u/TheUnholyMary

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I'm currently dealing with a rather unusual situation in my V20 chronicle and I'd love to hear how other people would portray this kind of character.

My character Agnes is a 11th Generation Malkavian who followed the Path of the Voice and Inner Power. She was embraced only two months ago, and she has now been killed.

Her sire, Emir, is a character whose personality I've developed myself, although the Storyteller portrays him in-game. Emir has spent roughly 70 years trying to find and create a childe. He didn't want a childe merely as an apprentice or an extension of himself; his ultimate goal was to find someone who could become his companion for eternity.

He's a taxidermist and an extreme perfectionist. He has had 76 previous candidates over the years, and the heads of those failed prospects are preserved as taxidermy in his home. The wraiths of those people also remain there, making his house almost a physical archive of his failures and obsessions. He has had numerous ghoul servants, all of whom he simply called Mrs. Olsen, regardless of their actual names.

Agnes was different.

Emir had developed a very deep bond with her. There was an unusual level of mutual trust between them, to the point that they were comfortable exposing their vulnerabilities to one another in ways neither would normally allow. Before embracing her, he spent a year getting to know her and made her recount the stories behind the scars she carried, treating that process almost like an examination of who she was as a person rather than simply looking for a suitable vessel for the Embrace.

And then, after seventy years of searching, he finally embraced someone he genuinely considered worthy of spending eternity with.

Two months later, she's dead.

One thing I find particularly interesting is that Emir is the sort of person who doesn't necessarily process attachment in a normal or healthy way. His entire life seems to revolve around preservation: preserving bodies, preserving memories, preserving the dead, preserving failed attempts at finding someone who could stay with him forever.

So I'm wondering:

How would you portray his grief?

Would someone like this become obsessive about preserving Agnes in some way? Would he refuse to accept that she's truly gone? Would he become increasingly fixated on the possibility of finding some remnant of her?

One idea I'm considering is having him repeatedly contact the Malkavian network, trying to reach the fragmented echoes of Agnes that might still exist within it. Not necessarily expecting to bring her back, but desperately trying to find something that still feels like her—a memory, a voice, an impression, anything that could convince him that some part of his childe remains.

I'm especially interested in how you'd handle the contradiction between his apparent perfectionism and the fact that Agnes was, perhaps, the first person he couldn't simply preserve or control.

Would his grief be quiet and ritualistic? Obsessive? Angry? Denial expressed through increasingly elaborate attempts to preserve her? Or would someone like Emir eventually accept the loss precisely because he has spent so much of his existence surrounded by the dead?

I'd love to hear how other VtM players would approach this psychologically and narratively.

And yet it remains one of the most common types of comparisons, just like comparing Makoto to Nagito because they both have a knack for luck.

And I'm going to approach this from both a technical and an analytical perspective.

In this case, we're dealing with technology. People tend to compare these three guys, especially the first two, to the last because all three touch on mechatronics engineering in one way or another. But it's absurd from the start because all three work within the same field. Interestingly, nobody compares Chihiro to Kazuichi because people generally recognize that each has their own areas of expertise. The problem here is Miu and how ambiguous her talent is. But before we get into that, let's break down exactly what mechatronics engineering is and what branches it has. Although I won't go into detail about each branch, because that would defeat the purpose of the video,

Mechatronics is divided into three sectors that, in turn, intersect/merge into four others:

Computing:

Mechanics, Electronics, and Control

Mechanics and Electronics merge into electromechanics

Electronics and Control merge into control circuits

Control and Computing merge into digital control

And Computing and Mechanics combine into CAD/CAM/CAE

Let's start with Mechanics, which, if you didn't know, is an ABSURDLY BROAD field, and that's why we're going to focus on mechanical engineering. which, even so, is extremely broad in itself, encompassing areas of knowledge such as: solid and fluid mechanics (which, as you might imagine, is divided into solid mechanics and fluid mechanics), materials science, structural analysis, systems theory, differential equations, linear algebra, technical drawing, computer-aided design and manufacturing, elasticity, strength of materials, mechanical technology, numerical analysis, finite element method, and control theory. It also includes basic knowledge of electricity, electronics, chemistry, and civil engineering concepts.

