Photography

: Jo Vallianatou Photography
Model: Evel Maleficent
MUA: Evel Maleficent
 Issue 7 crew:
Owner/Founder/
Table of Contents Editor in Chief:
Rachel Boese
Cover Model: Zoie Campbell (Black Metal Barbie)
Cover Ph ographer: Luke Guinn Ph ography Managing Editor:
Hannah Rudow
Pages 12-27 Vampire: The Masquerade
Pages 28-43 MUA Feature: Kenzi Sho Contributing Writer/
Editor:
Pages 46-47 Band: Pretty Boy Floyd Logan Boese
Pages 48-51 Goth Girl Gift Guide
Music Editor:
Beth Amphetamine
 Vampire: e Masquerade
Background on the game (for Interviews, turn 2 pages!)

Originally released in 1991, Vampire: the Masquerade is a role-

playing game with a similar format to Dungeons and Dragons. Players
use a set of rules to create and play a character in a dramatic,
fictionalized world, with the results of attempted actions governed by
Storyteller decision and rolls of dice (or Rock, paper, scissors for the
Live Action version). Also referred to simply as Vampire, or as V:tM, it
was the first in a line of games, each one focusing on a di ferent
classic supernatural creature, such as werewolves, mages, fairies, and
ghosts. This line of games became the World of Darkness.

Vampire, (and the World of Darkness) focuses on intrigue,

immersive storytelling, character development, and featured a jaw-
dropping amount of world-building. Where other systems
encouraged heroism and the upli ting feeling that came from being
some form of good guy, Vampire was revolutionary for its take on the
hobby, appealing to a di ferent demographic than other gaming
systems of the time by giving you the chance to play some of horrors
best “Bad Guys”. It encouraged players to delve into the psyche and
the Flaws of the characters they portrayed. It grounded itself in
realism and forced players to think about heavier ideas than other
roleplaying games. Lending itself to themes such as good, evil, and all
the shades of gray in between, and what exactly could be defined as
monstrous. In a long enough campaign, Vampire became the story of
how a player’s character lost touch with their humanity. In essence,
the story of how your character became a monster.
 Background on Vampire: e Masquerade

Vampire Clans: overview

Vampire characters in this world each belong to a single Clan,
selected from a list of thirteen major clans during character creation.
Each Clan features a di ferent take on the traditional powers, aspects,
and stereotypes that defined vampires in folklore.

The game encourages players to focus on the seven clans that

made up the Camarilla, the major alliance of vampires that agreed to
play nice and enforced the titular Masquerade, a rule that all vampires
would not operate in the open. Under the Masquerade, vampires
would slink into the shadows and let humankind forget that vampires
had ever been anything but superstition and myth.

In brief, each clan of the Camarilla had their own niche in the
world’s vampire mythos as a whole. There were other clans outside of
the Camarilla, such as a clan modeled a ter Gypsy and Indian
legendry, a clan of Egyptian vampires that took their name and
abilities from Set, one of assassins, a line of old nobility who had no
re lections, a family of necromantic mobsters, and the vicious, lesh-
cra ting Tzimisce modeled a ter eastern European and Romanian lore.
However, these other clans were all written as at least slightly less
sympathetic than the Camarilla.
 Background on Vampire: e Masquerade

Vampire Clans: e Camarilla

The Brujah, rebellious and short- Interestingly, clan Toreador
tempered possessing strength, represented the more romantic and
speed, and force of personality, social sort of night creature the
represent the eighties “Bad Boy” take Vampire was romanticized into, with
on bloodsuckers. each one incurably obsessed with
something they found beautiful, and
The bestial Gangrel borrow from possessing of supernatural speed,
older tales, with their abilities to senses, and the force of personality
control and even become animals, as common to some of the more notable
well as take a hellacious amount of vampires in modern
punishment. literature.

