Prince Lacroix, Lord Bullingdon, and the troubles of not being the right kind of a man.
Initially, only having seen young Leon Vitali's lovely visage in photos from the movie 'Barry Lyndon', I wondered if Brian Mitsoda attributing his inspiration for prince Lacroix to said character, meant it came from the overall vibe of Lord Bullingdon; a prissy petulant noble with a pretty face, quite fitting for prince Lacroix in appearance and attitude, but whether the game's writing was deliberate in its nuance regarding Lacroix's presentation or not, his character mirrors Bullingdon and larger themes of the movie, on a deeper level than I had initially believed.
Spoilers for the movie 'Barry Lyndon' and 'Vampire the Masquerade: Bloodlines', from here on. Mentions of homophobia, misogyny, and child abuse.
Prince Lacroix's capability as a leader is often doubted in a very particular way throughout the game. Specifically, it's his masculinity and perceived lack of it that come under scrutiny, often by those whose masculinity is unquestionable. He is referred to as 'nancy pants', 'prince priss', 'a fop', 'a powdered wig', and other epithets that have often been applied to queer men, and particularly, to men perceived as effeminate. His emotions are also ridiculed and perceived as embarrassing, and he is even compared to a 'little girl'. And except for Damsel, a woman who is trying to cultivate a rather masc image and a tough exterior, these insults come from men who view him as unworthy of reigning over them. And while their general disdain for the Camarilla is to be considered, they also clearly despise the fact that specifically someone like Lacroix could oversee them.
Before I talk more about Lacroix, however, I need to turn to the characterisation of Lord Bullingdon, and his story.
To give a (relatively) quick overview of Lord Bullingdon as a character - he is a child when we first meet him. He is described as shy, quiet, and melancholic, and 'much too attached to his mother'. As he gets older, he remains 'too attached' to his mother, always seen nearby, holding her hand, or merely keeping her company.
After his father's death, Bullingdon refuses to accept his new stepfather - Barry Lyndon, and Barry begins to abuse him to beat him into submission. But despite Bullingdon's perceived 'weakness' and effeminate disposition, he never submits to Barry. This, however, does nothing for Barry or those around them, to see him as a man worthy of respect. His femininity bars him from that acceptance by 'proper' men by default, as his mother's womanhood bars her from being seen as anything but a decoration, compared by the narrator to a fancy carpet or a painting, in the eyes of her new husband.
Barry cheats on his wife, spends her money without care, beats and otherwise abuses Bullingdon, but he comes to adore his own new-born son. Because, it is HIS son, and not a boy that belongs to another man. His son, Bryan, is spoiled rotten and he is growing adventurous, headstrong, and sporty, as his father would want him to and Bullingdon eventually leaves his own home, decried as unworthy of love by his own mother, whom he spent his entire life loving and protecting to the best of his ability. But his mother's happiness lies with her new family, as does her status, and acceptance by those around her. Being married and bearing an heir to the man by her side is important for her continuous enjoyment of and the approval among the high society, even if she is miserable in her marriage.
However, after his young brother's tragic death, and his mother's attempt to end her own life, despite everything, Bullingdon returns home to take care of his mother and to get rid of the man who wrought them both so much strife. Barry is devastated by the loss of his son; perpetually drunk and now in massive debt after years of his foolish spending, as well as his failed attempt to attain a noble title to claim Bullingdon's inheritance for himself. He agrees to Bullingdon's demand for 'satisfaction' and is willing to duel with him.
But, before I get to the duel, I must touch on Bullingdon's perception of himself. Bullingdon is VERY aware that he is seen as cowardly, and that he is hated even by his 'friends' who feign concern and sympathy for his predicament. Lacroix is also VERY aware of the fact that he is hated by everyone. Even if you pass the speech check and attempt to reassure him that people respect him, he won't believe you. He will tell you he's had his fill of sycophants, and he needs someone he can trust.
Realistically, Bullingdon removed himself from a situation where he had been physically and emotionally abused since he was a small child, and he allowed himself to stop protecting his mother and think of himself. And he feels guilty for it. He knows that she is helpless and alone. Especially now, after the loss of his brother, she is completely alone. And he is willing to put himself in harm's way, to protect her once more.
Bullingdon is a typical noble, on the surface. A caricature of one, even. He is soft and shrill and there is a sense of learned helplessness about him that comes from extreme privilege. But he still shows bravery and love that makes one sympathize with him. In fact, despite everything, Barry can't bring himself to kill him.
Bullingdon screws up his shot and as Barry's turn is next; Bullingdon is TERRIFIED. He can't face his death head on, and he can't bring himself to look at Barry. He throws up from anxiety of anticipation of his impending doom. The men around him look disgusted and embarrassed at the display, as he is not behaving as a man should. But he doesn't run. He doesn't weasel out of it. He doesn't beg. He accepts that he will die. And then, Barry deliberately shoots to the side and doesn't kill him.
Bullingdon is shocked, and he should be elated. But he refuses to claim 'satisfaction' as their witnesses suggest he does, and he shoots Barry in return, wounding him, and causing him to lose a leg. He doesn't do so deliberately, make no mistake. He is simply a terrible shot. But he uses this situation to reclaim his home and get Barry out of his life for good, taking his place by his mother's side, once again.
The thing is, Bullingdon is not truly a coward or a weakling. He endures abuse from a man older, stronger, and more experienced than him; from his childhood to adulthood. He is the only support his mother has since she remarries, and despite her callous remark to him and obvious preference for her new family, Bullingdon still dutifully returns to her when she needs him. He IS a strong man in his own right. He is just not the RIGHT kind of a man who could be respected or looked up to in the society he exists in.
Similarly, prince Lacroix is implied to have reached his position in an 'unnatural' way. He likely backstabbed, manipulated, and paid his way through, as characters in the game suggest. His accomplishments ARE impressive. He must have had no small amount of courage, willpower, and intelligence, to execute his schemes (as well as the audacity ;) ). But he is also not the RIGHT kind of a man. He doesn't throw punches and doesn't speak in a way that men around him are going to approve of. Interestingly, he also allies himself with a woman to accomplish his goals in the game, and they both play others and one another in a way that is traditionally seen as 'feminine', while the very much masculine Sheriff fulfils his need for someone who will instill fear in his enemies for him, in ways that he is unable to do, himself.
His obsession with power and security takes a more interesting tone, if you look at it past a generic archetype of a 'power-hungry ventrue'. Whether he is weak or not, he is SEEN as such. He very likely knows WHY he is seen as such. And his over-reliance on domination likely stems from his inability to instill fear and respect into his subjects because he is not the kind of man these kindred would obey or see as one of their own. He won't handle your rejection, because he doesn't have to. At least, not anymore. He can make you submit to him, in his own way. Not with a physical beating or threats of violence, but by exercising his own will over you.
It is also worth noting that Lacroix, who is open about his place of birth and his military service, does not name his sire to us, nor does he give any details about him outside of establishing him as a noble. And while I won't claim it was intended to be taken this way, I can't help but think of Barry and Bullingdon, and if Lacroix's relationship with his sire was more than a little strained, and if he felt that much like Bullingdon, he was alone in what he had to accomplish; to learn to play by the rules of a society that saw him as weak and undesirable, and find his place in it, preferably far above those who slighted him.
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