And it is applied to: production and manufacturing, industrial processes, electromechanical systems, thermodynamic systems, hydraulic systems, ventilation, heating, refrigeration, piping, automobiles, trucks, buses, construction machinery, railways, ships, industrial machinery, and agricultural machinery. Aircraft, spacecraft, robotics, mechanical design, structural design, biomechanics, lubrication, fuels, welding, storage tanks, energy efficiency, and transportation.

On the other hand, we have computer engineering, because, again, computer science itself is also very broad.

It is the branch of engineering that applies the fundamentals of computer science, computer engineering, information systems engineering, software engineering, and network and communications engineering to the development of all types of software, computer hardware, and communications.

It has areas of knowledge such as: computer science, computer engineering, software engineering, information systems engineering, connectivity and network engineering, mathematics, and physics.

And it's applied in fields such as: Software development, web development, telecommunications, and artificial intelligence.

And again, I know I keep harping on about engineering, but these terms are incredibly broad on their own.

Now I'm going to talk about electronic engineering.

Electronic engineering is a branch of engineering that deals with solving engineering problems such as the control of industrial processes and electronic power systems, instrumentation and control, as well as the transformation of electricity for the operation of various electrical devices.

It draws on areas of knowledge such as: electromagnetism, electronics, circuit theory, mathematics, programming, physics, automation, telecommunications, robotics, and control.

It applies to applications in Industrial Automation, Industrial Instrumentation, Industrial Control Systems,

Process Control,

Mechatronics, Robotics, Intelligent Systems,

Cyber-Physical Systems,

Telecommunications, Telematics, Computer Science, Signal Processing, Photonics, Electronic Security,

Electrical Engineering,

Electromedicine, Biomedical Instrumentation, Electroacoustics, Electronic Display,

Vehicle Electronics,

Hardware, Embedded Systems,

Software, Microprocessors, Microcontrollers, Electronic Manufacturing and Assembly,

Circuit Design, Circuit Analysis, and Electronic Design.

Control engineering is the engineering discipline that applies control theory to design, plan, and develop devices and systems with desired behaviors. The areas of knowledge encompass: control theory, automation, systems theory, system elements, and industrial control systems, and are applied in: industrial control of machinery and processes.

Now let's look at each sub-branch and its fusion.

Informatics + Digital Control.

Digital control is a branch of control theory that uses digital computers to act as system controllers. Depending on the requirements, a digital control system can take the form of a microcontroller, an ASIC, or a standard desktop computer.

Control + Electronics: Control Circuits

This refers to all the physical components and control functions necessary to automatically adjust the value of a measured process variable (PV) to match the value of a desired setpoint (SP).

Electronics + Mechanics: Electromechanics:

Electromechanics is the combination of the sciences of electromagnetism, electrical engineering, and mechanics.

Mechanics + Computing

CAM/CAD/CAE

CAM: Computer-Aided Manufacturing

focuses on automating and optimizing the production process by converting CAD designs into machine-readable instructions.

Key Features:

CAD Geometry Import: CAM systems import 2D geometry and 3D models from CAD software, ensuring that the design intent is accurately preserved.

Toolpath Calculation: The software generates machining toolpaths, defining cutting strategies, tools, and parameters for efficient material removal.

Machining Simulation: CAM tools simulate the manufacturing process to detect potential collisions, toolpath inefficiencies, or errors before production begins.

Post-processing: After validating the toolpaths, CAM systems generate machine-specific G-code to execute precise machining operations on CNC equipment.

Applications:

CNC machining for processes such as milling, turning, and wire EDM.

Additive manufacturing and 3D printing.

Automation in robotic milling, cutting, welding, and spraying operations.

CAD: Computer-Aided Design

This allows engineers, architects, and designers to create accurate digital models of products, buildings, or components. CAD replaces manual drafting with an automated digital process, making it easier to visualize and iterate designs.

Computer-Aided Engineering (CAE) involves using software tools to simulate, analyze, and optimize product designs. CAE ensures that the final design meets the required specifications and performs as expected.

Key Features of CAE:

Finite Element Analysis (FEA): Tests structural integrity and identifies weak points in a design.

Computational Fluid Dynamics (CFD): Simulates fluid flow and thermal behavior.

Optimize: Improves designs by identifying enhancements based on analysis results.

