Jean-Charles Ray

“A Beast I Am, lest a Beast I Become” – Tabletop Role-Playing Games Vampires and the Questioning of Power

Introduction

“a beast i am, lest a beast i become” – tabletop role-playing games vampires and the questioning of power. Explore the evolution of vampires in tabletop RPGs (D&D, Vampire: The Masquerade) from 1974-2020, questioning power, reflecting cultural shifts, and expanding game expression.

Abstract

Bram Stoker's late-Victorian gothic take on the figure of the vampire revealed its many ambiguous facets and opened up new avenues for future exploration. His Dracula is first and foremost a menacing figure from the margins of the West, invading the heart of the British Empire (leading to Nosferatu, Murnau, 1922). At the same time, he is a defender of Christianity, who became monstrous by confronting the foreign enemy (particularly visible in Dracula Untold, Shore, 2014). He is a nocturnal predator seducing women (Blood of Dracula, Strock, 1957), but also an agent supporting female emancipation oppressed by patriarchal and religious yoke (Coppola's romantic vision in 1992). This interpretative variety is reflected in the adaptation of the vampire figure in the medium of tabletop role-playing games. From Dungeons & Dragons (Gygax and Arneson, 1974) to Vampire: The Masquerade (Rein-Hagen, 1991), via Chill (Sanchez et al., 1984), the vampire has in turn taken on the traits of the nemesis to be slain, the power fantasy, rebellion against the established order and lyrical, tragic romanticism. This article offers to examine the evolution of the vampire figure in tabletop role-playing between 1974 and 2020. Such a period obviously doesn't allow us to claim exhaustivity, but by examining a few cases that have marked the history of the medium, we can account for the relationship between this figure and the development of role-playing's means of expression, on the one hand, and cultural and social transformations, on the other. From adversary to protagonist, from bloodthirsty monster to sensitive being, the vampire has contributed to expanding the medium's expressive possibilities. As Buffy proclaimed (season 7, episode 1), "It's about power", and the vampire invites us to rethink its use and distribution.

Review

The article, "'A Beast I Am, lest a Beast I Become' – Tabletop Role-Playing Games Vampires and the Questioning of Power," promises a compelling and timely examination of a rich cultural figure through the lens of tabletop role-playing games (TTRPGs). The abstract effectively sets the stage by illustrating the inherent interpretive plasticity of the vampire figure, drawing parallels from Stoker's original work through various cinematic adaptations. This foundational understanding of the vampire as a mutable symbol – embodying menace, Christianity, seduction, or emancipation – provides a robust theoretical framework for exploring its evolution within a participatory medium. The stated aim to trace this evolution between 1974 and 2020, linking it to the development of TTRPGs' expressive capabilities and broader cultural shifts, is ambitious and highly relevant to both game studies and cultural scholarship. A significant strength of this proposal lies in its interdisciplinary approach, bridging literary analysis, media studies, and game studies. The abstract clearly outlines a trajectory from early portrayals in games like *Dungeons & Dragons* to more complex interpretations in *Vampire: The Masquerade*, indicating a thoughtful selection of case studies that have indeed marked the history of the medium. The focus on how the vampire shifts from a simple adversary to a nuanced protagonist – embodying power fantasies, rebellion, or tragic romanticism – is particularly engaging. By framing the discussion around the "questioning of power," the article is poised to offer valuable insights into how TTRPGs serve as a unique platform for players and designers to explore complex themes of control, agency, and societal structures. While the abstract acknowledges that an exhaustive review is not possible, the selection of key examples such as *Dungeons & Dragons*, *Chill*, and *Vampire: The Masquerade* provides a strong foundation for the analysis. To further solidify its contribution, the paper might benefit from explicitly outlining the criteria for selecting these specific cases and how they demonstrably represent the broader trends or pivotal moments discussed. Additionally, beyond the narrative and thematic evolution, a deeper engagement with the *mechanics* of how these TTRPGs translate or facilitate these varied interpretations of vampiric power could enrich the analysis, demonstrating how the medium's very structure contributes to its expressive possibilities. Overall, this appears to be a highly promising and valuable contribution that will undoubtedly spark further discussion on the intersection of folklore, media, and interactive storytelling.

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