For twenty years, you've been reading and listening to us talk about Vampire: The Masquerade. This time, we thought it was the community's turn to talk. Hello, and thank you for being part of the alpha playtest for Vampire This alpha playtest draws on 25 years of Vampire the Masquerade. We have selected. 'Like most vampires, Vampire The Masquerade has awoken from it's slumber and is ready to take the world by storm. I, for one, am happy to be along for the ride.
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WOD - Vampire - The Masquerade - Core Rulebook (Revised). Uploaded by Alceste Download as PDF or read online from Scribd. Flag for inappropriate. Vampire The Masquerade 2nd edition. 1. Vampire: The Masquerade. A Storytelling Game of Personal Horror. By becoming a monster, one learns what it is to be. Wot will, some ofig relatives, the ones wh0 uren't 50 iiite as l,. The can – diid d0- commit acts thittewei Idon't wish toconsider,. Andhere Jou are, p00r little mortal.
Search inside document. But whats left of Bela is rotting ina pine coffin somewhere, while Thave the opportunity to sit here on the balcony, enjoy my drink and look at you. Correct me if T'm being presumptuous, but suspect that have the better end of the deal. Tcan tell by looking at you that you're not comprehending. Ofcourse you're not — theseare oynical, rational times, and you're not going to believe that I'm a dead man just hecause say so. A century ago it would have been different — well, it was quite different the last time Lhad this little talk-with someone — but thisis the age of facts.
And the factsave that corpses don't move, don't walk dont talk. Um terribly sorry my dear, hut I have a surprise for yous This corpse does Sosit down. Please, I insist that you make yourself comfortable. Pour yourself something to drink, preferably from the bottle on the left — the stuff on the right isan acquired taste.
It's going to bea long evening, and you're going to need a stiff dvink or two, Isuspect, After all, in the next few hours I'm going to explain to you inexcruciating detail why everything you think you know about life and death is wrong. Inother words, you don't know a blessed thing about the way the world veally works, and I'm going to open your eyes. But I'mafraid, my dear, that you're not going to like what yousee. My Kind doesn't talk about itself to your kind — not now and, for the most part, not ever.
We've spent five centuries weaving a stage curtain that we call the Masquerade to hide the real show from you, but in the end it comes down to one simple fact: We vampires don't want you mortals knowing we're out there, It's for the same reason the wolf doesn't want the sheep knowing he's around. It makes our work so much easier.
And so, for example, though we do indeed possess the sharpened canines with which dime novels and the cinema have branded us, you mortals will not see them unless we choose to reveal them.
Like se You're looking pale, my dear. That will never do if we're going ta be seen later — allow me to take care of looking pale for both of us. Still, 1 must admit I'm disap- pointed that you seem so disturbed by the notion of my being a vampire.
Gangs prowl the blighted urban wasteland, police may well be "on the take" and look elsewhere at inopportune times, and might often makes right at the lowest echelons of society. Even in "civilized" locales, security may be a bit more brutal than it has to be, or a senator's bodyguard may have a mean streak hidden beneath his finely tailored navy suit. The presence of such violence gives people cause for fear.
Insecurity breeds tension, which serves the setting by tainting even the most commonplace action with the possibility of harm. Violence serves the setting. What violence does not always serve is the story.
Vampirestories should almost always be written to favor the nonviolent resolution of a situation. Taken to extremes, a ubiquity of violence would literally cause the collapse of civilization. Why would anyone put in an honest day's work if she could simply bash her neighbor on the head and take whatever of his she wanted?
Why would anyone keep a job to put food on the table if it was easier to rob the local butcher? And who the hell would want to be a butcher if everyone knew that they could cadge free steaks by stomping his teeth in and helping themselves? Violence needs to make sense in the story. Not only should it be situationally appropriate, it should suit the participants. Granted, some characters' modus operandi is violence — that's fine. But if such characters' universal response is to beat the living hell out of anything that stands in their way, they're going to have very short unlives.
They'll either pick a fight with someone who trounces them, or they'll acquire a reputation as public enemy number one and be hounded by the authorities. On the other side of the coin, very few denizens of the World of Darkness will undertake every conflict as a fight to the death. Only the most fanatical zealot, deranged maniac or fervent believer is going to lay his life on the line when it comes to combat. All too often, fatalities result from accidents, such as a gun going off or an inexperienced bravo not knowing his own strength.