Applications:

Simulation of crash tests in the automotive industry.

Prediction of thermal performance in electronic devices.

Ensuring the reliability of architectural and civil engineering projects.

CAE: Computer-Aided Engineering

Computer-aided engineering (CAE) involves the use of software tools to simulate, analyze, and optimize product designs. CAE ensures that the final design meets the required specifications and performs as expected.

Computer-aided engineering (CAE) involves the use of software tools to simulate, analyze, and optimize product designs. CAE ensures that the final design meets the required specifications and performs as expected.

Main features of CAE:

Finite Element Analysis (FEA): Tests structural integrity and identifies weaknesses in a design.

Computational Fluid Dynamics (CFD): Simulates fluid flow and thermal behavior.

Optimize: Improves designs by identifying improvements based on the analysis results.

Applications:

Simulation of crash tests in the automotive industry.

Prediction of thermal performance in electronic devices.

Ensuring the reliability of architectural and civil engineering projects.

How do they work together?

These three technologies create a seamless workflow. CAD designs a product, CAE validates its functionality, and CAM prepares it for production. This integration reduces errors, accelerates production, and ensures a high-quality final product.

Why all this rambling that's irrelevant? Simple, little Timmy, all this verbiage leads us to a central point: engineering isn't a single discipline; it's a set of disciplines that connect at certain points. In real-world engineering, the boundaries are porous because deep specialization always requires cross-disciplinary knowledge from other branches. There's no such thing as a one-track engineer in the real world; any professional competent in one discipline must master the fundamentals of others so that their work isn't useless.

Mechanical engineering also incorporates electronics, because any competent Mechanic

knows that today you can't move a piston, measure pressure, or manage fuel injection without sensors, actuators, and circuit logic. If you know mechanics but don't understand electrical signals, you're not an engineer, you're a hand tool operator. Mechanics, at its highest level, is electromechanics.

Computer scientists also apply control, because any competent developer knows that code doesn't exist in a vacuum. If your software controls a physical process, you must understand control theory: response times, latency, PID loops, and feedback. If you ignore how the hardware running your program behaves, your software is just static text. Computer science, at its real-world application level, is control systems architecture.

Electronics engineers also apply computing, because any electronics expert knows that today everything is 'firmware'. Designing a circuit without understanding how to program the microcontroller or FPGA that governs it is like building a car without an engine. The hardware is merely the support for computational logic. Modern electronics is the hardware that gives computing its physical form.

The comparison is laughable because it's based on a "watertight box" view that doesn't exist in engineering.

Now let's try to place each of them and define their talents.

Chihiro Fujisaki: Ultimate Programmer:

Programming is the process of creating a set of instructions that tell a computer how to perform a certain task. But it's not just the act of writing code for the computer or software to execute. It also includes all the tasks necessary for the code to function correctly and fulfill the objective for which it was written.

Kazuichi Souda: Ultimate Mechanic:

If we look at general mechanics, it's the branch of physics that studies and analyzes the motion and rest of bodies, and their evolution over time, under the action of forces. But here we're going to talk about his talent, which is clearly mechanical engineering, which I mentioned previously.

Miu Iruma: Ultimate Inventor. And here lies a problem: for now, we'll limit her invention to mechatronics, because otherwise we'll stray from the topic.

Inventor is a rather abstract term.

The term inventor refers to someone who invents, who contributes the intellectual development of an invention.

What's the problem here? The discipline of invention isn't a well-defined discipline like mechanics and computer science; it's a cross-cutting function.

'Invention' doesn't have a predefined direction... until the inventor appears.

Invention, in the context of engineering, isn't a branch. It's the aggressive application of interdisciplinarity.

If a competent mechanic expands into electronics to make their machine work, and a computer scientist expands into control systems to make their software impactful, the 'Inventor' is someone who skips steps. The inventor doesn't wait for the system to be stable; they take the three sectors—Computer Science, Mechanics, and Electronics—and make them collide to see what happens.

But we must separate creativity from process engineering.

Innovation without technical validation is not engineering; it's improvisation.

The other two (in their respective specialties) work under reliability protocols. If a control system fails, a plane crashes. If a mechanical structure gives way, a bridge collapses. Their job is to minimize error.

