The Vicomte de V: Difference between revisions
mNo edit summary Tag: visualeditor |
No edit summary Tag: visualeditor |
||
Line 3: | Line 3: | ||
|location = [[The Echo Bazaar]] | |location = [[The Echo Bazaar]] | ||
|relationships=[[Penstock]] (property agent)<br>[[The Echo Bazaar]] (host) | |relationships=[[Penstock]] (property agent)<br>[[The Echo Bazaar]] (host) | ||
}}<blockquote>''"I | }}<blockquote>''"I will never judge you. I will never betray you. I know what it means to keep something inside, something that you cannot share with anyone, because they would spurn you, denounce you, diminish your nobility and spit upon your dignity. But listen to me, talking about myself, when we're here to talk about you. No matter what happens, you will always have my confidence. Some people may call me a monster, but I have a heart. And I know," he says, wiping his lips, "how to keep a secret."''<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}</ref></blockquote> | ||
'''The Vicomte de V_____''' is a foreign aristocrat, a fixture of high society<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}} ''"[...] Two grand dames take it upon themselves to provide your education, regaling you with succulent details that someone less acquainted with the peerage might blush to hear grand dames repeat. Their fans beat with an increasing ardour beneath their faces. They tug at their collars, exposing bejewelled throats as they breathlessly condemn his reputation. Perhaps in whatever foreign land he calls his home, the Vicomte's behaviour is considered socially acceptable, but here in London it is also extremely desirable."''</ref> despite the fact that few have actually seen him.<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}"Despite his reputation, few people have met the Vicomte in person, and none can quite agree on his appearance. He is tall. He is pale. He is taller than that. He isn't pale whatsoever. At Lady B___'s salon the other week, he wore the most immaculate cravat. Perhaps Lady B___ could describe him, if she hadn't retired to the Tomb-Colonies suddenly."</ref> He exudes an unnatural allure—one that captures attention in a way that seems almost supernatural.<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}''"When you are in his company, you sense that he could drain your very dregs," explains the Heiress, turning toward you. "But that is also his charm. How he moves. How he smiles. His eyes. Do you understand what I mean? His qualities are irresistible. They draw you closer, so that he may sink his teeth deeper. Wouldn't you be drawn to certain qualities?"''</ref> A property speculator by trade, he buys and leases residences across [[London]].<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}''"He is an investment property speculator, which is more than frightening enough."''</ref> Animals, at least the non-sapient ones, seem to loathe him.<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}''"No hidden doors. No secret rooms. Last owner? That," says Penstock, "is an interesting case. Taxidermist, if you couldn't guess. Never lacked for subjects with the Vicomte for a friend. Whatever rumours you hear, animals disliking him? Truth to that one. Not sapient animals though. Sapient animals find him charming."''</ref> | '''The Vicomte de V_____''' is a foreign aristocrat, a fixture of high society<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}} ''"[...] Two grand dames take it upon themselves to provide your education, regaling you with succulent details that someone less acquainted with the peerage might blush to hear grand dames repeat. Their fans beat with an increasing ardour beneath their faces. They tug at their collars, exposing bejewelled throats as they breathlessly condemn his reputation. Perhaps in whatever foreign land he calls his home, the Vicomte's behaviour is considered socially acceptable, but here in London it is also extremely desirable."''</ref> despite the fact that few have actually seen him.<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}"Despite his reputation, few people have met the Vicomte in person, and none can quite agree on his appearance. He is tall. He is pale. He is taller than that. He isn't pale whatsoever. At Lady B___'s salon the other week, he wore the most immaculate cravat. Perhaps Lady B___ could describe him, if she hadn't retired to the Tomb-Colonies suddenly."</ref> He exudes an unnatural allure—one that captures attention in a way that seems almost supernatural.<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}''"When you are in his company, you sense that he could drain your very dregs," explains the Heiress, turning toward you. "But that is also his charm. How he moves. How he smiles. His eyes. Do you understand what I mean? His qualities are irresistible. They draw you closer, so that he may sink his teeth deeper. Wouldn't you be drawn to certain qualities?"''</ref> A property speculator by trade, he buys and leases residences across [[London]].<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}''"He is an investment property speculator, which is more than frightening enough."''</ref> Animals, at least the non-sapient ones, seem to loathe him.<ref>{{Citation|https://fallenlondon.wiki/wiki/Caveat_Emptor|Caveat Emptor|Fallen London|}}''"No hidden doors. No secret rooms. Last owner? That," says Penstock, "is an interesting case. Taxidermist, if you couldn't guess. Never lacked for subjects with the Vicomte for a friend. Whatever rumours you hear, animals disliking him? Truth to that one. Not sapient animals though. Sapient animals find him charming."''</ref> |
Revision as of 10:25, 18 February 2025
![]() |
Beyond this point lie spoilers for Fallen London, Sunless Sea, Sunless Skies, or Mask of the Rose. This may include midgame or minor Fate-locked content. Proceed with caution. You can find out more about our spoiler policy here. |
