WHO’S WHO
It can be a good idea to recommend certain characters to certain
players if you think they’ll have a good time taking control of them.
Here’s a rough guide on who to give to who:
Iryna is the poshest of all the characters, and probably the
best dressed. She has some abilities and equipment which allow for
interesting descriptions of magic, too. Players who want to be
beautiful and elegant rulers of the night should enjoy playing her.
Nicole has a bunch of guns. If someone likes guns, glorious self-
destruction, or the linear application of extreme violence to complex
problems, they may well like playing Nicole.
Cosgrave is the most magical character, and his abilities come with
the expectation that players will use them in creative ways. Give
Cosgrave to a player who’s comfortable with improvising in the moment.
Chuck is a good-natured cowpoke, but he eats corpses. Give Chuck to
the joker in your group, because he’s incongruous and has plenty of
opportunities to make light of situations.
Astrid is the most basic character in mechanical terms, and she’s
very good at fighting nazis. If a player doesn’t want to make too many
complex decisions and just wants to rip nazis in half, give
them Astrid.
Finally, Flint is a half-man half-bat monster who may or may not
be able to talk. Players who are new to roleplaying or talking in-
character might enjoy the opportunity to play a big friendly dog-like
creature, albeit one that isn’t very friendly to nazis.
PLAYING WITH IDENTITY
This game defines the six player character vampires only loosely,
because they should be as easy to play as possible. It’s up to you
as players to provide detail, as and when you feel it’s exciting,
evocative or appropriate.
So our iconic vampires haven’t got preset pronouns, religions,
sexualities, or neurotypes. The character sheets and art suggest
certain things about their bodies, ancestries, gender presentation,
and cultural backgrounds, but the game still works great if you modify
those identities to fit your creative vision or to evoke your own
real-world identity.
If you, out of character, share a character’s marginalised identity,
we trust you to get it right. If you portray a character with a
marginalised identity you don’t share, that can also be great, but if
you stray into stereotype you might make a player at your table feel
uncomfortable, or develop bad habits which lead you to uncomfortable
interactions with marginalised people later on in the real world.
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