After all, the death of someone who readily jumps into certain danger evinces much less horror than the untimely demise of someone who never really had it coming. Sooner or later, the slavering fanatic is going to die — that's a given — but the homeless, unwed mother of two who the police find drained of blood and stuffed in a dumpster behind the Ventrue primogen's office building provides an empathetic hook.
As a side note, vampires cannot die naturally — they continue to exist forever unless something intervenes. With so much riding on the line, most vampires are loath to resort to physical violence in any but the most assured victory. Elders have not achieved their great age and vast resources by punching each other into torpor outside their favorite nightclub. Again, vampires are very subtle, and most Kindred take a greater sense of satisfaction in thwarting their rivals' schemes through counterschemes than by physically beating said rivals into submission.
As social creatures, vampires have reputations, and their actions are obviously the most important contribution to these. A brute will very likely find himself snubbed by other Kindred, and if he proves too great a physical threat, they will undoubtedly combine their resources against him.
Finally, as you'll see below, the threat of violence is a far more compelling tool than the actual indulgence of it. When she pummels an enemy, a vampire quantifies her capacity for violence. If she leaves it to the enemy's imagination, that rival will imagine horrors far worse than any the vampire could actually inflict.
Vampire Music Like its cousin, fashion, music plays a central role in the unlives of many Kindred. Whether they're nomadic Sabbat traveling under the guise of a touring punk band or a jaded elder who listens to Grieg's "In the Hall of the Mountain King" when he feeds in his haven, vampires often have some connection to music.
Music suffers from the same dependence upon cliches as modes of dress. To many people, "vampire music" is either baroque classical music or modern baroque goth music.
Oh, and some Brujah stomp around to metal and industrial.
Preferably at a nightclub. The truth of the matter once again falls to the Masquerade. Vampires follow mortal trends, and the wise among them tend to accept whatever music the kine around them do, for the same reasons Kindred adopt the same appearance as the kine: It's going to make it easier to feed.
To that end, we're going to try to avoid naming as many specific bands and as many musical genres as we possibly can. With the exception of a few staples, by the time this book makes it to stores half of the "it" bands will have been forgotten while the other half will have new albums out that make any direct quotes too dated to serve the purpose of following modern trends.
The very idea of "vampire music" is a little fatuous. Even the songs about vampires tend to give too much away about any vampire who displays a predilection for them. If vampires really flocked to the black-draped goth clubs, it would be a simple matter for the Inquisition or other hunters to wait Vampire Storytellers Handbook 10 outside and rub out the undead as they arrived for the evening. Sure, some vampires are vital members of that subculture, but they're hardly a majority.
In the desperate, violent World of Darkness, these traits are rare and, by extension, more valuable. The most appropriate music to use for a chronicle, then, is whatever best illustrates the theme you as Storyteller are trying to achieve. Whatever the situation, something is probably suitable. Many Storytellers favor techno, industrial, rap or metal as background music for combat which is fine because combat takes longer to resolve than it takes to occur "in game," so something to alleviate the monotony is welcome.
Some Storytellers key "signature songs" to individual characters in their games — imagine the players' response when they hear the "theme song" of a potent hostile elder but he's nowhere in sight — and encourage players to do the same.
Still other Storytellers favor movie scores or other wordless music that establishes the mood of their story, so the music becomes part of the background. Additionally, the sliding moral scale allows characters to grow or degenerate and change with their environment. More so than with arbitrary and immutable moral codes, Humanity and the Paths are themselves observed in varying levels by individuals.
Over the years, perhaps an elder has grown so apart from humankind that Humanity means nothing to him any more. Instead of being a simple black hat, he may have switched Paths and become an adherent of the Path of Death and the Soul and quite morbid.
Or perhaps he has let his Humanity wane, making him monstrous and selfish. Maybe he has succumbed to the Beast entirely and is lucid for only momentary periods when the Beast rests from its blind rage. Or, even more rarely, maybe the Kindred has attained the mythologized state of Golconda, having finally accepted what it means to be a vampire — which probably doesn't bode well for the mortals around him.
