115 Volume 11 • 2015 11 • Volume - - Volume 11 #vampire, #media, #role-playing game, #werewolf; #werewolf; game, #role-playing #media, #vampire, Century vampire. We aim to, through the cultural analysis of aim to, through We Century vampire. st how ideas have been transferred from this role-playing game to to game role-playing this from transferred been have ideas how - his cultural Rein•Hagen’s Mark demonstrate clearly media, other torical significance. Keywords #subcreation Academia in Darkness we can devote ourselves but the part of our life where is Lesuire rewarding that has become ever more culture most fully to culture: which we practice it have increased, as the number of media through each One enriching of the the other. iconic figures of this media-en- who, within the last few decades, has is the vampire, riched culture previous of scholars; the attention attract to enough large loomed on Bram Stoker’sexplanations of this phenomenon have focused Mark Rein•Hagen’s role-playing game Vampire: The Masquerade, game Vampire: Mark Rein•Hagen’s role-playing universe, is foundational to the of Darkness shared set in the World 21 Abstract Ph. D. is associate professor in information science and cul in Ph. D. is associate professor of Library and Infor tural communication at the Royal School of Copenhagen. Co- mation Science (RSLIS) at the University of fields His DADIU. academy developing game the of founder such as game analysis, role-playing include subjects interest and digital culture, acafandom, geek culture, games, ludology, transmedial culture. quarter

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Lars Konzack Nosferatu Buffy Vampire the The Lost Boys Lost The Volume 11 offer a complete and Whedon`s on 21st Century Vampiric Media Vampiric Century on 21st ” Joss “ The Masquerade Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark and the serial works of Anne Rice, along with vampire Anne Rice, along with vampire of and the serial works century vampire culture hunters have continued this pur hunters have continued culture century vampire st Dracula . 21 into the vampire scene” (Russo 2005: 105). into the vampire “One of the best sources of vampire material, which material, which of vampire “One of the best sources The into the modern era, is Vampire: brings the vampire Although it is a role-playing Masquerade by White Wolf. game, which is not everyone’s cup of tea, it is still cornu ideas. Plus, it helps bring new blood copia of interesting A few have even studied them as they appear in the media of in the media of few have even studied them as they appear A Other researchers who have taken notice of Vampire: The Masquer who have taken notice of Vampire: Other researchers Hallab (Hallab Y. (2001), Mary Rachel Werkman are ade, or V:TM, con latter the Wolski; Michael and (2009), Ward Mizei Rachel 2009), and suggests lore, trasts the game with traditional Polish vampire that it be could used for educational purposes, or even a tool for of “Hence, the rules research: interactive, their primary audience is the players themselves. Theyinteractive, their primary audience role-playing of computer audio and the graphics have even not do researchers this seemingly inaccessible media may, Yet games. now believe, be a the evolution of vampirism as wevital stage in Arlene Russo: quote To know it today. tabletop role-playing games. This has its challenges. The most has its challenges. The most games. This tabletop role-playing ac games, role-playing about book academic quoted widely Fantasy Fine’s Shared Alan is Gary to Google Scholar, cording (1983). This than thirty years old and examines role- study is more would study a an anthropologist players and their community like itself, Internet gamer culture mysterious native tribe. Even within habitually confuse them with collectable sites such as TV Tropes games did, admit war games (though role-playing or games card the to media mass only are the latter). They from develop tedly, extent that the highly on are: based they are the systems texts of novel Murano’s W.” “F. Wilhelm movies such as Friedrich Schumacher’s Joel the 1960s, of Films Hammer such as Joseph Hill TV-series Slayer al.et Click 2009, (Steiger media of forms noticeable more the in suit 2011, Anatol Olson 2011, 2011, Wilson 2011, 2010, Parke & Wilson 2012, Piatti-Farnell 2013, Brod Agnieszka 2012, Morey & Edwards man & Doan 2013). quarter

