Authors: Greg Stolze
Release Date: 2004-12-09
On Sale: Yes
Price: 24.99
ISBN: 1-58846-254-4
Product Type: Resource
Product Style: Hardcover
Page Count: 128
Click here for more info
Review by: Peter Lennox
Rating: 7/10
The tale of Dracula and his journey from the Impaler to something beyond vampirism all wrapped up and written in the style of the Book of Nod.
Throughout all the stories and legends related to the vampire myth few can be said to have endured or to have inspired as much speculation and imitation than that of Dracula.
With this in mind it should come as no surprise that White Wolf should add their own take on the undead Wallachian warrior for their game, Vampire: the Requiem.
As the founder of one of the communities, or Covenants, of Vampiric life Dracula represents a quasi-mythological figure that is both part monster and part dark saviour to the kindred who embrace the ideals he is said to champion.
And, as with any dark saviour the tale must be told of his exploits, his trials and tribulations. For his followers a holy book is required to steer them on the path towards their eventual goal.
Enter Rites of the Dragon.
Written for the most part in the first person as the words of the Dragon himself, Rites of the Dragon follows in the tradition of the Book of Nod and the Encyclopaedia Vampirica in its style and content. Designed as an in game resource it is as much for the characters as it is for the players and the book bears all the hallmarks of the older tomes.
Within and without the books provides a sense that what you are holding is an altogether different type of book. The cover is visually eye-catching, coloured in deep red and bright sliver, the emblem of the Ordo Dracul prominent on the front. Even the material encasing the book provides a sense of touch usually absent from the regular books of the game line.
Inside we are presented with a great deal of artwork that is expected of this kind of book. Most images depict an aspect of the Impaler’s sojourn through the hidden life of the undead and his progression from a soul damned into vampirism by God himself to the founder of the Coils of the Dragon. The depictions of Dracula in these pictures are varied. The artists utilise many different styles and present him with Norse, Mongolian and other influences to his aspect. While this may be regarded as inconsistent it would be better to view each picture in the spirit of the tale being told. If belief can be suspended for a moment, it can be imagined that these images to be the work of loyal Dragons enhancing their primary text rather than a game company hiring people to provide art for their new game book.
The story itself is broken down into four sections, each imparting a tale in the life of Dracula and his brides.
It begins with Prologue: Under Uncertain Stars.
Here we are given the words of Dracula as he prepares for Torpor. Set as a preface we are shown the Impaler in reflection. Like the dragon that devours its own tail the prologue is given to be the last of Dracula’s writings and presented first within the book. It speaks of a man fighting off the onslaught of torpor in order to put his affairs in order. Inside the words it is possible to see that Dracula merely sees the impending torpor as another facet of his existence that he may challenge and emerge from stronger than before.
Change is a central theme of the whole book and the attitudes forged by the character are evident here as he speaks of his childe’s belief that her present condition allows her stasis, or even the fear with which other elders behold their fading and distorted memories.
After the prologue we are presented with Book One: The Book of the Dead
Contained within are the earliest writings of Dracula. They recount the events leading up to his fall to vampirism and his quest for power and bloody vengeance. The whole of this section is filled with the thoughts of a man both confused and enraged by the injustices heaped upon him. The tale moves with the speed of believed righteous indignation and both words and images here are filled with violence. We see Tepes as a young neonate vampire, inexperienced in the blood and naïve to the power of fellow vampires around him.
Clashes with the Invictus, the discovery and application of blood bonding and the creation of his first childe, Mara, a wilful and animalistic former slave are all indications of a being obsessed with power and its acquisition.
This section provides a sound illustration of a neonate vampire and the problems and opportunities it brings. For role-playing terms it could be useful to read this and attempt to relate it to playing a young kindred of a chronicle, changing only slightly to take into account the differences in era and locale.
After this we are shown Book Two: The Book of Blood.
During this phase of his unlife Dracula has grow tired of the call of the temporal power he craved both as a mortal and a young kindred. Within the pages of his second book Dracula seeks a deeper meaning to his existence and sets out in search of this.
To this end Dracula discovers and joins both the Lancea Sanctum and the Circle of the Crone. Each offers their insight and shares their secrets with Tepes, but ultimately he finds neither to hold the answers he seeks.
The remainder of the book chronicles the rise of Dracula’s train of thought that will eventually become the Coils of the Dragon.
In the process of this creation Dracula seeks to understand the limitations of his condition and seek a remedy to these individually rather than all at once.
During this exploration of his condition Dracula tells the tale of three travellers to enter his castle in search of hidden wisdom. One of the travellers, Anoushka stays with the Count and eventually becomes one of his brides. It is notable here that it is Mara and not Dracula who embraces her, leaving Dracula himself in the role of teacher.
The tone of the second book is much quieter than that of the first. The artwork too has softer edges that the harsh and violent imagery of the first. The book seems to induce feelings of retrospection and deeper thought into the condition of vampirism. The book closes revealing the ultimate goal of Tepes’ search, a desire to be mortal once again.
The final instalment of this tale is Book Three: the Book of the Temple.
The book opens with the immediate derision of the final lines of the second book. With an exploration of Paris and the acquisition of both an ally, Fouchard of the Lancea Sanctum and a third childe, Lisette, Dracula no longer seeks to return to the state of humanity. Instead as his studies progress he seeks a state beyond that of both mortal and vampire.
The whole of the third book devotes itself to this ideal. Upon his return to castle Dracula the Dragon is confronted by all of his progeny. Each now exemplifies one of the aspects of Dracula’s journey through unlife; the bestial and violent Mara, the thoughtful and repentance seeking Anoushka and the transcendent Lisette.
The third book illustrates the formation of that which is used by the Ordo Dracul to the modern nights. The rules that govern each Dragon, the Orders which work within the Ordo and fulfil its functions and the titles with which members identify themselves.
Rites of the Dragon is a thoroughly enjoyable tale of the rise of one of the most prominent Covenants of the modern nights. It presents itself through the telling of the story of Dracula and his infamous progeny and the events that led to its inception and progression.
Though more useful as an in-game resource Greg Stoltze fills it with enough material to keep even the most unimaginative Vampire Storyteller stocked with ideas for games featuring the Ordo Dracul, be they allies, antagonists or merely a mystery for their players to unravel.
Rites of the Dragon gets a 7 out of 10 from me.
