“The empire, long divided, must unite; long united, must divide. Thus it has ever been.” — Opening lines of the Romance of the Three Kingdoms

Welcome to Hong Kong by Night, a fan-made resource for setting a Kindred of the East chronicle in one of the most important financial centers and densely-populated metropolises in Asia as well as the world. It focuses on the region in 2018 and the conflicts between Hong Kong’s Kuei-jin as the Flame Court seeks to finally re-consolidate itself. In this, it is opposed by the Bamboo Princes, reform-minded modernizers opposed to the ultra-conservative ways of the Quincunx, the ruling body of the courts of China. Additionally, House Genji of Japan and the Kin-jin of the West also have their own interests, all involving destabilizing Hong Kong for their own benefit. Of course, there are plenty of other shen to encounter, from wraiths to shape-changers.

This site diverges from World of Darkness: Hong Kong, an official sourcebook published in 1998 that did not concentrate on Kindred of the East but instead on the entire line of White Wolf supernatural RPGs (Werewolf, Mage, Changeling, etc.) There are several reasons for the departure. First, WoD: Hong Kong was written around the time of the hand-over of Hong Kong from a British colony to a part of China. This site updates the setting and offers an account of what has transpired in the last two decades. Second, while WoD: Hong Kong covered the gamut of supernatural entities and was meant to be used across several games, this site is meant to be solely for a Kindred of the East game. This is to provide greater richness and detail aimed at playing a specific type of game rather than only touch superficially on multiple supernatural societies. Third, this site was designed to help Vampire: the Masquerade players introduce themselves to Kindred of the East, which despite being an expansion for V:tM, differs dramatically mechanically and in feel from that game. You may note that the Ancestor of the Flame Court is a lot like an elder reactionary Camarilla Prince, the Bamboo Princes are awful similar to the Anarchs, and so on. This is intentional, and unfortunately something White Wolf itself chose not to do, playing up the “mystery” and differences of their Asian setting rather than making it accessible to Western players unfamiliar with adapting to different Asian countries and cultures.

Theme

Stories set in the Hong Kong outlined here could have multiple meanings, but an obvious one (and one suggested in the Kindred of the East sourcebook) is that of tradition versus change. This theme should be familiar to Vampire: the Masquerade players and storytellers, as a large aspect of that setting was the struggle between staid elders Embraced in the past, demanding quasi-feudal loyalty, and more forward-thinking neonates raised and socialized in more liberal beliefs and cultures. One of the reasons this is such an enduring theme because it reflects the all-too-human conflict between holding on to the sacred and familiar versus adopting strange but innovative ideas. Around the world today, there is a sense among people that the old ways are not working (at least, not for everyone), while elites do whatever they can to preserve their power. Thus, the unrest described as happening in Hong Kong is echoed in the very real agitation and anxiety many people feel in the present age, in all cultures.

Another theme that should also be familiar to Western storytellers and players is extreme inequality. Since its time in the British Empire, Hong Kong has always had a class system with very rich and privileged elites above a much larger and poorer working class. In the past, this divide tracked with nationality and skin color, but this has become less true. Still, the elites of Hong Kong nevertheless have more in common with their upper-class counterparts in other countries than with the majority of Hongkongers. So, while discussing the highly developed and even futuristic feel of Hong Kong, it should be impressed that along with this affluence and grandeur is also incredible poverty and powerlessness. This injustice and unfairness is even more pronounced among the Kuei-jin, just as it is with the Kindred: those in power are essentially untouchable by their subordinates short of treachery or rebellion due to their superior might and resources. Just as Camarilla princes typically invoke old ideas of hierarchy to legitimate their rule, Kuei-jin mandarins and ancestors take for granted traditional Confucian ideas of loyalty and obedience. Generally, most Kuei-jin in the Middle Kingdom go along to get along. Hong Kong, however, is different; no one is complete control here, and while anarchy offers myriad threats, it also offers a degree of freedom.