"Innovating" for the sake of innovation often involves ignoring constraints. An inventor can create something "novel" by breaking safety, energy consumption, or ergonomic standards.

Innovation is spectacular, which is why it attracts more attention. But silent engineering (making something work flawlessly for years) is just as difficult; it's just not "showy."

Let's move on to the narrative, because here we have a distorted perception of what it means to be talented.

In fictional narratives:

There's a tendency to want the "genius" to be able to solve any technical problem so as not to break the story's rhythm. The problem is that when a story needs a quick solution, it often resorts to a character with an ambiguous label.

The criticism stems from the audience beginning to believe that A (Inventor) can do what B (Programmer) and C (Mechanic) do. Therefore, character A is better; this technical competence is forced by narrative convenience, not because their talent is intrinsically superior.

We also have the versatility vs. specialization.

The audience often confuses narrative versatility with technical mastery.

The narrative says: the inventor is capable of creating network hacking devices to repair a complex machine.

The viewer's reality: if the inventor can do everything, then the programmer and the mechanic are redundant.

By comparing these characters, the audience transforms a multidisciplinary collaboration into a competition which ruins the richness of seeing three specialists working together.

And then there's the trap of narrative scale.

The problem isn't that the characters are comparable, it's that we treat them like RPG heroes where technical talent is just a level statistic. But engineering isn't a level of experience; it's an architecture of solutions. When we compare these three characters, we're ignoring that each is narratively designed to face different challenges. Chihiro solves fundamental problems (what happens at the core of the system), Kazuichi solves maintenance problems (what happens on the physical periphery), and Miu solves cutting-edge problems (what happens on the frontier of chaos). None of them is 'better'; they're simply positioned at different strategic points in the story.

Why does it hurt so much to admit that a mechanical engineer doesn't need to know how to program an AI to be the best at what they do? Why do we feel that a character has to be a 'jack-of-all-trades' to be valuable?

FURTHERMORE, not even the franchise itself pits them against each other. Not even at UTDP or Summer Camp—well, it does, but without declaring a winner. At the end of their journey at Summer Camp, both Kazuichi and Miu have an engineering competition. But again, a winner is never declared, and this is a deliberate narrative decision.

The clash between the mechanic and the inventor doesn't end because their metrics for success are incompatible.

If you pit them against each other, what do you evaluate? Speed ​​of execution? System stability? Aesthetics? Innovation?

The game doesn't give us a winner because, in real life, an engineering judge couldn't decide. A judge would reward Kazuichi's reliability and maintainability, but would also reward Miu's disruptive creativity and advanced design.

The narrative conclusion: The duel has no end because there is no single standard for measuring "ultimate talent." Each one plays by different rules.

It's dangerous to impose a hierarchy where none exists.

When the audience tries to settle this duel with a personal opinion ("Miu is better because she does crazier things" or "Kazuichi is better because he's more realistic"), what they're really doing is imposing their own biases about the usefulness of engineering.

The audience wants to see a winner so they feel their favorite character has the "advantage." But narratively, this comparison is a "fabricated problem." It's like trying to compare a heart surgeon to a general practitioner in an emergency situation.

The three of them are basically the trinity of engineering; they fulfill three essential needs of any survival group.

Chihiro is the foundation: Without him, the group has no logic, no data management tools, no shared "brain."

Kazuichi is stability: Without him, the group has no functional tools. He's the one who makes the technology usable and repairable.

Miu is the disruption: Without her, the group is stuck in the familiar. She brings the innovation that allows them to overcome situations where conventional solutions fail.

"The narrative presents these three characters as pieces of a technical puzzle, not as competitors in a race. When the fandom insists on comparing them, they're ignoring the fact that the work itself refused to declare a winner in their few duels. Why? Because the script knows something we don't: that in a scenario where survival depends on technology, the 'best' isn't the one who knows the most about everything, but the one who knows how to apply their specialty at the exact moment when others fail.

In real engineering, the competition isn't against others, but against the problem to be solved.