The Malkavians are all incurably
insane, but gifted with heightened
and preternatural senses, functional
invisibility, as well as the power to
dominate minds and, eventually, to
spread their own madness. of blood and loyalty enforced through
The Nosferatu were among the most
tragic, as each one, upon becoming a
vampire, became repulsive and
hideous to look at, much like the
cinematic creature from whom they
took their name, but gained strength,
invisibility, and a kinship with animals.
For those who preferred their
predators with a more occult and
mystic slant, there were the blood
mages of clan Tremere, who were
bound tightly to their clan by chains
the blood magic rituals that was their
own particular power.
And last, but not least, were the
Ventrue, who represented some of
the most dangerous sorts of their
kind, the ones who adapted and
blended into human society, and
wielded carefully garnered and
curated power, money and prestige
to affect and control mortal society,
to say nothing of their mind control
abilities or physical toughness.
Vampire: e Masquerade
e interviews
Crazy B!tch Magazine Editor in Chief, Rachel Boese and her husband, Logan
Boese (a lifelong fan of Vampire: The Masquerade) interviewed two of the most
in luential people behind the curtain of Vampire: the Masquerade.

Jason Carl: CEO of By Night Studios and producer at White Wolf Studios, the
company responsible for publishing this fantastic game.

Martin Ericsson: the Lead Storyteller for White Wolf Studios.

Can you describe the appeal of role-playing games, and

that of Vampire: the Masquerade specifically?

Martin Ericsson:
Do you like stories? Do you ever imagine yourself as someone
else? Wouldn’t you wish to be like a director and be able to like live
inside your favorite vampire TV series or video game? Vampire is the
other side of roleplaying from DnD. If DnD is an adventure game,
Vampire is a "Blood Opera", it’s very social driven, full of politics. It’s
all the juiciness you get from all your character driven, socially driven
shows. It’s your chance to become a part of a grand character gallery.
You can get to know all these fantastic immortals from all times in
human history who’ve observed us and manipulated us from the
shadows and you can be one of them. Vampire is a story about
characters and characters relationships to each other. It’s more
similar to a soap opera show, or like Dynasty.
 Can you describe the appeal of role-playing games, and that
of Vampire: the Masquerade specifically?

Jason Carl:
Stories are the building blocks of communication. “Hey honey, how was work?” We all
know how to tell stories and we all love them. We’ve all been telling stories our whole lives.
We’ve also been roleplaying since we were kids. Whether it’s building Lego playsets together
or playing cops and robbers. Anything that involves collaborative imagination is storytelling.
Roleplaying draws on the imaginative experiences we had as young people and brings it up to
today. It makes it into a fun, mature, sophisticated experience that anybody can enjoy. It
allows you to create stories with your friends- and what can be better than that! Sharing
imagination with people you like and want to spend time with, to me, is the best thing in the
world.

We live in an age where we are confronted daily with very di ficult questions and our
first impulse may be to want to escape, to leave those questions, those di ficult issues behind
into fantasy. That may be very appealing, but there are di ferent kinds of escapism. It’s the
prisoner’s duty to escape but it’s also the prisoner’s duty to take what he or she has learned
and bring it back to the world a ter the escape. The World of Darkness is a very dark re lection
of what we face every single day. I think that the way that it questions all the fundamental
issues of our times in a fun way that lets you play an awesome monster may be the most fun
there is while still being legal at the same time. I think there’s an undeniable allure to
darkness. It has an insatiable deep hunger that covets what’s best in us. It’s very easy to
mistake darkness for evil or something bad, when in actuality, exploring that darkness if o ten
the only way to shine light on what’s best about us.

The World of Darkness o fers that

opportunity to us. It o fers a way
to explore some very dark territory
in a mostly safe way. It allows you
to explore those very moral
questions, in an immoral way. Jason Carl
 Can you tell us about your history with White Wolf?

Jason Carl:
This is the third incarnation of White Wolf. 25, almost 26 years ago, a
gentleman by the name of Mark Rein-Hagen had the idea for Vampire: The
Masquerade and World of Darkness. He founded a company called White Wolf in
Atlanta, GA and it was very successful. CCP (Crowd Control Productions) an Icelandic
video game company, merged with the company in 2002. They attempted to develop
an MMO but it was canceled after 8 years. White Wolf at this point was, as far as
anyone knew, done. When this happened, is around the time I aquired the rights to
the rules used by Mind’s Eye Theatre and started By Night Studios.