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Lars Konzack World of Dark World Volume 11 on 21st Century Vampiric Media Vampiric Century on 21st Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark (V:TM) back in 1991. It focused more on back in 1991. It focused more (V:TM) (WoD). The reason for all this secrecy was that even though that even was this secrecy all for reason The (WoD). It wasn’t the first time a role-playing game had such a setup. The setup. a such had game role-playing a time first the wasn’t It Mark Rein•Hagen (his name then included a dot) published dot) published (his name then included a Mark Rein•Hagen mindless, amoral beast (Rein•Hagen 1991). Characters “won” the such as only sub self-restraint, forms of game by practicing various sisting on animal blood (a practise called “vegetarianism” in the that is. game) – in theory, which game, in ten years senior Call of Cthulhu was a role-playing Lovecraft`s of H. P. player characters investigated the subcreation The goal was unlock as Cthulhu Mythos, going insane thereby. very mortality) living humans. To ensure this cover up, a variety of ensure very mortality) living humans. To the Camarilla, an un clans got together and established vampire got to play – not mortal vam And you as a player dead conspiracy. about to play a were You hunters – but one of the vampires. pire tra more of being that in a lost soul, member of an order monster, be an antagonists, rather than would games ditional role-playing character would have supernatural powers that Your protagonists. so, the over the masses it fed upon. Even would grant it supremacy character’s the powers were Your game was set up as a tragedy. the both, exploited you more the appetite; victimizing a of tools a mere become until it was would your character monstrous more tabletop role-playing is derived from wargaming, and that most of wargaming, from is derived tabletop role-playing fantasy self-contained were place in which it took subcreations the our own was set in V:TM Arda. worlds along the lines of Tolkien’s existence of except for the secret contemporary urban reality, as werewolves, equally supernatural beings such – and vampires All of these supernatural beings mages, wraiths, and changelings. named subcreation together formed the basis of the ness immortals, they have to contend with super-powered are vampires hostile (as necessitated by the and potentially numerous the more of their (by reason progressive, own diet), not to mention vampires relatively consistent system unifying the sometimes contrary views unifying the sometimes contrary consistent system relatively might serve as a basis for their of vampirism, and comparison.” spots of illumina but indicative these are Yet, 2013, p. 171). (Wolski is yet another – be This article necropolis. tion in a darkly immense matter is labyrinthine, indeed. warned: the subject The Vampire: Masquerade agonistic and aleatory, more storytelling than many previous, is important to keep in mind thatgames of its type (Fannon 1999). It quarter

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Lars Konzack Volume 11 Call of Cthulhu on 21st Century Vampiric Media Vampiric Century on 21st Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark In order to study these fictional worlds of vampirism, we have Creating a role-playing game in which story and character devel character and story which in game role-playing a Creating The process of creating a secondary world in the primary world, one of creating The process rational exploration in the same manner as the primary that require hence, a secondary world may world does, is called sub-creation; the designer or Furthermore, to as a sub-creation. also be referred 1947, (Tolkien of a secondary world is called a sub-creator creator 2012). Wolf resulting in chronicles (or game campaigns) that are little more than little more that are (or game campaigns) in chronicles resulting denied the free players are brief combat simulations, or in which Neverthe –playing games interesting. interactivity that makes role can be challenging stories, creates V:TM less, played either way, emotional fulfilling to and play, has a distinct gothic punk style. has leftAbove all, its bold experimentation with concepts and rules games and beyond. an impact both on other role-playing by J. R. R. Tolk introduced drawn upon the theory of subcreation the primary world, world is our real this point of view, ien. From worlds. secondary terms Tolkien what are constructs fictional whilst a difficult task, an requires it intimate understanding of how game especially as it goes con react, work and how players mechanics games. Sandy of role-playing trary to what is traditionally expected with Petersen accomplished this task in actual the same feat; however, Rein•Hagen almost accomplished an intricate Latinate terminology lovingly (including rules his play, or “disciplines”, as well asdetailing the various vampric powers, mostly non-player characters,the social system by which “elder”, vampires exploited their less empowered offspring) succeed all worse, the Storyteller (Mark or, too well in seducing players, Master) into the abuse of power, Rein•Hagen`s term for a game many secrets as possible and to avert the advent of unknowable unknowable and to avert the advent of as possible many secrets rating en death, or the loss of credit insanity, cosmic Gods before sued. But the final outcome would inevitably be 2011, dire (Tresca in now played the monsters. But you In V:TM, Leavenworth 2014). playerthe that meant rationality also character of loss games, both of that character. lost control of on-going achievements and becom not an epic saga opment are just not defeat, is personal but a powerful, more ing progressively quarter