And that's without even touching on the virtual world of Summer Camp

Where they go from being engineers to architects of reality

We're no longer talking about machines that weld pieces together. We're talking about a brain-computer interface. This changes the level of technical demand:

Here's the point people forget: The Neoworld project required three years of work by five elite specialists. If the answer were “Miu could have done it all alone because she’s the inventor”—that would be ignoring the fact that real engineering isn’t about individual power, but about bandwidth. Miu isn’t better for “not needing anyone”; on the contrary, her genius as an inventor is demonstrated by knowing when and with whom to collaborate to push the boundaries of what’s possible.

The need for a team isn’t a sign of weakness in Miu; it’s technical validation that the project was so complex it required the expertise of five different branches of knowledge. To suggest that she could have done the work of Chihiro, the neurologist, and the therapist isn’t admiring Miu; it’s underestimating the complexity of the disciplines that others contribute.

The comparison is, in essence, a design flaw. If you treat them as solated units, you're missing 90% of the functionality of the machine they represent. Engineering isn't a sprint where you cross the finish line first; it's a marathon of reliability, logic, and constant disruption.

In the world of engineering, there are no better or worse pieces. There are only pieces that fit together, and pieces that, when compared, are useless. Stop trying to crown a winner

Not just fighting to protect someone, but the kind of primal "mother protecting her child" response where self-preservation completely disappears.

The sort of person who would fight, run, endure terrible injuries, or sacrifice herself without hesitation if it meant keeping her child/childe safe.

I'm curious whether there are any examples in official VTM lore, novels, sourcebooks, or actual plays.

As a Storyteller, would you ever break the rules for a truly exceptional "mother protecting her child" scene?

I'm thinking of those stories where someone pushes past pain, fear, injury, or even common sense because protecting their child becomes more important than their own survival.

Would you allow a vampire to achieve something they normally couldn't in that moment if the narrative had built up to it?

Have you ever done it? How did it play out at your table?

To clarify, I'm focusing on mothers rather than fathers because I'm interested in a specific narrative archetype

https://preview.redd.it/smuzelrruk1h1.png?width=1140&format=png&auto=webp&s=56c445ad991b823e201597e318292f9a13e8b910

After thinking about it for a while this is how I’d place Danganronpa characters into the Camp Half-Blood cabins

Not just based on talent but also symbolism personality energy and narrative role

Cabin 1 — Zeus
God of the sky power authority and order

Byakuya Togami
Twogami
Hajime Hinata
Kiyotaka Ishimaru

Togami has way too much “king” energy and a constant need for control

Twogami fits more as a protective leader and central figure

Hajime mainly fits because of Izuru someone literally created to stand above everyone else

Ishimaru represents authority order and obsession with rules

Cabin 2 — Hera
Goddess of marriage royalty and dignity

Sonia Nevermind

Literal royalty elegance and diplomatic princess energy

Cabin 3 — Poseidon
God of the sea storms and intense emotions

Empty

I still haven’t found someone who truly gives me Poseidon energy

Cabin 4 — Demeter
Goddess of nature care and protection

Mahiru Koizumi
Kirumi Tojo
Gonta Gokuhara

Mahiru has strong maternal energy

Kirumi literally lives to take care of others

Gonta is protective kind and connected to nature

Demeter is not just agriculture she also represents emotional care and nurturing

Cabin 5 — Ares
God of war aggression and impulse

Akane Owari
Maki Harukawa
Mondo Owada
Leon Kuwata

Akane is pure instinct and physical survival

Maki represents cold professional violence

Mondo has pride aggression and explosive strength

Leon fits perfectly because of his impulsiveness rebelliousness and chaotic temper

He really has “problematic teenage son of Ares” energy

Cabin 6 — Athena
Goddess of wisdom strategy and discipline

Kyoko Kirigiri
Sakura Ogami
Nekomaru Nidai

Kyoko represents strategic intelligence

Sakura is a wise and honorable warrior

Nekomaru has mentor-like tactical and disciplined energy

Cabin 7 — Apollo
God of music art prophecy and inspiration

Kaede Akamatsu
Yasuhiro Hagakure
Sayaka Maizono
Hifumi Yamada

Kaede represents music and inspiration

Yasuhiro fits more through Apollo’s prophetic and oracle side

Sayaka fits through idol charisma and stage performance

Hifumi completely lives through creativity and fiction

Cabin 8 — Artemis
Goddess of the hunt independence and female warriors

Tenko Chabashira

Tenko genuinely has Artemis hunter energy

Martial artist protector of women extreme independence and rejection of traditional male dynamics

