Vampire: The Masquerade - We eat Blood and all our Friends are Dead

About Vampire: The Masquerade - We eat Blood and all our Friends are Dead

The World of Darkness Preludes signal the return of the classic Gothic-Punk setting (Vampire the Masquerade, Werewolf the Apocalypse, Mage the Ascension and many more) to the digital medium. They are author and artist-driven works of interactive fiction written that reflect contemporary issues and aesthetics."We eat Blood..." is a short (3-4 hours) interactive horror novel in a seamless mobile messenger format. The story invites us to share the reflections and misadventures of two recently embraced vampires. LA artists Izzy and Case must adjust to a harsh unlife as thinblooded outsiders in vampire society and deal with their shattered mortal lives. The game is a classic "choose-your-own-adventure" with hidden tracked character variables and items. It's an unforgiving format and you will die often, with effects like cracked phone-screen and blood-drops reinforcing the seamless aesthetic. The core mechanic centres on feeding, with vampiric powers gained by hunting very different victims. The game is a personal and artist-driven experience by award winning author / artists Zak Sabbath and Sarah Horrocks.



Developer Info

Zak Sabbath - Writing, game design and art
Sarah Horrocks - Additional writing and art
Martin Elricsson - Game design and additional writing
Karim Muammar - Scripting, game design and editing
Jon Svedonius - Producer
Anders Davén - Graphic and interface design
Stefan Svebeck - Coding, technical
Ossian Reynolds aka. Zaza - Music

Developer's Artistic Statement

In White Wolf's "Prelude" series we explore the classic RPG-setting World of Darkness (made popular in computer games by Vampire: The Masquerade - Bloodlines) as interactive stories told from the personal perspectives of contemporary artists, writers and designers. We created "We Eat Blood" as a way to explore how horror could be made truly personal by embedding the narrative in devices we use every day, making the ap that accesses the game-space just one more ap on the phones we increasingly use to understand, interpret and communicate with the outside world. By creating a situation where all interaction with the game-world is mediated through text messages and sent images, we tried to create genuine feelings of confusion, helplessness, attachment, shock, desperation and fear.

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