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Lars Konzack . Last but cer Lost Boys Volume 11 (1987), but even vampiric Call of Cthulhu on 21st Century Vampiric Media Vampiric Century on 21st century ancestors. Even, more im century ancestors. Even, more Near Dark th Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark 2015, Lars Konzack interviewed Mark interviewed Mark 2015, Lars Konzack (1983) or th Hunger Anne Rice’s Vampire Chronicles were of primary importance be were Chronicles Anne Rice’s Vampire Tabletop role-playing games are primarily based on textual ma primarily based games are role-playing Tabletop On January 26-27 nature and the gradual discovery of others of his kind. This is one of and the gradual discovery of others of his kind. This is nature the ways that secondary worlds can be used to decouple ordinary views of the primary world; by putting the primary world (our real world) into perspective via the secondary or imaginary world (Tolk ien 1947). By doing so it becomes easier to think unconventional of the thoughts and accept a world in transition, because readers and have an idea that the world can be perceived imaginary already understood very differently if its premises are altered. As a conse interest due to the role-playing game due to the role-playing interest the movie Nos Bram Stoker, the classics: were tainly not least, there Anne Rice. feratu (1922), and, of course, exist an entire there a world in which they present cause, like V:TM, without the quainter folk vampires community of vampires, secret weaknesses and bats) into transforming as (such powers loristic (such as garlic) of their early 20 (Ramsland a vampire the perspective of it is seen from portantly, (1976) is the of Interview with the Vampire 1993). The protagonist intenseyet monstrous his to awakening of one is story his vampire; to his sources. A large part was played by the various vampire mov the various vampire part was played by large A to his sources. the abovementioned ies of the 1980s, not merely movies such as number seems to have been a large comedy movies, of which there Another was literary and cinematic depictions of the at the time. Mafia, as well as Niccolò Machiavelli`s Il Principe (the leaders of entitled “Princes”), as material for his Camarilla society are V:TM`s own vampiric society; science fiction authors such as Robert A. him with, in Marks own who inspired Asimov, Heinlein and Isaac writers ARCS of history”; and general horror works, “their great Lovecraft, the latter being of special such as Stephen King or H. P. The Masquerade performa with the intention of producing terial, though written s/he had at hand, is and the material Its sub-creator, tive results. in understanding that text. an important source the dot – this way we can distin Rein-Hagen (Mark no longer uses his former self) for this from guish the Mark Rein-Hagen of today as both clear and comprehensive article, and Mark Rein-Hagen was quarter

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Lars Konzack Volume 11 , the Gangrel clan was clos , the Gangrel on 21st Century Vampiric Media Vampiric Century on 21st

Nosferatu , and so forth. Mark Rein-Hagen says Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark Lost Boys But to reduce V:TM to being a simulation of Anne Rice’s Chroni to being a simulation of V:TM But to reduce that this, to him, “seemed like the right number, each expressed a each expressed that this, to him, “seemed like the right number, a, of you remind didn’t yet Vampire... a of idea the of trope different They intermeshed well as god forbid, a character class or TV trope. to 13, and politi The number was later increased units of a society.” Mark Rein- cal ideologies, such as that of the Camarilla, inspired, Hagen clarified, by “the Sicilian code of Omertà – silence being the of games appreciation he expressed primary duty”. Furthermore in them, be social groups and settings that have well-organized formed. The abovementioned tendency of tabletop role-playing to of tabletop role-playing formed. The abovementioned tendency of this media re result is a direct subcreations use Tolkien-inspired “a whole society of he created In Marks own words, quirement. subcreation Rice)”, an entire Anne (not just a couple as in Vampires crea underlying our world, complete with its own Old Testament tion Vampire wasmyth the(the Biblicalfirst Cain), holy scripture – bloodlines (each with its own The Book of Nod – status, vampire clan mystical specialities and weaknesses; the Toreador subculture, in the Nosferatu clan was Anne Rice vampire, based on the were the movie obviously, by, spired in er to the vampires Rein•Hagen had started designing his game, been a succulent his game, been a succulent Rein•Hagen had started designing (often media in various the vampire of in new portrayals growth boom of the 1980s, but role- movie due to Rice), such as the vampire and tendencies differ playing games as a media have requirements ent from those of fictional narratives. Rice`s novels were useful due encyclopaedia an entire has been (there traits subcreational their to but in this case an even greater written about them (Ramsland 1993), due to the in not merely detail was needed, of background degree but because nar protagonists, teractivity of several player character rather than the game setting; it, developed in play, rative details are which narrative is per materials from the instead, has to provide quence, people relating to imaginary worlds, whether they be medi to imaginary worlds, whether quence, people relating to cope with often better suited distant planets, are eval fantasies or themselves to They have prepared world view. changes in their own many dif box because they habitually experience think outside the 2000, Wolf & Jenkins 1995, Bacon-Smith (Tulloch worlds ferent from interest of special what makes the Chronicles 2012). This is also a game world design perspective. Mark time the by there, had only Not simplistic. too far is cles quarter