Cabin 9 — Hephaestus
God of inventors forging and creation

K1-B0

I’d honestly open the cabin just for him

He was literally built and his entire conflict revolves around what it means to be human

He’s probably the most Hephaestus-coded character in the franchise

Cabin 10 — Aphrodite
Goddess of love beauty and desire

Teruteru Hanamura
Miu Iruma
Aoi Asahina

Teruteru represents sensual pleasure and seduction

Miu represents chaotic sexuality and attention seeking

Aoi has natural charm and a very warm social energy

Cabin 11 — Hermes
God of travelers thieves inventors messengers and liars

Kazuichi Soda
Kokichi Oma
Chihiro Fujisaki
Rantaro Amami

Kazuichi has improvisational intelligence and street-smart energy

Kokichi genuinely feels like a son of Hermes

Chihiro fits through technology communication and digital creation

Rantaro has adaptable mysterious traveler energy

Cabin 12 — Dionysus
God of wine theater ecstasy and collective madness

Angie Yonaga
Ibuki Mioda
Junko Enoshima

I based this more on the concept of Dionysian maidens rather than just “partying”

Dionysus also represents emotional ecstasy collective hysteria loss of identity shared madness and emotions pushed to extremes

Ibuki turns emotional chaos into art

Angie manipulates people emotionally through faith and fanaticism

Junko turns despair into a massive almost ritualistic emotional experience

All three have this ability to emotionally drag others into their world

Cabin 13 — Hades
God of death the underworld and the hidden

Gundham Tanaka
Toko Fukawa
Korekiyo Shinguji
Ryoma Hoshi

Gundham has dark aesthetics and connections to “underworld” creatures

Toko represents isolation and duality

Korekiyo represents obsession with death rituals and humanity

Ryoma feels emotionally resigned and empty

Cabin 14 — Iris
Goddess of messages rainbows and connections between worlds

Empty

I still haven’t found someone who gives me Iris energy

Cabin 15 — Hypnos
God of sleep rest and drowsiness

Himiko Yumeno
Chiaki Nanami

Doesn’t really need much explanation

Himiko is constantly tired

Chiaki is literally associated with sleep

Cabin 16 — Nemesis
Goddess of revenge punishment and inevitable justice

Fuyuhiko Kuzuryu
Mukuro Ikusaba
Shuichi Saihara

Fuyuhiko represents retaliation and violent codes

Mukuro represents relentless military punishment

Shuichi confronts guilty people and seeks inevitable justice

Cabin 17 — Nike
Goddess of victory competition and triumph

Peko Pekoyama
Kaito Momota

Peko has discipline centered around victory

Kaito fits through heroic and competitive spirit

Cabin 18 — Hebe
Goddess of youth immaturity and youthful vulnerability

Hiyoko Saionji
Mikan Tsumiki

Hiyoko represents childish emotional immaturity

Mikan represents fragility and constant need for validation

Cabin 19 — Tyche
Goddess of luck chance and probability

Celestia Ludenberg
Nagito Komaeda
Makoto Naegi

Celeste lives through gambling and chance

Nagito is literally luck personified

Makoto survives through absurd probabilities

Cabin 20 — Hecate
Goddess of magic illusions and the supernatural

Tsumugi Shirogane

I’d honestly open this cabin just for her

Multiple identities illusions disguises narrative manipulation and very strong modern witch energy

Not just romantically, but emotionally.

I’ve always felt the song hits REALLY hard with immortal characters because of the whole ‘learning how to love’ aspect. Especially these lines:

‘I always thought I might be bad

Now I'm sure that it's true

'Cause I think you're so good

And I'm nothing like you’

and

‘I could even learn how to love like you’

It feels very VTM to me. Like a character who’s been undead for so long that genuine human affection starts feeling distant or almost incomprehensible to them.

So now I’m curious: which parts of the song fit your characters the most?

Would they relate to it, reject it completely, or secretly get destroyed by it?

Listening to the chorus of "Thing" by Steampianist made me think about a very specific kind of longing — not just admiration, but the aching desire to be something you fundamentally are not.