The basic gist here is to consider new possibilities. While it is functional to play "par for the course" and round up those old Sisters of Mercy, Dead Can Dance and Concrete Blonde "vampire classics," that's easy. It's often very rewarding to twist the players' preconceived notions of what music is appropriate.
As always, do whatever works for your chronicle. A Moral Gray Scale Many examples of philosophy, literature and fiction present morality as a question of good and bad. Vampire, however, eschews this approach. When approached with a black-and-white, right-and-wrong issue, people have no room to maneuver.
Vampire moves past these distinctions. It operates without a fundamental delineation of good and evil. This decision has been made intentionally. If the characters were arbitrarily forced to do only good or, as is the case with some groups, commit themselves to doing only evil , free will vanishes completely. As the presence of such Traits as Humanity and Conscience attests, morality lies at the core of the game, and it occupies a central role in most of the stories told under it.
Instead of offering a choice between good and evil, the clever Storyteller puts his players in a position to decide between equally unpleasant outcomes or to decide for themselves what the lesser of two evils will be. As vampires, the characters are Damned, and it's up to them to choose whether they support their more wicked urges or seek to attain some form of redemption.
As the game stands, there is no such thing as a "good" vampire, nor do vampires exist who have literally no capacity to do good. Even the most violent, heinous, murderous Cainites of the Sabbat at least nominally wage war against the Antediluvians and Gehenna — which would otherwise spell the end of the world. The World of Darkness is not one in which good guys and bad guys exist; it is more accurate to say that bad guys and worse guys exist.
This doesn't mean The varying morality of people also serves to illustrate the precariousness of the setting. In a world of absolute good and evil, one only has to worry about the evil and, sometimes, about the good guy who's really a bad guy and just pretending. In the World of Darkness, however, the only person one can trust completely is oneself — and even that luxury has been denied to vampires, who must contend with their Beasts.
Beyond the personal level, larger issues collide — the Toreador harpy's art gallery contributes money to several charities, but the person who owns the gallery is a vampire.
Would it be better to eliminate the vampire, or does the Kindred's positive contribution make her presence something that must be tolerated? Likewise with the situation on the streets of a large city — should the gangs be eradicated by the police, many of whom are themselves in the pockets of other criminal interests?
A million and one of these ethical questions permeate the setting, and exploring the characters' reactions to them is the crux of the game. Without the presence of morality, Vampire becomes a dispassionate superhero game or a hack-and-slash. With an absolute right-and-wrong morality, it becomes modern fairytale fantasy.
The development of the importance of morality has changed the game a great deal from its inception. In revised-edition material, infernalism has only a very minor role. Dealing with the Devil has no real room for moral variance — by aligning himself with an embodiment of ideological evil, the infernalist doesn't leave much question as to his intentions. Likewise, many of the sects, clans and bloodlines seem more selfish, more fractious, less cohesive and less institutional.
This is intentional, as it reflects the fact that all Kindred are individuals and make decisions for themselves rather than accepting a "party line" as dictated by their Embrace or sect allegiance. Indeed, much of the formality of such "allegiances" has been removed to make greater room for characterization at the expense of improbable conspiracies.
In the end, these changes make the setting more believable Vampire Storytellers Handbook 11 and realistic, which, by extension, makes the emotional impact of morality issues all the more resonant. Yes, it's nice to have a theme and to learn about oneself and to tell the best damn story since Crime and Punishment, but in the end, this is a storytelling game, and a game is a pastime.
That's not to underestimate the medium — we wouldn't have bothered to put this book together if we didn't believe strongly in the fact that a game can have greater depth. But not everyone wants High Art, nor should they. If your troupe is the kind that enjoys all of the high-grade mature introspection and classics-level plotting, that's fantastic. You will certainly have a rich and enjoyable game. However, if you just want to blow off steam by whacking Sabbat toadies, that's fine, too.
Your taste in storytelling will likely fluctuate several times over your involvement with the hobby, and none of them is inherently "right. Vampire is aimed largely at the people who want a profound and moving storytelling experience. It will continue to cater to their needs. That said, though, there's no reason you can't take what you like from the genre and turn it to your own ends. After all, that's precisely what a vampire would do with you.
Apparently, the light laughter of the fair only attracted his attention, that he might by a look quell it and throw fear into those breasts where thoughtlessness reigned. Vampires do not use their powers ostentatiously or recklessly without good reason.
