slower at cutting checks as the great pre-d20 shrinkage of the industry set in.

Still, Vampire was a great experience for me. Financially, it helped me get through my first few years as a full-time freelance writer, and creatively it let me contribute to the founding of not just a very good roleplaying game, but a powerful IP that has lasted down the years.

But twenty years? Sheesh. . . .