#also undead Bram what

[raddestrose]

OH MY GOD

What did I just read, everything is going so wrong.

Im going to be fully gray by August at this rate

[apoloadonisandnarcissus]

Resurrection, Death, Rebirth and Reincarnation in "Nosferatu" (2024)

Is it possible that Robert Eggers sneakily pulled a “Coppola” in his “Nosferatu”? This sounds insane but stay with me, while I try to unravel Orlok’s backstory.

“Nosferatu” (2024) left me with some burning questions about Ellen and Orlok connection (outside of the occult meaning), because Robert Eggers is a director obsessed with detail:

Why does Orlok want to be spiritually united with Ellen, forever? To the point of obsession, really; he traveled from Romania to Germany, and he’s willingly to kill everyone and spread plague in order to achieve it. His entire goal is to have Ellen’s soul by his side for all eternity, he’s consumed by it;

How come she understands him speaking Dacian (an Balkan extinct language for centuries)? Does their connection come with a translator device? In “Bram Stoker’s Dracula” is unclear if Mina understands Dracula when he speaks Romanian, but she recognizes his voice as familiar (she’s the reincarnation of his wife);

Why is lilac their signature flower? Native to the Balkans and also connected to rebirth. Sure, the Victorian symbolism of this flower fits them, but so could others. And it’s clear Eggers really wanted this specific flower, even if it doesnt fit the setting: because it blooms in the Spring, and the events of the film are set in Winter. Winter represents death, closure, reflection, despair and sadness, and rest, as nature is dormant and will rebirth and renew in Spring time, which symbolizes the circles of life, promises of new life, new beginnings, growth and fertility. According to Lina Muir, the costume designer, lilacs remind Orlok of when he was alive;

Ellen and Orlok are connected with every facet of life and death: resurrection, death itself and rebirth. Is it possible that “reincarnation” also fits here?

The Curse of Nosferatu

According to Adrien Cremene, in his “La Mythologie du vampire en Roumanie”, the strigoi myth dates back to the Dacians. The strigoi are creatures of Dacian mythology, troubled or evil souls, the spirits of the dead whose actions made them unworthy of entering the kingdom of Zalmoxis (more on the Dacians and Zalmoxis later). Which appears to be Orlok’s case? He probably did some terrible things in life which caused him to be cursed to become Nosferatu?

A strigoi isn’t necessarily a vampire; but it’s not excluded because they can feed on blood. They rise from their grave at night, wandering and creating havoc. Strigoi haunt their relatives; bring plague with them; feed off the heart of the living, and their life force; and being bitten by a strigoi doesn’t turn the victim into one. There are strigoi-viu (living; sorcerer) and strigoi-mort (undead), with the last being Orlok’s case, obviously.

What is believed to be the cause for this curse is diverse, but according to the encyclopedist Dimitrie Cantemir and the folklorist Teodor Burada in their book “Datinile Poporului român la înmormântări” (1882), it can be one among several things:

Physical characteristics that doom the person in life: being the seventh of seven brothers; being a redhead; etc.

Lead a life of sin;

Die without being married;

Die by execution for perjury (false oath);

Suicide

Die by a witch’s curse.

Other causes in Romanian folklore can be: violent past; “bad death” (violent death; lack of closure; conflicts with relatives); sorcerers and witches; or someone who can’t leave the living world because they can’t forget their loved ones.

And this explains why Herr Knock wanted to be violently killed by Thomas, near the end of the film: he wanted to become a strigoi, Nosferatu like Orlok (“prince of rats”), and wanted a violent death to seal the deal. But his covenant with Orlok is not the same as Orlok and Ellen’s.

“I relinquished him my soul. I should have been the Prince of Rats – immortal... but he broke our covenant... for he cares only for his pretty bride [...] She is his! [...] Strike again. I am blasphemy!” 

Since Robert Eggers took the time to write a few pages on Orlok’s backstory, I doubt the explanation is something as simple as “he was a sorcerer” in life. Orlok having a violent past is also hardly surprising, since he was a warlord who most likely saw battle, violence is to be expected here. There’s no reason to be secretive about any of these options. Everyone is expecting Orlok to be evil incarnate when he was alive. The only reason for not letting us know about his past it’s because he’s probably a tragic character, and that would humanize him at the eyes of the audience, and break the horror theme.

And here is where it gets enigmatic; because Orlok was dead, and had been for centuries, until Ellen awoke him. It’s her crying prayer that rises him from his grave, and turns him into a strigoi. He didn’t enter Zalmoxis kingdom, though; because he says his soul was in “the darkest pit”.

We don’t know if Orlok died because of a witch’s curse; but he was risen from the dead by one (enchantress, witch).

In Romanian folklore, it’s said when strigoi raise from their grave the first time, they return to those they have loved the most, because they wish to relive their life together. The strigoi usually torment them until they are dead, too. Which is what we see in “Nosferatu” with Orlok and Ellen. But this can only be possible if Orlok had known Ellen in his human life; with her being the reincarnation of his wife or lover/bride he didn’t get the chance to marry.

In Romanian folklore, it’s said strigoi come at night, and appear at the window of their loved ones, asking for entrance

The theme of the strigoi lover is also a staple of Romanian Romanticism and stories of women and men being visited by their dead lovers were very popular, both in folklore and in high culture.

“Your passion is bound to me. […] I cannot be sated without you. Remember how once we were? A moment. Remember?”