But my history with White Wolf goes all the way back to the very beginning. I
was an early customer, bought a copy of the first edition game- couldn’t find anyone
to play with until I found an ad for the Camarilla*. I didn’t know what a LARP was;
we didn’t have a word for it back then. I showed up to my first game and that’s when
I figured out, these were my people. I had found my tribe.

I started freelancing for White Wolf a couple of years later. I wrote for
Vampire: the Dark Ages, and after that I started freelancing for Mind’s Eye Theatre,
did that for a long time. I wrote for Dungeons and Dragons also.
* Herein, the Camarilla is in reference to a group of Live Action Roleplayers
that use the name in honour of the Faction from the game.
Martin Ericcson
Image Courtesy of White Wolf
 In the 25 years since it irst began, how has the game has changed?
Martin Ericcson: Every writer and every developer who’s touched the game and worked with
Mark Rein Hagen’s original vision has brought something to it. The first edition was very
concentrated on more personal horror themes. Some were city based, some were character based.
Second edition brought in more global conspiracy and more of a complete world. In Revised, we
are in the desperate final nights, pushed into the end times. All of the editions have their own
flavors and tones. Of course, we hope that the Fifth Edition will have its own way and its own life. I
hope that with it of course, I’ll be able to communicate effectively the vision that’s in my heart. I
hope that we get to ask some questions maybe and present some of the unique issues in today’s
world vs the nineties, and present some of the unique plights and struggles from different parts of
the world.

Logan Boese: Did the Ventrue create Trump?

Rachel Boese: I mean the Koch brothers were not for Trump.

Martin Ericcson: I think the Koch brothers are very classic Ventrue or Ventrue pawns, but it’s
true, part of the appeal of Vampire is that kind of sort of created conspiracy.

Logan Boese: I think that one of the reasons that Vampire: the Masquerade is so topical is because it
was sort of built from the outside in by looking at the world that already exists and then applying
this complex mythology to sort of explain and present what could exist in the undertow. You’ve
created one of the most immersive, well-built mythologies in all the land and it gives a really great
starting point from a storyteller perspective.

Martin Ericcson: The ease of storytelling is great when it comes to explaining, for example, “The
7-11 is here.” Everyone knows what a 7-11 looks like so it’s easy to visualize and immerse yourself.
Every time we tell stories there are allegories, and metaphors, we want them to have meaning in
our own life. Vampire is a little bit different, it’s somewhere in between a reflection of the reality of
our own world and this mythology. You have the dream of power. You have the dream of social
power. You can also reflect on issues like, “what is it worth to achieve popularity of a clique?” Or a
story that takes place in a challenged urban community that allows you to look at and reflect on
some of the horrors in the real world. By putting yourself in that point of view and situation,
maybe you become inspired to do something about it and help out for real, in real life. Vampire is
probably the first medium to really apply itself to the real life. It’s not just a fantasy story; it’s an
important story, because it lets us look at some of the more difficult things that exist in the real
world.
 What in luence do you think Vampire the Masquerade has
had on Vampire media and vampire lore in the public eye?
Jason Carl:
I’m going to cheat; I’m not going to answer your question. I’m going to
point you towards the World of Darkness documentary film because it goes
through and essentially walks you through the original Vampire: the Masquerade
and shows that The in luence of V:tM on modern horror and vampire media is
undeniable.

Martin Ericcson:
A large percentage of the 21st century vampire stories are directly or
indirectly derived from Vampire: The Masquerade. There are a few essays on that
topic out right now. But it's not quite yet the doctorate thesis of “the in luence on
modern 21st century vampire culture made by Vampire: the Masquerade'” but I
definitely think there will be, because vampires are always interesting to
academia. You can see the in luence in True Blood, Vampire Diaries, and others.

We would definitely like another opportunity to grace the small screen.

When Aaron Spelling took on Vampire: the Masquerade in the early 90’s Mark
was supposed to be there. Mark came in 2 weeks into shooting thinking they
were scheduled to start shooting the next day but it turned out they had already
been shooting for two weeks. Much of it was in daylight and romantically
focused, but it was too late, so Mark sort of disengaged with the show. If Mark
had been there for that initial filming, it would have been very di ferent.