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Lars Konzack Volume 11 on 21st Century Vampiric Media Vampiric Century on 21st Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark In fact, WoD is a role-playing game of competing paradigms. game of competing paradigms. a role-playing is In fact, WoD of game, and his Wold Thanks to the success of the role-playing that of Georges, but the viewers of 1996 had yet to develop the ha that of Georges, bitual use of many media options now taken for granted, such as routinely surfing clues and discussions, or downloading the series contempo The internet. the on leisure, ones at viewed be to oneself, was a nom There access to the rulebook. rary viewer has, so to say, the living detective Frank Kohanek, but inal viewpoint character, his exploration the story around rather than naturally structuring of the undead then, TV-series society, in the first introductory epi turn V:TM into a TV-series named Kindred: The Embraced (1996). It The Embraced (1996). named Kindred: into a TV-series turn V:TM and was then cancelled. It eight episodes for one season only, aired to failed certainly it but early, too came simply it if say to difficult is was some at Even though there demographic. engage the target tempt at simplification – the setting TV-series has five vampire clans, rather than the games seven – it may have been too difficult multiple factions intrigue of and to grasp the politics viewers for given the condition of the media at that time. This may seem odd R. given the contemporary success of series such as George today, Mark Rein-Hagen, in (2011-present) R. Martin`s Game of Thrones the complexity of his world-building to compares the interview, the other major orders of supernatural beings, in turn. of supernatural the other major orders mages, wraiths and changelings – each werewolves, Vampires, of Darkness func the World have their own explanation of how of to the end as eschatologies variant ominously, including, tions, game in which a role-playing same world. This means it becomes there is no final explanation to how the world functions, and in can be challenged and discussed which all of these world views during game sessions. Rein•Hagen got the chance to Darkness setting in general, Mark cause and interactions, such as thethat allows for intricate politics a the Sabbat, its rival vampiric organization, Camarillas war with who wage war by in “covens”, organized extremists, sect of vampire as cannon numbers of new vampires large or “embracing”, creating, for vampires And not merely in Mexico City. headquatered fodder, is the (dramatically in later derived media – a motif oft repeated whom Mark and conflict werewolves, fruitfull) between vampires extradi detailed (ecoterrorist, Rein•Hagen had given an equally as he did to each of American) society, mensional, partially Native quarter

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Lars Konzack Vampire: The Vampire: (2002), (2004); not to men Volume 11 (1997-2003). It had every (1992) was originally a vam on 21st Century Vampiric Media Vampiric Century on 21st Hunter: The Reckoning – Redeemer– Reckoning The Hunter: Hunter: The Reckoning didn’t. Rather than viewers having Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark (2003), (2000), Buffy:Vampire The Slayer Buffy: The Vampire Slayer Vampire The Buffy:

Vampire: The Vampire: Masquerade – Bloodlines Kindred: The Kindred: Embraced ” Consequently, the TV-series format turned out to be very old format turned the TV-series ” Consequently, . The V:TM The role-playing game V:TM shared and fictionalthe uni WoD pire action-comedy movie, but in 1997 it was turned into the gothic pire television series thing that V:TMish moral conflict. Angel was used as a spin-off character in his in character spin-off a as used was Angel conflict. moral V:TMish ofthe ideas much closer to one Angel (1999-2004), own TV-series, the world Anne Rice and Mark Rein•Hagen because we perceived from the perspective of the vampire. Buffy was most likely not in Rice pre-anne somewhat a of were vampires its by V:TM; spired such as garlic, or only beingvulnerabilities type (they have amusing soci to the point, they had no able to enter a house if invited). More of Order The exception of the sole with the pack, that of ety beyond bestselling romance novels. bestselling romance Rein•Hagen inspired vampires Joss Whedon`s on it focused to immediately take in an complex setting in media res, slow slayer, vampire a become to how learning Buffy, character, one ly expanded the universe with supernatural beings. Buffy even de bedevilled by a very Angel, a vampire with veloped an relationship Masquerade – Redemption Wayward – Reckoning The er: (2003), and Game (1994: it Collectable Card tion the critically acclaimed Jyhad to avoid association The Eternal Struggle, Vampire: was renamed which, itself, expanded into V:TES in 1995), with Islamic extremism, Online (2005-2007); and several series of fiction,WoD in amounts – scale fantasy large from usually only rivalled by those derived line of novels. So far thegame worlds, such as TSRs Dragonlance was of Mark Rein-Hagen himself; more and terminology, creations, media as cinema blockbusters andto follow-even in such noticeable sode, focusses on what is arguably the series main character, Julian the series main character, what is arguably sode, focusses on In Mark San Francisco Domain of the Camarilla. Luna, Prince of the they The Embraced “failed because opinion, Kindred: Rein-Hagen`s one that was in tv formula of the 70’s and 80’s... tried to apply the do that, but they they wouldn’t They promised the middle of dying. did fashioned, even for its day. as well: releases adapted for video game verse were quarter

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Lars Konzack Blade: Trinity Blade: Trinity Volume 11 (2002) and Blade: The Series ( on 21st Century Vampiric Media Vampiric Century on 21st Blade II Blade Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark (1998), Blade (2011), on the other hand, leave little doubt as on the other hand, (2011), Blade The movie trilogy trilogy The movie 2004), as well as the television series the television well as 2004), as of the vampire Clans of the video game series Legacy of Kain Clans of the video game series Legacy of Kain of the vampire of WoD themselves otherwise derivative that are (1996-present), Kaine, who, (various colourfully distinct bloodlines descended from though the game takes place in a gothic fantasy world, all have Bib the Houses of aspects Even the WoD-like names). lical-sounding Legacy of Kaine may have been absorbed not derived from that are be the case as could, for that matter, other sources, from indirectly thatConsidering Kaine. of Legacy in elements WoD-like the with Houses are conceptually close to those from WoD, such as the Le WoD, from conceptually close to those Houses are minor variations-some sta are There House to Clan Toreador. mure – a whether one be a “pureblood” tus is not associated with age, but sexually-or one of the despised other vampires, from bred vampire in epidemically- vampires became who humans “turnedbloods”, by Blades own family complications, but on the whole, the spired but – overwhelming seemingly is borrowing direct evidence for society vampire Blade cinematic the aspect of One seemingly. only the abstract heraldic symbols are to WoD`s that does not correspond Clans also have their own associated with each House: though WoD heraldic sigils, the design of those of the Houses is closer to those ( animated series The vampiric society. material for their subcreations to the source a dhampir (a Balkan folkloric word Blade, was main protagonist, Arthur based on the Marvin forhunter, vampire a “half vampire”) 1973, but the crea Marvel Comics character from “Marv” Wolfman with“houses”, each family 12 in organized that he slew were tures and weaknesses, united for mystical specialities its own subculture, the living, had their from secret the purpose of keeping the undead various levels of status; of Erebus; Bok scripture-The own sacred individual Even on. so and Dagon; Biblical the from descended Aurelius, a cult of vampires devoted to the worship of Lovecraftian a cult of vampires Aurelius, of Ann Rice`s Children to some resemblance Old Ones, that bear quite appropri that they are, is impression overall The Darkness. at or, comedy, of cinematic horror a tradition drawn from ately, most, be uncharacteristic of Joss notAnne. If nothing else, it would makesThis case. the were that if homage of form some indicate to flow not but to, parallel subcreation a of example an as useful Buffy that of Mar Rein-Hagens. ing from, quarter