Thaumaturgy makes no attempts to be something other than what it is: magic. Celerity is literally inhuman speed. Disciplines are, by their very nature, edges that the Kindred can use when their own faculties fail.
A prince who Dominates the city's Kindred into submission will not have much respect, as the other vampires don't choose to respect her, they are forced to. Why don't vampires just destroy their enemies with Disciplines?
While it may seem simple to solve all one's problems with supernatural powers, the repercussions of the matter go beyond simply achieving a goal. Sure, a vampire elder with Potence Level Six could simply smash anyone who stood before him. A coterie of Brujah could Summon their rival until she ran out of Willpower to ignore it.
It's not that these things aren't possible, they're just not done. Think of it in your own context — you could get a job and earn the money to download Vampire books, or you cold take a board with a nail in it, beat people over the head and take their money to download Vampire books. Which do you do? Many vampires regard Disciplines as vulgar ways to achieve one's goals.
A lazy vampire Dominates a subject into doing something for him, while a crafty vampire subtly influences his intended mark. This latter practice also leaves less trace of the vampire's presence — an individual acting of his own free will isn't going to have the Kindred up in arms by talking about mind control and other threats to the Masquerade.
Vampires also often harbor antipathy for others who use Disciplines on them. Kindred who take cavalier attitudes toward Discipline use — Dominating vampires into telling the truth before their peers, cultivating false support through Presence, etc.
Our above-mentioned prince would very quickly find herself snubbed by primogen and harpies if she used such heavyhanded tactics. This is also the reason that many princes declare Disciplines verboten at Elysium. Even Aura Perception requires a scrutiny of the individual whose aura the vampire reads; is the Kindred really going to stand by the door and stare intently at everyone who enters the nightclub? What, then, does this say about the content of individual games? Well, the individual stories of your troupe's chronicle Vampire Storytellers Handbook 13 are the outstanding chapters of their unlives.
On a nightly basis, they won't be compelled to divulge the locations of their shady allies' havens under pain of Dominate, but they may, if the story requires it. Disciplines are used largely "when the shit goes down," not as crutches for nightly existence. How many vampires are there, anyway? Shunned and outcast by Kindred and Lupines alike, abominations often lead short, violent unlives.
Most kill themselves out of self-loathing, but some go berserk and take as much with them as they can while they spiral into self-destruction. Details on Abominations may be found in Chapter Six.
No accounts of other shapeshifters suffering the Embrace have been verified by Kindred, but the rumors do circulate. The Middle Kingdom has roughly 20, Kuei-jin, for a grand total of approximately 60, — one for every , people on the planet.
The act of the Embrace shatters an individual's avatar, so mages become "normal" vampires if Embraced. Of those Kindred, the clans make up the enormous majority of the population, leaving the rare bloodlines, fallen clans and other, less-quantifiable vampires at about 2, vampires in total.
Cities aren't likely to have more than one or two Harbingers of Skulls or Gargoyles, if they have any at all. In fact, most cities don't have any Kindred other than those of the clans — and that's precisely how the clans like it. It is, after all, better to deal with the devil you know.
Certain stories have passed through the Kindred community about powerful, eldritch fae vampires, but these rumors are lent little credence. Do infernalists exist outside the Sabbat? Mummies and Risen can't become vampires. If a vampire attempts to Embrace them, mummies die only to be reborn later and Risen get angry.
They do, indeed.
However, infernalists are rare — anyone with any sense at all knows not to deal with the Devil, or they've deluded themselves into thinking they're going to somehow come out ahead of the deal.
Some elders have turned to the infernal for aid or power, and more than a few young vampires opt to take the quick route to potency that infernalism offers. In the end, though, they're Damned — twice. Infernalism and demons have been largely left in the hands of the Storyteller as of Vampire's revised edition.
Their clearcut morality doesn't fit with the game's exploration of moral shades of gray — an infernalist is evil, pure and simple, and such distinctions tend to limit Vampire's range. In the end, however, the decision is yours as Storyteller. Many people like the menace that infernalism lends to a story, and they are encouraged to do whatever they wish with it as a device.
Does a ghoul keep all of the Disciplines she acquired if she is Embraced? Many vampires who spent extended periods of time as ghouls particularly Assamite apprentices and revenants often have at least Potence, even if they do not possess it as a clan Discipline. Can I Embrace something other than a "normal" mortal? In theory, yes. In practice, strange things happen. Embraced werewolves, known as abominations, are very rare.