To have their strength, their form, their purpose.
To change, to become, to belong to something greater…

And knowing you never will.

Do your kinfolk struggle with this?
Do they resent their inability to shift, to truly stand alongside their Garou relatives?
Is there envy… frustration… maybe even quiet bitterness?

Or have they learned to live with that distance?

I'm not referring to them being made up; I'm referring to disorders that are not in the manual but appear in the DSM-5.

The ones that appear in the books are:

• Paranoia

Believing that everyone is conspiring against you. Constant suspicion, hypervigilance, interpreting everything as a threat.

• Schizophrenia (narrative interpretation)

Hallucinations (voices, visions), fragmented thoughts. In Vampire, it's often used more as a narrative device than a realistic clinical one.

• Dissociative Identity Disorder

Multiple “personalities” with distinct behaviors.

• Obsessive-Compulsive Disorder (OCD)

Intrusive rituals or thoughts that the character cannot control.

• Megalomania

Believing oneself to be chosen, superior, a messiah, or the central figure of the universe.

• Severe Depression

Hopelessness, apathy, even self-destructive tendencies (complicated in vampires, but it translates into carelessness or risk-taking).

• Extreme Phobias

Irrational fear of something specific (mirrors, blood, crowds, etc.).

• Mania/Bipolar Disorder (Narrative Interpretation)

Sudden mood swings: intense euphoria vs. emotional crash.

• Amnesia

Memory loss, significant gaps in their own life.

• Delusions (of persecution, grandeur, etc.)

Firm beliefs that do not correspond to reality.

• Eating Disorders (Adapted)

In vampires, this can become a strange obsession with how, when, or on whom to feed.

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First, I'm announcing that from now on I will only be posting on Thursdays.

I'll now talk about the redesign:

I made a major change to the hairstyle because it doesn't really make sense to me that someone who cut their own hair, without a mirror and with a knife, would have such neat hair.

For those of you who’ve played lupus-born Garou in Werewolf: The Apocalypse:

How did you handle the whole “wearing clothes” thing once your character started using Homid form more often?

I’m not talking about mechanics, but more about the roleplay side of it. Did it feel natural for your character to adopt clothing as part of Garou society, or did you play it as something awkward, unnecessary, or even uncomfortable?

Did your lupus see it as practical, symbolic, or just something “the others do”?

I’m working on some character designs (lupus-born siblings who mostly stay in wolf form), and I’m trying to figure out how much sense it makes for them to wear even minimal clothing in Homid.

Curious to hear how others approached it.

Lord, I'm one, lord, I'm two, lord, I'm three, lord, I'm four
Lord, I'm 500 miles from my home

I'm not talking about a physical place, a house, I'm talking about something much more symbolic, a place where your character once had something, someone who made them feel safe and from whom they are now very, very far away, a version of themselves, a memory

It was July 2024, and I had discovered Vampire: The Masquerade in a video about Diablere. Intrigued, I started researching it. I found a Facebook group, claiming to be from Argentina, and posted a message looking for a group. That's how my first game master contacted me.

He told me the table would be set in the Victorian era, and I was like, "That's my thing!" as you might have guessed. I was still in my Fear and Hunger phase and had a favorite character: Samarie (obviously you were right all the time). I thought, "What if I could play her as a vampire?"

I pitched the idea to my game master of a bookish, somewhat hysterical, and socially awkward character, and he said she'd make a great Malkavian.

At one point, I remember asking him, "Who is the evil god in this game's universe?" And he told me about the Weaver, the Wyrm and Gaia, the Kinfolk and all that. I was like, "That's what I want."

He added me to a WhatsApp group, and when I casually mentioned my concept, someone said, "Fomor?" I was super confused but intrigued.

I messaged my master privately and asked, "What is a Fomor?" He explained it to me very kindly, and I was like :0 — but initially a little sad because I understood that if I wanted to be a Fomor, I couldn't be a vampire, and that was :(

But he told me I could be both, just that I would be very, very, VERY screwed. And I was like, "My mom didn't raise a weakling, and my dad didn't raise me at all."

I told him, "Go for it! Anyone afraid of dying shouldn't be born."

So yes, he gave me the books I should use, like the Fomor Monster Manual. Curiously, he didn't give me the basic Vampire manual, and creating the character sheet was somewhat chaotic.