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Lars Konzack Volume 11 on 21st Century Vampiric Media Vampiric Century on 21st Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark Stephenie Meyer’s bestselling Twilight Saga book series (2005- Stephenie Meyer’s bestselling Twilight In the movie Underworld (2003), the WoD elements were also also elements were (2003), the WoD In the movie Underworld systems (Keyworth 2002); obviously, members of such a subculture members of such a subculture systems (Keyworth 2002); obviously, alone let fiction, and fact between distinctions fine make not would be quickly lore WoD conditions, such Under material. source their of the illiterate. not a folklore comes folkloric - but, it is to be stressed, triangle a love tale of example of this. Her an well be may 2008) takes and a werewolf, between a living human girl, a vampire, place in a characteristically setting; WoD-like there is a conflict many of the complexities of vampire and werewolf society found in and werewolf many of the complexities of vampire One would imagine that it is also central to Nancy Blade and WoD. which involves a Romeo and Juliet-style tragic love A. Collins story, affair between a vampire and werewolf, thoughromance is rather out by the action-packed Underworld movies incessant drowned bursts of gunfire. But, yet again, the actual transmedialroute by world, if as a tabletop role-playing which the-by virtue of its nature makers of Under the setting reached WoD nothing else-obscure world is Todifficult name to but pin one down. example,are there actual vampires, who believe they are groups several real-world in their belief books directly and who we know to have used WoD Wolf and Wolf Nancy A. Collins, in which they filed 17 counts of copy 80 points of unique similarityright infringement, and claimed over In September game world and the movie. between White Wolf’s law This hearing. an expedited granted White Wolf judge a 2003, suit culminated in a confidential 2009). settlement It (Ward should be said that the Underworld setting does have a science fictional digni entirely whilst not perhaps which, WoD, slant absent from ultravio liquid with filled bullets and blood cloned includes fied-it Blade, the characteristically let light – is, at least, original. Unlike in war is present Rein•Hagenian element of a vampire/werewolf out left it as conflict, of source main the is this indeed, Underworld; both Marvel and New Line Studios, in connection with the Blade New Line Studios, in connection both Marvel and of Kaine have been em and the designers of Legacy motion picture, – of publisher WoD`s lawsuits-though not with in copyright broiled of these matters is not very likely. ficial clarification terminology as extent of using the same technical noticeable, to the a story writ to derive from the game: even its plot has been claimed A. ten Collins, by The Nancy Love of Monsters (1994), officially set this case, it was enough initiate a lawsuit by White In in the WoD. quarter

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Lars Konzack Volume 11 on 21st Century Vampiric Media Vampiric Century on 21st Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark It is highly unlikely that Stephenie Meyer has any clear con It is highly unlikely that Stephenie unusual mixtures of vampire/werewolf romance and large-scale and large-scale romance of vampire/werewolf unusual mixtures to which action scenes), something of a testament to the degree Mark Rein-Hagens material has suffused our contemporary cul is mediated tural milieu-material that the popularity of Twilight even further afield. has, however, been quite open about acknowledging her debt to been quite open has, however, Austen, Emily such as Jane of inspiration, sources less oneirocritical (Kisor 2010). Elements Shakespeare William and, especially, Brontë, of her subcreation are also strikingly different from not onlythose of but WoD, from the conventions of vampire fiction as awhole, become mineral lifeforms notoriously in that her vampires most sunlight: an element she that sparkle, rather than burn, in direct All vision (CNN News 2009). in her initial dream states was present the conclusion that Stephenie has absorbed of this points towards a multitude of dif from subcreation all these elements of the WoD media, such as the Underworld movie (with its somewhat ferent Twilights version of the Camarilla as WoD`s Sabbat is, though they version of the Camarilla as WoD`s Twilights of is even a degree There do not have an collective appellation). called “Covens” (again, are bloodlines terminology; vampire shared Anne in as indeed, Or, Underworld. or – Sabbat WoD`s with as on animal who only subsist vampires Chronicles), Rice`s Vampire char uses the and, although WoD termed “Vegetarians”, blood are to describe a new-made vampire, acteristically Latinate “Neonate” translation. “Newborn” is a direct Twillights to her own public statements According is. sciousness of what WoD Stephenie she based her Saga on a dream. 2011) (Burton 2009, Krohn between a society of vampires and one of (Native American) were between and one of (Native a society of vampires (called secrecy vampiric that enforces of vampires wolves, a group have a diversity of special vampires by Stephenie), the “Volturi” they are (although in Twilight, Disciplines WoD`s powers similar to individual gifts rather than classes of ability), a segment vam of (The insti of new undead. by mass creation warfare prosecute pires City as his Benito, had Mexico gator of this practice in Twilight, Sabbat sect; for reasons WoD`s power base, another similarity with that ought to be obvious, practitioners are as much in conflict with quarter