Most attempts to Embrace Lupines end in the death of the werewolf, but every now and then, something goes wrong Wraiths, lacking physical bodies, may not be Embraced. Hunters simply die — their higher power refuses to let them become one of the undead. For similar reasons, they may not become ghouls or blood bound. Everything else becomes a vampire, as normal. Kinfolk, Gypsies, Inquisitors, etc.
It's up to the Storyteller as to whether or not they keep any uncommon powers they possessed before the Embrace, but we discourage it. What's the difference between a clan and a bloodline? Mainly semantics, with a good dose of pragmatism mixed in for good measure. A clan, by the most rigid definition, is a lineage of vampires sharing common descent from a single, extant Antediluvian. The Salubri, whom The Book of Nod describes as having a third-generation founder, are no longer a clan, while the Giovanni, whose Antediluvian sometimes takes an active part in the affairs of the family, are now a clan.
Granted, things certainly get muddy when speaking of millennia-old Kindred who are rumored to be destroyed or not even wholly accepted as real, as with the Camarilla's common school of thought. The Ventrue's founder is believed to have been destroyed, but no one knows for certain, and you can bet no one's telling them they're not a clan anymore.
Likewise, the Lasombra Antediluvian supposedly fell to diablerie around the time of the Anarch Revolt, which means that someone else may well be a third-generation Lasombra. Even the Ravnos, who recently suffered the destruction of their Antediluvian and a plague of blood-borne selfdestruction are still considered a clan because they have been since time out of mind.
Take it with a grain of salt. Vampire Storytellers Handbook 14 A bloodline, by comparison, is a group of vampires that shares common characteristics, but has either diverged from an existing clan, been created whole-cloth or come into being as a result of some sanguinary parthenogenesis. The Daughters of Cacophony are suspected to be an offshoot of the Toreador or perhaps the Malkavians , while the Blood Brothers were created for the express purpose of serving other vampires.
Neither of these have the numbers nor the lineage to lay claim to clan status, and even if they did, convincing a body of 40, Kindred to recognize that claim would be nigh impossible. In the long run, however, none of it matters. Stodgy Ventrue, suspicious Tremere and haughty princes may put gravity behind another Kindred's ancestry, but most vampires don't really care about another's clan — being a vampire is first and foremost in their minds and everything else is secondary.
What are Caine's Traits? What are the names of the surviving Antediluvians? Who would win the Jyhad? What's the truth about the Inconnu? The Vampire line has well over 60 titles released. It's hard to keep a sense of secrecy when practically every book reveals some cryptic profundity.
As a game of horror and mystical intrigue, Vampire loses much of its mystery when "the truth" sees print. Some secrets should stay that way. If we don't answer them in time, perhaps they weren't meant to be known….
How do you reconcile the changes in Disciplines in chronicles that have been running before the revised edition changed several of them? I recommend the poof! With a few exceptions Malkavians acquiring Dominate this is unobtrusive. In an "official" sense that's how it happened; there was no gradual change. Then, what about those Malkavians?
And Thaumaturgy? Some Malkavians still have Dominate as a clan Discipline; they have yet to be "infected. Regarding Thaumaturgy, it's not seamless; the magic slowly grew more obstinate between the second and revised editions. Storytellers should integrate this into their chronicles — make Thaumaturgical effects slowly become more and more difficult to perform until you finally arrive at the revised- edition system.
Little continuity hiccups like this are inevitable, but easy to work around. What happened to the Bushi? And the Gaki? Anomalous "bloodlines" published years ago, the Gaki and Bushi are actually Kuei-jin as misunderstood by Western Kindred. Kindred of the East presents the Eastern vampires in a better context than earlier published material — if you remember the Bushi and Gaki at all, you can use them with greater ability under the Kindred of the East rules than as initially presented in now-out-of-print supplements.
If you've never heard of them before, well, never mind. What happens if my difficulty rises higher than 10? Because the Storyteller system uses sided dice, no difficulty can possibly rise over Many game systems explicitly limit difficulties to If you ever find yourself in a situation that, for whatever reason, would suggest a difficulty of greater than 10, you are encouraged to keep it at 10 and require multiple successes. How many freebie points does a dot of Humanity cost?