I don’t think urban horror culture would exist without Vampire: the
Masquerade. I don’t think it would be the same without it. Though, of course,
White Wolf borrows from earlier vampire culture. Lost Boys, Anne Rice, of
course. Back in the day, I think it was Mark Rein Hagen the CEO of White Wolf,
who said, “Everyone else has made more on our brand than we have”. But he said
it with NO BITTERNESS! Not saying anything bad, but I think that’s really
accurate. It’s very brutal, but it’s very true… except this time around that’s not
going to happen!
 Martin, what can you tell us about Fi th Edition?

Martin Ericcson:
With the new system, we said that for the World of Darkness to be what it
was, it has to change. When World of Darkness came out in the early 90’s,
there was nothing like it. It was very grunge and “what is this cover with a
rose”? The vampires look like real people, these 20 year old gothic punk kids
with tattoos and piercings. If we were to do that again, it wouldn’t do the
same thing. It has to change. We have to say something new, we need to
shock people, change the mechanics a little bit. With the new ‘hunger dice’,
we were looking at “how do you do a mechanic that makes it so you never
forget that you’re a vampire?”

We always take on the big ideas in Vampire: the Masquerade. First, it’s a game
about exploring evil and your own moral boundaries. Secondly, we look at
lore: the beast I am, lest the beast I become. Thirdly, we look at mechanics.
Some people think the mechanics were perfect the first time around… they
were not perfect the first time around, sorry. It was beautiful and streamlined
for the time, like a great adaptation of the Shadowrun system. Which is really
what it is, but for today, it’s clunky, and we are fixing that.

We are very excited to bring the World of Darkness back over several
different media formats, and it’s always been sort of transmedia. The thing
that Marvel and others have been doing recently, White Wolf was doing in
‘93. With video games, Fifth edition Vampire: the Masquerade, tabletop, live
action roleplay, novels, trading card games and more. 2018 will be very
exciting for fans of all things dark and terrible.
 Jason, what can you tell us about Fi th Edition?

Jason Carl: Let me take you through the sort of setting for Fi th Edition. Come back with us to
yesterday: it’s the year 2000. It’s the final nights, Gehenna is upon us, (except it’s not), but what
does happen is a terrible tragedy that shakes the world. It’s 9-11. The Camarilla gets the bright
idea that it’s going to take this opportunity to rid itself of its dreaded enemy, the Sabbat. So,
the CIA and other agencies were tipped o f that there are vampires. The Second Inquisition, once
they deal with the Sabbat, they turn their attention to the Camarilla. Their plan backfires and
someone has to be blamed for it. They blame the young ones, the Anarchs, the Neonates. “You.
It’s your fault, with your Facetogram, and your Instabook, your Twitting things.” You can
imagine how the Anarchs react to that. “Fuck you”. There’s a new War of Ages, like there was
this con lict between the Anarchs and Camarilla in the early 90’s, it’s sort of come full circle
again. Penthouse against the streets. The Camarilla backs o f and brings an iron curtain down
around the Masquerade, no social media, no cell phones, and strictly enforces the masquerade.
It’s a new net-feudal age for them. They go old school with communication. Meanwhile, the
Anarchs aren’t having any of this. Their lives are the streets, they are accustomed to their
mobile phones, and they’re going to keep them.

Rachel Boese: I mean, that’s not suspicious, not using cell phones and Facebook.

Jason Carl: Yeah, that’s not conspicuous at all. So, on the one hand, we have the conspiracy of
this hidden Masquerade, on the other hand we have these vampires hiding in plain sight, so we
are going to turn the heat up on this con lict.