I didn't even have the sheet on hand — he filled it out with my instructions, following the directions he gave me.

Agnes started as Generation 12 so that she could have the appropriate Fomor advantages to "pass undetected" and other useful traits.

Agnes' first character sheet:

• Dark Secret (4 points) — because she's Fomorian
• Racial Prejudice — also because she's Fomorian
• Contaminated Vitae — again, because she's Fomorian

I gave her the Ugly trait because I didn't want her to be attractive or perceived as pretty (I later realized I was a bit unfair to Agnes).

These flaws basically allowed me to give her certain merits, like:

• Deceptive Aura
• Invisible Stains
• Not Possessed

(Yes, I know that generally Banees don't control vampire bodies, but I was edgy and wanted psychomachia.)

And yes — the bitch also had Gnosis at 4 and Rage at 1. Don't ask about Rage, because at that time I was all about "whatever the GM says and whatever hurts the most."

Curiously, her Disciplines were relatively low. Even at the end of the chronicle, she still had:

• Obfuscate at 2
• Auspex
• Dominate at 1
• Thaumaturgy at 1 (added later)

I gave her Dominate 1 and Obfuscate 2 mostly so she could fly while obfuscated.

Because yes — Agnes had wings. Also claws, horns, blood tracking, and a mega-attribute that I used to max out her strength.

In the story, because of her blood-tracking ability, she was basically used as a bloodhound. Combined with heightened senses, it made her extremely effective.

I remember they even blindfolded her so she could focus better on scent.

Now, about her tainted blood flaw:

For those who don't know, Bloodhounds (Fomori vampires) are essentially allergic to their own blood, losing one point of Strength, Stamina, and Willpower every month.

To alleviate this, the book suggests drinking Harold Zettler's blood (the origin of Fomori vampires).

The GM adapted this and told me that any vampire of 7th generation or lower would work — but those are extremely rare.

Over time, he introduced Abraham Mellon as Agnes's mentor.

He literally took her off the streets like someone picking up an abandoned cat in the rain.

She lived with him for 50 years, receiving his blood periodically.

This made her develop a deep and obsessive love for him — clearly unrequited, though he didn’t exactly discourage it either.

Abraham kept Agnes mainly to experiment on her, but even so, he treated her with more humanity than her sect ever did… even though his Humanity was 4 or lower.

He was also the one who formally introduced her to vampire society.

By that point, Agnes was tolerated even without introducing herself, because the Nosferatu had already been monitoring her.

Abraham supported not only Agnes but the rest of the party as well:

• Providing temporary shelter
• Teaching thaumaturgy to another player
• Asking only that they protect Agnes in return

And yes — he also taught Agnes Thaumaturgy. Unfortunately, the campaign ended just as that started, so I could only give her one point in it.

Agnes also used her Gnosis to cross into the Umbra, both alone and with others, searching for shortcuts, clues, and signs of the Wyrm.

After that storyline ended, I continued playing Agnes in other vampire games.

However, I mostly played her just as a vampire — I didn’t feel comfortable enough with other groups to explore her Fomor side fully.

One day, I posted Agnes and her story on Facebook, and someone else contacted me.

She talked to me more deeply about werewolves, and I shared Agnes’s story in detail.

She suggested that, to make Agnes less unbearably edgy and more tragic, I should give her something hopeful.

So I improvised and asked: "Could she have had a werewolf lover?"

She agreed — with the condition that he wasn’t a dancer.

She suggested the Get of Fenris.

The story became this:

Agnes and a young Get of Fenris prisoner fell in love.

He promised they would escape together, giving Agnes hope for the first time.

But Agnes carried so much corruption that when she became pregnant, it affected him.

Kael absorbed that corruption, became a wandering howler… and died.

Agnes lost him. And they took her baby.

Then everything collapsed.

The hive was destroyed by a group of Get of Fenris led by Kael’s older brother, seeking revenge.

Agnes escaped.

The Fenrir razed everything — but took the baby after recognizing him as Kael’s son.

The problem?

Kael’s brother couldn’t bear to see his nephew because of how much he resembled him.

So he abandoned the child in the mountains.

The child was later found by the Shadow Lords… who decided to keep him.