The chart on page of the revised edition says one, but the character creation example says two on page It's one point. What's the deal with aggravated damage and Fortitude? Stated simply, you soak aggravated damage with Fortitude only, unless a specific power or effect says otherwise. That's it: no Fortitude, no soak. Aggravated damage is serious business.
Someone who can inflict aggravated damage intends to hurt another character grievously. This is not a barroom brawl, this is murderous malice. Aggravated damage is bad news. Think about the sources: sunlight, fire, angry Lupines, etc. Don't suffer aggravated damage. You'll regret it, if you survive long enough.
The best way to avoid aggravated damage is the best way to avoid all damage: Don't pick a fight. Vampire is not a game about whaling on people until they see things your way, it's a game of horror and intrigue. Physical violence is always a last resort for a vampire — picking a fight foolishly may cost a Kindred her immortality. That said, combat is tied inextricably and somewhat unfortunately, to some schools of thought to storytelling games.
One of the most popular house rules is to allow characters to add their Stamina to their Fortitude when soaking aggravated damage as if it were bashing or lethal.
If your games have a fair share of combat, you may wish to do this rather than have your players make a stack of Vampire Storytellers Handbook 15 characters in preparation for their unavoidable demises. The choice is yours to make. How can a character resist Dominate? It's very powerful. The sidebar on page of the Vampire rulebook handles this fairly completely. Sunglasses won't protect you, but not looking into the vampire's eyes will.
Also, the Iron Will Merit — subject to your discretion as Storyteller — permits limited avoidance of Dominate. Yes, Dominate is very powerful. It is intended to be. If every snot-nosed Brujah, rebellious Sabbat pack or agitated anarch could laugh off the effects of Dominate, the Ventrue and Lasombra wouldn't be very effective leaders.
Dominate is usually a vampire's last resort, and having that last resort easily thwarted doesn't do the leaders of the undead justice. Notice also that unless the vampire uses The Forgetful Mind successfully, a Dominated character is very likely to remember that something was unusual about her actions. She may not immediately suspect mind control unless she has reason to , but she will know that her actions were… strange.
What happens when a vampire loses a limb? Does it grow back? Severing appendages affects vampires much the same way it does mortals — a vampire isn't likely to pick anything up if she's had her hand cut off. If a vampire loses a limb, consider it gone. However, when the vampire heals the health level associated with limb removal, the limb is considered regrown. In some cases, particularly those in which the character heals the damage quickly, the limb doesn't actually regrow, but rather knits itself back to the body.
For example, if an Assamite lops off a Toreador neonate's hand and the Toreador spends a blood point to heal the damage that scene, her hand reattaches itself to her arm. If the healing happens very quickly within one turn of receiving the wound , the severed bit may never even touch the ground, as the vampiric vitae "holds" the limb in place and reattaches it. Because vampire limbs reattach themselves, exquisite variants of torture have arisen in the chambers of more fiendish Kindred.
More than one Tzimisce has been known to remove victims' appendages and replace them incorrectly, resulting in upside-down hands, backward-bending legs and the like.
A severed limb that is left behind or otherwise not immediately healed by the vampire takes on characteristics appropriate to the age of its former owner. A lopped-off hand from a neonate may simply seem gray and clammy while a thousand-year-old elder's severed hand crumbles to ash instantly. Regrowth does not apply in cases of decapitation — one reason why the Inquisition employs the tactic and why duels between Kindred are grave matters.
A beheaded vampire is a vampire who has met the Final Death. What happens to a pregnant woman who is Embraced or becomes a ghoul? Most likely, the pregnancy terminates immediately, which results in miscarriage, stillbirth, etc. Revenant mothers don't have this problem and instead produce healthy sic, of course revenant children. Far less common, the fetus may become a vampire itself, though it will not continue to grow.
In this case, it remains an undead, static little monstrosity, trapped forever in its mother's womb, taking blood from her like a parasite which consumes one additional blood point per night. In particularly unpleasant cases, the fetus-vampire chews its way out of its mother's womb, existing as long as others let it in its stunted, vile, undeveloped form. Some 15th-generation Kindred may bear living children of their own, though the rarity of such vampires not to mention their becoming pregnant and carrying the child to term is so great that very little concrete data exists to make generalizations about them.