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Lars Konzack . Philadelphia, PA: . Philadelphia, PA: Volume 11 Images of the Modern Images of the Modern on 21st Century Vampiric Media Vampiric Century on 21st . Plymouth, NJ: Fairleigh Dick Bitten by Twilight: Youth Culture, Youth Bitten by Twilight: . Bern: Peter Lang. . New York, NY: Palgrave Macmillan. NY: York, . New Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark Science fiction culture fiction Science Bringing Light to Twilight: Perspectives on Perspectives Twilight: to Light Bringing Century. Its ideas spread from the tabletop the from Its ideas spread Century. st Female Force: Stephenie Meyer: A Graphic Novel Graphic A Meyer: Stephenie Force: Female

Vampire: The Hip and the Atavistic the and Hip The Vampire: inson University Press. a Pop Culture Phenomenon a Pop Culture University of Pennsylvania Press. Bluewater Productions. Franchise Media, & the Vampire Brodman, Barbara & Doan, James E. 2013. Brodman, Burton, Ryan. 2009. Burton, Ryan. A. et al (ed.). 2010. Click, Melissa Acknowledgement I would like to thank encouragement and helpful Ian Dall for re search. References Anatol, Giselle Liza. 2011. Bacon-Smith, Camille. 2000. explore, and exploit, this cultural process, scholars and academics and exploit, this cultural process, explore, Mark impact of, and on, the importance of to be conscious need and the media vam culture Rein•Hagen’s contribution to gothic game and based on his V:TM in general. These contributions, pire society with vampire secret include: an entire subcreation, VoD mythol complex background multiple factions, a correspondingly of the undead to other equally detailed super the relations and ogy, natural factions, such as the characteristic werewolf conflict; to the world underlying our of constituting a complete imaginary degree own reality. In conclusion In conclusion The Vampire: game of the role-playing creation Mark Rein•Hagen in the back Darkness subcreation of the World Masquerade and importance of out to be central to the continued 1990s has turned in the 21 the vampire and ro movies, television, video games, game into role-playing mantic fiction. This is of interest in and of itself as a study in cul yet tural this history, influence wasn’t one the media industry or academia has offered muchrecognition. In order to satisfactorily quarter