"I will never judge you. I will never betray you. I know what it means to keep something inside, something that you cannot share with anyone, because they would spurn you, denounce you, diminish your nobility and spit upon your dignity. But listen to me, talking about myself, when we're here to talk about you. No matter what happens, you will always have my confidence. Some people may call me a monster, but I have a heart. And I know," he says, wiping his lips, "how to keep a secret."[1]
The Vicomte de V_____ is a foreign aristocrat, a fixture of high society[2] despite the fact that few have actually seen him.[3] He exudes an unnatural allure—one that captures attention in a way that seems almost supernatural.[4] A property speculator by trade, he buys and leases residences across London.[5] Animals, at least the non-sapient ones, seem to loathe him.[6]
The Vicomte is no ordinary landlord. He is a humanoid manifestation of a parasitic law—a sigil inscribed upon the Bazaar’s very body since its descent from the High Wilderness.[7] This sigil both devours and inspires passion. When the Bazaar discovered its unwelcome passenger, it realized the parasite could be turned to its advantage, shaping love stories to its liking.[8] To ensure the Vicomte’s continued influence, the Bazaar entrusted Penstock with embedding copies of the sigil into property deeds.[9] But the Vicomte requires a tangible link to the Bazaar to sustain his existence—an issue that necessitates a far less dignified duty for Penstock. He must collect the Bazaar’s "nightsoil," pack it into empty Soothe & Cooper Long-Boxes, and personally deliver it to the Vicomte’s estates.[10] The Vicomte misses his time in the High Wilderness.[11]
The Vicomte has no fixed appearance; instead, he molds himself to match the preferences of those who perceive him.[12] His properties extend beyond London, reaching even the Tomb-Colonies and possibly further.[13] Each residence is carefully curated. Tenants are subtly manipulated, their minds bent toward a particular love,[14] their passions siphoned away to nourish their landlord.[15] His official address—a townhouse rented out to rats—is, of course, a mere formality.[16] The Blind Astronomers' Observatory on Watchmaker's Hill is one of his properies,[17] which he lents out to encourage their passion.[18] The Astronomers remain blissfully unaware that they even have a landlord, though their Sorrow-Spiders know better.[19] Another of his London properties is a gothic bookshop—a fitting investment for one made of language itself.[20]
The Vicomte does not simply collect rent. He feeds. Residents of his estates may glimpse him in a blood-red haze, seated at a grand table laden with a sumptuous feast.[21] His voice, rich and entrancing, weaves a narration so immersive it lulls his prey into a trance, much like a masterfully told story ensnares its reader.[22][23] Only once they are fully enthralled does he reveal his true nature.[24] No longer a man, but a sigil upon the property deed itself—the true mouth that drinks their blood.[25] And yet, he does not take by force. The final step must be freely given. His prey must consent to the offering.[26]
Historical & Cultural Inspirations
The Vicomte de V_____ is deeply rooted in the tradition of the aristocratic vampire, drawing significant influence from Dracula and its literary predecessors. His character embodies not just the physical predation of classic vampires but also their psychological and symbolic resonance, particularly in their relationship with place, power, and identity.
John Polidori’s The Vampyre (1819) birthed the first aristocratic vampire in English literature, Lord Ruthven, who introduced a new kind of horror: a nobleman who was as socially charming as he was personally destructive. Unlike the bestial revenants of folklore, Ruthven infiltrated high society, preying on those around him with manipulation rather than brute force. He was a corrupting influence, drawing victims into ruin rather than simply killing them.
Sheridan Le Fanu’s Carmilla (1872) introduced a vampire who thrives on intimacy, seducing her victims emotionally before consuming them physically. Unlike Ruthven, Carmilla did not merely destroy; she nurtured deep psychological connections, making her victims complicit in their own destruction. Her vampirism was a metaphor for the blurring of identity and desire, dissolving the boundaries between predator and prey.
Bram Stoker’s Dracula (1897) crystallized the image of the vampire as both an invader and a relic of the past, a being deeply tied to place and tradition yet capable of infiltrating and corrupting the modern world. Dracula’s dependence on his native soil is one of the most distinctive elements of the novel: he cannot survive in England without the earth of Transylvania, which he transports in coffins to maintain his strength.
The Nightsoil of the Bazaar, like Dracula’s boxes of earth, is more than just a physical necessity—it represents a symbolic tether to the vampire’s origins. In Dracula, the need for Transylvanian soil underscores the theme that the vampire is a creature of the past, unable to fully sever his connection to the old world. Similarly, the Vicomte, though operating in London, is inextricably linked to the Bazaar’s ancient influence. His existence as a living sigil rather than a purely physical entity makes this need even more crucial—he is not merely a foreign presence, but a fragment of an older, deeper structure of power that must be periodically renewed.
The Vicomte takes the traditions established by Polidori, Le Fanu, and Stoker and transforms them into something uniquely literary. He is not just a vampire in the classic sense but a vampire of text, of contracts, of written agreements—a predator not just of bodies but of stories. His victims experience his influence as a narrative trance, much like how an engrossing novel captures and consumes its reader; how compelling stories create immersion, making it difficult for the audience (or victim) to break away. His sigil-based existence ties into the notion of the vampire as something etched into history, a force inscribed in both legend and law, much like Dracula’s presence in his own novel.
References
|