A vampire may consume food, but it refuses to stay down — unless the vampire spends a Willpower point each turn, she vomits within the scene though some Storytellers may allow players to spend a point of Willpower to keep a character from vomiting.
The same rules apply for drinking, as well. Note that other vampires find the practice of eating mortal food utterly disgusting — "like eating a pig's slop," in the words of one rural Gangrel — and one who makes a practice of doing so will probably earn the derision of his undead peers.
Do vampires leave fingerprints? Vampire blood, once removed from the vampire, becomes inert, dead blood. While it may be used to sustain ghouls or even vampires — rumors of sealed vessels of elders' blood circulate like wildfire through the vampiric community — such vitae cannot be used to create childer.
The Embrace must be performed by a vampire using her own blood, which must be given directly to the prospective childe. Although the sire need not press her wrist to the childe's mouth, the blood cannot have come from storage, out of a squirt gun, from a bottle of wine, etc. Thaumaturgy may prove the exception to this, but if anyone knows the ritual, they certainly aren't telling how it's done.
So, then, what happens in a "mixed-blood" Embrace? Yes and no. A vampire still has the ridges and whorls at the ends of her fingers that constitute "fingerprints," but her dead body does not secrete the oils that leave such telltale marks behind. This means that, while the character doesn't leave normal fingerprints, her fingers will still leave their unique marks in, say, piles of printer toner, coagulated honey, dust on a computer monitor, etc.
Firing a gun does not leave enough powder behind to have to worry about fingerprints, though cordite will stick to a vampire's hands for a few nights as it would for a mortal , which may identify him as having used a firearm to forensics experts.
Can a vampire catch a disease by feeding from ill vessels? Generally, no, though they may certainly carry a vessel's disease if they are sloppy feeders or don't practice what little hygiene is required. Some Kindred have communicated diseases by bringing leftover blood in their mouths or on their fangs into contact with open wounds on subsequent vessels.
Such vampires are sometimes known as "vectors" or "plague dogs.
Some particularly virulent diseases have afflicted certain Kindred, though. Certainly, several Children of Caine have contracted a strain of AIDS so potent that it has ravaged their bodies which drinking blood from many different sources can only exacerbate, surely. Some vampires have also suffered from flesh-eating bacteria while others have contracted what seems to be a mutation of rabies. In the end, this is the Storyteller's call for each individual situation, but it can happen.
Can a character take elder blood, use it to create a new vampire and then diablerize the fledgling? A vampire sired by two or more Kindred, who must remove the victim's blood and drip both of their vitae into the childe's mouth, most often becomes a Caitiff.
In cases that involve one vampire of significantly lower generation than the other, the childe usually exhibits the characteristics of the lowgeneration Kindred's clan. Any player who approaches you with a two-clan split in the interests of acquiring a huge set of clan Disciplines should be rewarded with the loss of all her freebie points. To what extent does a vampire's body revert to its original form each day while he sleeps? As static, timeless creatures, vampires return as closely to the state in which they were Embraced as possible.
A simple mechanic involves considering how many health levels of damage a character sustained for a given change. If the change cause no appreciable damage — shaving, cutting one's hair, piercing a body part, getting a tattoo — the vampire's body eliminates the change during the day. Hair grows back let your childe shave before you Embrace him… , piercings push themselves out, tattoo ink rises to the skin's surface, etc.
If the change is appreciable enough to do health levels of damage see limb loss, above, for example , the vampire reverts to her original form once healed. Aggravated damage, even when healed, almost always leaves a telling scar. Do vampires have any fluids other than blood in their bodies, like saliva or tears? Let me preface this by saying, "suspend disbelief. Vampire Storytellers Handbook 17 Most of the liquids in a vampire's body are replaced by blood — Kindred sweat and cry vitae.
Other fluids remain fairly true to their original form. Vampires do possess "normal" saliva, otherwise their mouths would be a bloody mess. Likewise, the vitreous and aqueous humors in vampires' eyeballs aren't replaced by blood, or their eyes would be red instead of white.
Other than these few examples, common sense applies. Vampires obviously do not have reproductive fluids, and when female vampires spend a blood point to engage in sexual acts, their lubrication is a thin blood.