Rachel Boese: I’m from New Orleans originally and it’s changed drastically in the last 25 years.
It reached sort of the height of crime in the mid 90’s, but it’s now reaching another peak a ter
Katrina. I went back to help rebuild with Habitat for Humanity in 2008 and most of the city
was still completely devastated. The 9th Ward is mostly squatters and vagrants, and despite
some groups trying to revitalize the neighborhood it’s not even close to back in the 90’s. On top
of that, you have places like the French Quarter where they’re really cracking down on street
kids and vagrants. Now ,unless you’re a performer and specifically working with the city, it’s
really easy for vagrants to get arrested when it used to be kind of a free for all. So I think a lot
of what was possible before with The Masquerade that you could avoid getting caught for, you
really can't do now. Much of the city has been gentrified and even many of the Jazz musicians
who work in the quarter have been priced out of living there.

(Continued, top of next page)

 Jason, what can you tell us about Fi th Edition? (continued)

Jason Carl: We want to address many of the serious contemporary issues of our world with

the World of Darkness. We were one of the first games to talk about LGBTQ issues, wealth
inequality, gender inequality, environmental damage, to ask who gets to shape reality, and
to ask what death means in a post-modern society. Those are issues we want to examine
through the lens of being a monster. Think about a person, today, living in New Orleans,
who is a transgender individual. What happens when they get embraced- are you still Trans
when you’re a vampire? Does that matter anymore? Does gender matter when you’re dead?
What happens to tropes or gender roles or wealth gaps when you have eternity? With
Werewolf, we really do see this as a game of environmental vengeance. What happens when
the werewolves say “enough”? What happens when the central theme of a role-playing game
shi ts from, “we gotta fight the Wyrm” to “okay enough with these human beings- do we kill
them or what? Is that the only way to save the planet? Kill the disease?” Issues like that are
the heart and soul of the World of Darkness.

Rachel Boese: Is there anything new planned for Changeling?

Jason Carl: Yes.
Logan Boese: Mage?
Jason Carl: Yes. ..

Jason, while we have you, what’s your takeaway for 2018?

Jason:
Soon, you’ll be able to take experience the World of Darkness on
whatever your preferred medium is, and we’ve only begun to imagine
the opportunities for things like augmented reality for gameplay and
world building.

Stay tuned to Crazy B!tch Magazine's YouTube channel

for exclusive clips from this interview!
Disclaimer: The discussion has been rearranged in topical order and cut down to fit in this issue. The
in-person interview with Jason was conducted first. The Skype interview with Martin Ericsson was
conducted separately, a week following the interview with Jason Carl. Both interviews were
conducted by Rachel Boese and Logan Boese.
Interview with
Makeup Artist