Mood

The mood of any chronicle set in the Hong Kong described here should be aggression and restlessness. The Flame Court has its name for a reason. According to Chinese Taoist philosophy, fire is associated with dynamism, strength, vigor, creativity, and passion — when in balance. When in excess, these qualities take on their negative connotations, becoming dangerous and destructive. That is the condition of the Flame Court has remained in since colonization and one it cannot escape, despite the restoration of Hong Kong to native control. This is because the tensions in the region run deeper than physical ownership. Since it was last under Kuei-jin control, Hong Kong has changed in extreme, critical ways that the Wan Kuei elders cannot and will not accept. The Bamboo Princes, too, refuse to abandon the vision of Hong Kong as an oasis of relative liberty and progress in the extremely conservative Middle Kingdom. But whereas the Flame Court refuses to compromise, the modernizers have perhaps compromised too much. Their willingness to join forces with the Genji of Japan and the Kin-jin of the West has permitted the intrusion of more groups pursuing their own interests and further undermining order and stability. With both restoration and revolution frustrated, the norm has become of constant conflict and shifting alliances.

Player characters thrust into this world can pursue many different paths. They make it their mission to bring one of the warring factions to victory, or they may play sides against each other so they can come out ahead when the dust settles. It’s also possible that characters will only be interested in enhancing their own reputations and profits with little investment in vampire politics. Still, it is unlikely that the feuds and schemes playing out in Hong Kong will somehow impact them. Regardless of how they feel about what is happening, player characters should feel like moments of rest and calm are rare, and they must always be looking over their shoulder for the next danger.

Site Map

Introduction — This is the page you are reading now. Introduces the site and its premise, moods, themes, and contents. Also provides resources to use with the site.

History — A synopsis of Hong Kong’s history, with an emphasis on the thoughts and deeds of the Kuei-jin and the Kindred. Describes the current issues and conflicts.

Setting — This site describes Hong Kong in various ways, from its culture, politics, economy, and climate to its physical geography and constituent districts.

The Immortal Demons (NPCs) — This site lists and describes the notable vampires in Hong Kong, grouping them by faction. Storytellers using this site can use these characters as they are, modify them, or invent their own NPCs as they like.

The White Orchid Wu (PCs) — A sample coterie that players can use for their own characters. Alternatively, storytellers can use them as NPCs in their own games.

A Hong Kong Lexicon



Part of one country but with two systems of government, Hong Kong also has three languages: British English, Cantonese, and a fusion of the two expressed in colloquialisms and slang. Some words and phrases have endured for a long time, while some (especially) slang can quickly become outdated. While storytellers and players should be sensitive to avoid offensive stereotypes, using some of the lexicon provided here in a scene provides the sort of flavor expected with setting your game in an unfamiliar environment. As with cooking flavor, spicy is good — but not too spicy.

Aiya (哎呀) — An interjection used to express disgust or annoyance.

Amah (阿嬤) — Word for a woman who acts as a maid and nanny.

Cha chaan teng (茶餐廳) — These are a specific type of tea restaurant found in Hong Kong as well as Macau and many Chinatowns across the world. Also known as “Hong Kong cafes.” They have casual atmospheres and eclectic menus offering Cantonese and Western food and drinks.

Cha siu bao (叉燒包) — A bread-like dumpling stuffed with barbecue pork that is very popular in Cantonese cuisine. A man who never eats pork buns is never a whole man!

Chui shui (吹水) — Literally “blowing water,” it means shooting the breeze, particularly in the sense of making a lot of noise without really saying anything.

Do ze (多謝) — An expression of thanks for a gift or large favor.

Gau (㞗) — Profanity. A rude word for a penis that can also be used as an adverb, like “fuck” in English (“Where did I put my fucking keys”).

Gung ju beng (公主病) — Means “princess syndrome.” Refers to very spoiled young women from wealthy Hong Kong families who are very bossy and entitled.

Gweilo (鬼佬) — “Ghost-man.” Term for a white person comparing them to ghosts based on skin color. Once considered derogatory, now less so.

Hai (閪) — Profanity. A rude word for a vagina. Also a disparaging term for a woman.

Ham gaa caan (冚家鏟) — Profanity. Means “May your family be bulldozed.”

Lan (𡳞) — Profanity. Similar to “gau,” a rude word for a penis that can also be used as an adverb.

Lou (佬) — Roughly means “guy” or “fella,” usually an adult man.

M goi (唔該) — The most common version of “thank you” for small favors.

Nei hou (你好) — The equivalent of “Hello.” Often used as a polite way of getting someone’s attention.

Puk gai (踣街) — Profanity. Means something like “drop dead.” Usually directed at a source of annoyance.

Siu yeh (宵夜) — A late night meal or snack, common in Cantonese food culture.