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Lars Konzack Theorizing Twilight: Theorizing Twilight: Volume 11 . New York, NY: Bal NY: York, . New Journal of Contemporary on 21st Century Vampiric Media Vampiric Century on 21st . London: Bloomsbury. The Twilight Mystique: Critical The Twilight . Jefferson, NC: McFarland ‘Twilight’ author: It started with a dream a with started It author: ‘Twilight’ The Vampire Companion: The Official The Vampire The Fantasy Roleplaying Gamer’s Bible, Storyworlds across Media: Towards a Me Media: Towards Storyworlds across . Lincoln, NE: University of Nebraska of University NE: Lincoln, . Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark The Vampire The in Vampire Contemporary Literature 21st-century Gothic: Gothic Great Novels Genre, reception, and adaptation in the “Twi the in adaptation and reception, Genre, Feminism, Femininity and Popular Culture Feminism, Femininity and Popular Stephenie Meyer: Dreaming of Twilight of Dreaming Meyer: Stephenie Shared Fantasy: Role Playing Games As Social As Games Playing Role Fantasy: Shared . London: Routledge. Vampire Culture Vampire Vampire God: The Allure of the Undead in Western Western in Undead the of Allure The God: Vampire : 355-370. . New York, NY: New York University Press. York New NY: York, . New . Lanham, MD: Scarecrow Press. Press. . Lanham, MD: Scarecrow . Irvine, CA: Obsidian Studios. State University of New York Press. York State University of New NY: York, . New , Chicago, IL: University of Chicago Press. , Chicago, IL: University of Chicago light.newmoon.meyer/ Edition nd Critical Essays on What’s at Stake in a Post-Vampire World at Stake Critical in Essays a on Post-Vampire What’s son, NC: McFarland. and Popular Culture Chronicles Vampire The Rice’s Anne to Guide lantine Books. neapolis, MN: Twenty-First Century Books. neapolis, MN: Twenty-First & Thon (ed.) craft.” Ryan dia-Conscious Narratology Press. light” Series Since 2000 2 Culture Press. Manchester: Manchester University subculture.“ the contemporary vampire Religion 17.3 mance”. Clarke & Osborn (ed.) Essays on the Novels and Films http://edition.cnn.com/2009/LIVING/worklife/11/18/o. twi Gothic in Contemporary and Literature Popular Pop Culture: Goth London: Routledge. Worlds Parke, Maggie & Wilson (ed.), Natalie. 2011. (ed.), Natalie. 2011. Parke, Maggie & Wilson 2013. Piatti-Farnell, Lorna. Ramsland, Katherine M. 1993. Krohn, Katherine. 2011. Katherine. 2011. Krohn, Love 2014. “The Developing Storyworld of H. P, Leavenworth, Van. Mellins, Maria. 2013. Anne (ed.). 2012. Morey, Olson, Daniel (ed.). 2011. Hallab, Mary Y. 2009. Y. Hallab, Mary Hollows, Joanne. 2000. of nature beliefs and socio-religious 2002. “The Keyworth, David. Ro “Narrative Layering and ‘High Culture’ 2010. Yvette. Kisor, CNN News. 2009, November 18. CNN Soltysik (ed.). 2012. Agnieszka Justin and Monnet, Edwards, Alan. 1983. Fine, Gary Fannon, Sean Patrick. 1999. quarter

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Lars Konzack . Stone Moun . Oxford: Oxford Oxford . Oxford: Volume 11 . Jefferson, NC: McFar The Goes Vampire to Col on 21st Century Vampiric Media Vampiric Century on 21st Science fiction audiences: Watch audiences: fiction Science (ed.) . London: John Blake Publ. . London: John Blake

. Jefferson, NC: McFarland. On fairy-stories . Jefferson, NC: McFarland: 172-8. . Florence, KY: Psychology Press. KY: . Florence, Mark Rein•Hagen’s Foundational Influence Influence Foundational Rein•Hagen’s Mark Vampire: The Masquerade Vampire: . London: Routledge. The Evolution of Fantasy Role-Playing Games Role-Playing Fantasy of Evolution The Building Imaginary Worlds: The Theory and Seduced by Twilight: The Allure and Contradic and Allure The Twilight: by Seduced Vampire Nation Vampire http://www.ojs.meccsa.org.uk/index.php/ Real Vampires, Night Stalkers and Creatures from from Night Stalkers and Creatures Real Vampires,

. Canton, MI: Visible Ink Press. . Canton, MI: Visible . 1-16. History of Subcreation In: Nevárez Polish Classroom.” lege: Essays with on the Teaching Undead land: 167-76. tory Messages of the Popular Saga ing doctor who and star trek to a Legal Battle”. Players and Filmgoers Respond Knowledge: Journal of the MeCCSA Postgraduate Network, Vol 2, No 1, 2009 netknow/article/viewFile/39/39 & Mikotowicz (eds.) cultural Performance”. In: Lancaster forming the Force: Essays on Immersion into Science-Fiction, Fan Environments tasy and Horror tain, GA: White Wolf. tain, GA: White the Darkside Jefferson, NC: McFarland. University Press. Wilson, Natalie. 2011. Natalie. 2011. Wilson, 2012. P. Mark J. Wolf, in the RPGs: vampires Michael. 2013. “National Literature Wolski, Tulloch, John, & Jenkins, Henry. 1995. John, & Jenkins, Henry. Tulloch, of Darkness: the World vs 2009. “Underworld Rachel Mizei. Ward, Counter A – Masquerade The 2001. “Vampire: Rachel. Werkman, Rein•Hagen, Mark. 1991. Rein•Hagen, Mark. Russo, Arlene. 2005. 2009. Brad. Steiger, J. 2011. Michael Tresca, John Ronald Reuel. 1947. Tolkien, quarter

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