Kenzi Shô

IG: Kenzi_Sho
 Can you tell us more about your background?
Of course! I am Afro-Rican on my mother’s side and on my
father’s side, I am German, though I never got to properly meet
him, nor was I raised with him around. I was born in Bronx, but was
raised by my single mother in the hoods of Miami until I was a
teenager and moved to Orlando. I have always been homeless and
had to struggle growing up. I was always getting picked on. I was
always the odd kid in my class in elementary who acted weird
(eating erasers and meowing like a cat haha) and drawing weird
things and dressing in non-matching clothes and wearing my hair
in weird up-dos that I would make up that really didn’t make any
sense to the other kids. I was always moving from school to school
because my mother wanted to move to better areas. Those weren’t
the best circumstances to be in as a kid, but I always found an
escape and always tried to make the best of it through art. I
originally wanted to be an illustrator and painter. I spent most of
my middle and high school days pursuing art and taking classes
for it, but I was told that is a very competitive area. I was told that
I wouldn’t be making enough money to survive and that I would
always struggle, so I was urged to go for the next best thing that I
good, at which was cutting hair. So I went to Paul Mitchell (the
school) right after graduating high school when I was 18, and
graduated PM when I was 19. I was good at hair, but it wasn’t until
we learned about the basics of makeup and practiced on clients
that it sparked a love in me.
 Can you tell us more about your background?
(Continued)
I thought my passion was to cut hair and style it. In a way it still is,
especially on wigs since I grew up with my grandma and saw her style wigs. She
had cancer and lost all the hair on her body. Seeing her style wigs made me so
fascinated by the idea of not having to constantly dye my own hair. But seeing
the different ways you can do make up really got me excited, since my passion
originally was painting. Granted, I always did my makeup, since I was 14 actually,
which was only eyeliner at that time and maybe a bit of concealer, and then
slowly growing into different types of fashion phases and learning how to
properly do my make up in accordance to those fashion scenes. But when I
actually learned how to technically do “proper” make up in accordance to my
face shape, and actually learned what contouring was or what placement of
eyeshadow goes where, I became fascinated. I kept doing research and looking
up different YouTube videos and kept practicing on myself constantly. I became
pretty much engulfed in it, since in a sense I started feeling like I was painting
again, except my canvas was my face and body. I didn’t have to worry about
whether if my drawing had an even facial structure since I already had a natural
pre-made canvas. Since I was always practicing, and I’ve always wanted to be a
model. But I never got to be since I am unfortunately very bad at posing, short,
T H I C C, and shy. I always took pictures of myself in my room or in bathrooms in
private. I am a firm believer of not wasting makeup. Looking back at how far I’ve
come in the many phases of living my own truth and best life, even in the midst
of many hellish moments I’ve had to live through in my life, both exteriorly and
battling mental illness. I also find humor in a sense of how extra I can be. But
anyways, ever since those days, I’ve always been trying to step out of my
comfort zone to grow and create many different things. I’ve also fallen in love
with props, theatrics, and special effects. I always think: What would my own
illustrations look like? What is my own interpretation of ______?
 What, or who, is your biggest source of inspiration?
Oh man, I get inspired by so many things. I definitely do have a
huge love for deities, myths, and things of the past. I was honors in
my history classes, and so a lot of worldly figures, religions, beliefs,
fashions, paintings, you name it, I was in awe of it all. Of course, I do
get inspired by modern day things like technology, as well as certain
trends here and there. Hell, I even get inspired by certain flowers,
animals, paintings, and even emotions. But yeah, I think my biggest
source of inspiration is channeling spirits and deities of the past.
Almost like painting what is dead, or honoring certain things that
some people usually don’t think about, or may take for granted.

If you could make art with anyone alive, who would it be?
Such a hard question! I want to create art with so many others,
and it’s hard to think of all of them at the top of my head. But,
grabbing artists that have inspired me since childhood all the way to
now, and have been my all-time favorites, it would be with illustrators
or painters like Takato Yamamoto, Yoshitaka Amano, and Ayami
Kohima. Most of the artists that inspire me tend to be Japanese- like
the closeted weeb I am, ha ha ha. I have a huge love for the art in
Japan. It would be a dream if one of them drew up a concept and I
could bring it to life.
How did you get to where you are (answer that however
you want, biographically, career wise)?
Lots of practice and patience, as well as
making many mistakes but not giving up, even if I
think I suck, because passion is a very powerful
feeling. What I do is an outlet for many things
inside of me, mentally, spiritually, and
emotionally, and I am fully aware that the mind
can be our own biggest enemy.

What are you looking forward to this year?

Seeing what new adventures I get in to, what
new ideas pop up in my head, and how I can make
them come into reality. Also new seasons of my
favorite shows coming out ha ha ha. Anything else
that happens in my life is definitely spur of the
moment. I can be very spontaneous and my moods
to do or to create something can come very
quickly.
What do you want to do to that you haven't gotten to do yet ?
I feel like I haven’t had the chance to do many things
yet. One of the biggest number one things I want to do is
travel to different countries. I want to go to an avant-garde
high fashion show, an opera, go snorkeling, help feed
people in Third World countries, save animals in kill
factories, raise awareness towards many destructive
factors in our world today- there are many many things I
wish to accomplish in this life.

Is there anything else you're currently working on?

I don’t have anything else that I've started on but I hope
to create different projects in the future such as different
types of art coming to life with photography, many artistic
film shorts, digital illustrations, and also possibly create my
own props or accessories to sell. I would need to collaborate
with others in order to learn different skills and to make
some different projects come alive. But I don’t mind because
I love to learn and do new things and have many different
experiences.

IG: Kenzi_Sho
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Photography : Jo Vallianatou Photography
Model: Evel Maleficent
MUA: Evel Maleficent
Photography : Jo Vallianatou Photography
Model: Evel Maleficent
MUA: Evel Maleficent