CLAN REGISTER

Nosferatu

13 PUBLIC KINDRED

01 / CLAN AND TERRITORY

In Paris, the Nosferatu work with incomplete information, neglected passages and infrastructure the city uses without seeing. Their reputation for knowing everything is convenient and false: their public strength lies in locating an absence and assessing the price of verifying it.

Orlok sits on the Council while Clara Bensimon serves as Keeper in Le Havre. The Catacombs form a network crossing several territories, and Orlok and the Nosferatu know some of its areas; they neither control it in full nor hold it as a clan Domain.

Since the fall of SchreckNET, every exchange of information involves a method, trust and a trace. Parisian Nosferatu are therefore less automatic suppliers of secrets than interlocutors able to identify where certainty breaks and who might profit from that gap.

02 / PUBLIC FIGURES

01
Illustration: Joh'K

Keeper of Elysium

Clara Bensimon

Le Havre

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Guardian of Le Havre. Her first concern is movement and the ability to leave a place without becoming an event.

Clara Bensimon does not confuse refuge with immobility. Her experience of hospital and community logistics taught her to observe ordinary movement, the functions of a building and the way a group can enter it without creating a spectacle. In her view, a place is suitable only when its use remains understandable from the outside.

Éléonore Varennes reads the social silence of Le Havre and may reject a place before fully explaining her reasons. Clara prefers a concrete justification, but she recognises the value of that territorial intuition. The Bourgmestre protects continuity across the Bourg; the Guardian exercises the Peace of Paris within the Elysium and preserves the ability to close cleanly what was never meant to become permanent.

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02
Illustration: Joh'K

Primogen

Orlok

Paris

Orlok does not try to know everything. He tracks what is missing, who profits from absent information and what verification would cost. At the Council, he unsettles comfortable certainties.

In the nineteenth century, Orlok built the public identity of Max Schreck, then played Count Orlok in Nosferatu in 1922. Fiction turned his face into a mask known to everyone and his biography into far less reliable ground. His sire remains unknown.

He is less interested in collecting secrets than in locating gaps: who benefits from missing information, what verification would cost and what trace the search would leave. After SchreckNET, this discipline makes his networks essential. It also feeds his best-known flaw: sometimes suspecting a second game behind a simple fact.

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03
Illustration: Joh'K

Public Kindred

Lazare Vautrin

Le Havre

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Generation
9th
Apparent age
70 years old
Known situation
In torpor since 1972

A municipal archivist who became a keeper of underground memory, Lazare worked through facts, debts and verifiable traces. He has remained in torpor since 1972. Nothing in the public record presents him as active in the current nights of Paris.

04
Illustration: Joh'K

Public Kindred

L’Absent

Le Havre

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Generation
11th
Apparent age
42 years old
Known situation
Active, refuge guard

A former security officer and mediator of physical conflicts, L’Absent abandoned his birth identity. He places himself between danger and vulnerable people. He sometimes accepts a debt he will never call in, without reclaiming the name he left behind.

05
Illustration: Joh'K

Public Kindred

Maëlle Derval

La Cour

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Generation
10th
Apparent age
29 years old
Known situation
Active, cultural intelligence

A former concert performer and composer, Maëlle turned musical listening into a method for observing networks. She moves through Salons and artistic venues. She does not ask anyone to forget her disfigurement, only to look without pity.

06
Illustration: Joh'K

Public Kindred

Nicolas Veyrat

La Torche

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Generation
10th
Apparent age
About 45 years old
Known situation
Active in the Sous-Sol networks

Nicolas built his reputation in underground venues, artistic squats and clubs frequented by those who reject official salons. Around him, the Sous-Sol connects performers, technicians, Thin-Bloods, ghouls and nocturnal artists.

07
Illustration: Joh'K

Public Kindred

Romain Delatour

Le Havre

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Generation
11th
Apparent age
44 years old
Known situation
Active, press and archives

A former local journalist, Romain realised that a series of minor news stories concealed a territorial conflict. He collects voices and clippings, always reminding others that every document has an author, an audience and an interest.

08
Illustration: Joh'K

Public Kindred

Rébecca

La Cour

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Generation
11th
Apparent age
About 31 years old
Known situation
Active, connected to the Basilica

Rébecca serves the Basilica within the Maison Saint-Michel. She has incorporated her disfigurement into a theology that assigns the Nosferatu a particular place within a hierarchy presented as sacred.

09
Illustration: Joh'K

Public Kindred

Baudouin de Chastain

Paris

Based in Paris, Baudouin retains close ties to his native Occitania. This Nosferatu is known as an ambassador and intermediary with southern networks. Familiar with Court protocol, he sustains dialogue between people whose official positions do not always make a meeting possible.

10
Illustration: Joh'K

Contacts and mediation

Narcisse

Le Havre

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A Parisian Nosferatu, Narcisse is known mainly through his contacts and the credibility attached to his name. He acts as an intermediary rather than holding an institutional office. He is based in Le Havre.

11
Illustration: Joh'K

Digital intermediary

Mint Lorelei Drachenblut

Les Tours

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Mint

Mint takes an interest in small digital traces: abandoned accounts, pseudonyms and persistent habits. She works as an information broker in Les Tours, without a Court office.

12
Illustration: Joh'K

Kindred

Litz

Territory not published

Litz belongs to clan Nosferatu.

13
Illustration: Joh'K

Milicien

Bogdan

Paris

Bogdan is a Nosferatu and a Milicien of La Rose de Suie. He provokes, swears and readily challenges his companions' proposals. Babyface nevertheless notices his attention to detail and unfavourable scenarios. He does the work even while criticising every stage. Behind his objections lies a persistent question: what will happen when good ideas stop working? His individual interview gives this distinctive voice room to be heard without reducing his role in the coterie to the provocations he delivers.

Read the individual interview