Tsat (杘) — Profanity. A rude word for an erect penis. Ban cat (笨杘), meaning “stupid dick,” is a common insult.

Yum cha (飲茶) — Brunch popular in Hong Kong consisting of Chinese tea and dim sum (small bite-sized portions of Cantonese dishes).

Zeng (正) — Literally means “correct” or “proper,” but in Hong Kong slang means “awesome” or “fantastic.”

Zoi gin (再見) — Means “bye bye” or “see you later.”

For further reading, see the following book and Web sites:

Bolton, Kingsley, and Christopher Hutton. A Dictionary of Cantonese Slang: The Language of Hong Kong Movies, Street Gangs and City Life. London: Hurst & Company, 2005.

WikiTravel Cantonese Phrasebook

Resources

Movies

Chungking Express (1994) — Set around the Chungking Mansions housing project in Kowloon, this film is an odd take on romance in a huge postmodern metropolis. Starring Tony Leung, Takeshi Kaneshiro, and Faye Wong. Captures the nervous energy of Hong Kong very well.

Infernal Affairs (2002) — The inspiration for Martin Scorcese’s The Departed, this action thriller follows a cop who goes undercover in a Triad organization along with a Triad member who infiltrates the police force.

In the Mood for Love (2000) — Starring Tony Leung and Maggie Cheung, this film is set in 1960s Hong Kong and follows a man and woman who realize their significant others are cheating on them with one another. Was partly filmed in Bangkok.

Push (2009) — While a mess of a movie, this is sci-fi superhero movie starring Chris Evans and Dakota Fanning is set in Hong Kong and offers some ideas for action scenes.

Sparrow (2008) — Directed by Johnnie To, this romantic thriller follows a band of pickpockets who become involved with a mysterious woman with connections to the underworld. Contracts commercial Hong Kong with the old neighborhoods.

The Killer (1989) — This “heroic bloodshed” classic by director John Woo and staring Chow-Yun Fat follows a contract killer who takes one last job to cover the surgery of his last victim. Shot at breakneck speed across Hong Kong because bystanders often mistook simulated shoot-outs for the real thing.

The World of Suzie Wong (1960) — A romantic film starring William Holden and Nancy Kwan based on the 1957 Richard Mason novel about an American architect who falls in love with a sex worker in Hong Kong.

Books (Fiction)

Fragrant Harbour (2002) — Set between the Japanese occupation in the 1940s and the 1997 hand-over, this novel by John Lanchester follows the lives of four very different young people whose stories ultimately converge together by the end.

Kowloon Tong (1997) — An interesting character study of an arrogant, insipid English mommy’s boy who — along with his domineering and racist mother — slowly come face-to-face with the realities of the hand-over to China. A great example of telling a story with unlikable characters.

Tai-Pan (1966) — This historical fiction novel by James Clavell is set in Hong Kong right after its becoming a British colony in the 1840s and follows rival British and U.S. traders who set out to make their fortunes in Asia.

The Honourable Schoolboy (1977) — This spy thriller by John Le Carré describes Hong Kong as a Cold War bastion for the West with lots of espionage and subterfuge. Could offer some inspiration for running your own spy thriller.

Books (Non-Fiction)

A Modern History of Hong Kong (2007) — A thoroughly researched and readable history by Stephen Tsang chronicling Hong Kong’s history. He takes a balanced approach to British and Chinese influences but notes the uniqueness of Hong Kong.

Gweilo: Memories of a Hong Kong Childhood (2005) — This memoir by Martin Booth documents his experiences as a British expatriate child growing up in 1950s Hong Kong. Torn between his xenophobic father and his Sinophile mother, he goes off on his own and witnesses the area and its residents for himself.

Video Games

Shadowrun: Hong Kong (2015) — This is a tactical RPG set in the world of Shadowrun, another tabletop role-playing game that fuses a cyberpunk setting with conventional fantasy elements (elves, dwarves, dragons, etc.). Also set in futuristic Hong Kong, the inspiration for the urban setting shown in the Blade Runner movies.

Sleeping Dogs (2012) — An action-adventure video game that follows a San Francisco cop that goes undercover in the Triads. Hong Kong as depicted is not accurate due to the limitations of the game, but the game does capture the feel of the area in the context of what is an above-average Grand Theft Auto clone.