The use of the term "sated" in this context is also curious, because, in Archaic English (which is what Orlok uses, being from the 16th century), it's connected to the verb "sit", which means rest or lie. "I cannot rest without you"; which makes sense with their whole deal being about them together ever-eternally in death. He can’t find peace in death without her spirit by his side.

Who is Count Orlok?

Eggers’ Orlok isn’t a random demon vampire; he was once a man.

Robert Eggers doesn’t want us to know the full backstory on his Count Orlok, but he wrote a novella on it and gave it to Bill Skarsgård. We know he’s a 16th century Transylvanian nobleman, from the 1580s (“lord” and “lordship”), he’s not Vlad the Impaler (he’s from the 15th century), he was a voivode (warlord), a sorcerer (Şolomanari) and he was married, and had a family.

Bill Skarsgård cited the Bulgarian epic “Time of Violence” as one of Eggers’ many inspirations for Orlok backstory. And, indeed, he lived during the Ottoman rule of the Balkans, but he wasn’t the prince. His castle is in Transylvania, which was a state under Ottoman supervision. Transylvania nobility led many rebellions against the Ottomans invaders (hence the legend of “Vlad the Impaler”, who’s considered a Romanian national hero).

Orlok costume design (interesting his face is blurred, because he doesn’t look like a rotten corpse here)

In Bram Stoker’s novel (which is also one of the main inspirations for this film), Dracula is very proud of his boyar heritage when he speaks to Jonathan. In 2024 adaptation, we also see Orlok demanding Thomas Hutter (Jonathan cinematic counterpart) to address him as “lord”: “Your Lord. I will be addressed as the honour of my blood demands it.” A Romanian boyar is pretty much a “lord”, a feudal nobleman with a castle, administrative responsibilities (political) and/or military power. A “boyar” title could be hereditary (which seems to be Orlok’s case), or earned.

Orlok signet ring: with his own sigil. The gemstone appears to be rumanite, also known as “Romanian amber” (which comes in various shades of black, red and/or brown).

On his sarcophagus and on the mysterious cyrillic contract Orlok makes Thomas sign, we have Orlok’s coat of arms, and Robert Eggers, being obsessed with detail, crafts his worlds very carefully. “Coats of arms” is heraldic design, and were used by nobility.

Each “coat of arms” is unique to the individual (nobleman) and speaks of achievements, heritage, etc. “Coats of Arms” are traditionally composed by a shield, supporters, a crest and a motto, but might not have all of these elements. Orlok coat of arms doesn’t have a motto.

The crest is a crown. Which it’s probably connected with his noble lineage, and his role as sovereign of a county (count);

As supporters (holding the shield) we have two Dacian dragons (Draco) with their tails intertwined. Here, it’s a mix of dragon and wolf, a balaur (sky demon or “heavenly dragon”), and it’s connected to Zalmoxis. This dragon with a wolf head, was the Dacian battle flag. Orlok’s sarcophagus also has many Dacian wolfs. A historical note on the supporters; they were chosen by the nobleman and could change throughout his life, so these Dacian dracos were being used by Orlok at the time of his death, but he might not have used them all of his life;

The figures on the top, inside the shield, are a Dacian dragon with a sun or star; and a wolf with a crescent moon. Usually this star and crescent moon motif represent the Székelys, an ancient Hungarian sub-group (said to descend from the Huns), and with seats of power within Transylvania, on the hills of the Eastern Carpathian Mountains. Castle Orlok is located beyond the Árnyék Pass (also known as Umbră Pass) in the Carpathians, but this is a fictional place. Both “Árnyék” and “Umbră” mean “shadow”, in Hungarian and Romanian;

At the center, the shield is a Barry of eight fesse (horizontal stripes) or three bars, on the left (symbolic or military rank and recognition) and one tower on the right (symbolic or strength, protection, resilience of a stronghold, guarding its inhabitants from adversity and external threats);

1 Seven Rays (bottom, right), a star standing alone, probably a reference to his personal sigil (heptagram)?

3 sabers which seem to be Hungarian szabla (bottom; left). These swords were symbols of nobility and aristocracy (szlachta) The węgiersko-polska saber was popularized among the aristocracy during the reign of the Transylvanian-Hungarian King of Poland Stephen Bathóry in the late 16th century. Swords in heraldry are usually used as a symbol for military honor.

Now we are getting somewhere because Stephen Bathóry was Prince of Transylvania between 1576 and 1586, which fits the dates we have for Orlok: 1580s-1590s, late 16th century. The Báthory family ruled Transylvania as princes under the Ottomans until 1602.

We don’t know the dates for Orlok birth and death, but since Robert Eggers mentioned the 1580s and Lina Muir talked about the 1590s, I’m assuming these decades were important in his life, and he was already an adult. And he probably died somewhere in the 1590s since that’s the reference Lina Muir has for his costume design (which he was buried with): “Robert, right from the beginning, knew that he wanted his Orlok to be a representation of a Transylvanian count from around 1590.” In a interview to “Art of Costume”, the costume designer said:

“For Orlok, our research focused on the look of a Transylvanian-slash-Hungarian count from around 1580. He’s a character who was young and vital 300 years before the events of the film […] Even his enormous kalpak hat—a piece that would have been worn differently by a younger man—is now part of his strategy to hide the grotesque reality of being 300 years old.”

Robert Eggers also mentioned Hungary several times in association with his Orlok, because Transylvania was a Hungarian politically dominated principality. Orlok is also a count, the sovereign of a county, and the Székely had several autonomous seats within Transylvania; these were self-governing, with their own administrative system, and existed as legal entities. Their autonomy was granted in return for the military services they provided to the Hungarian Kings. Orlok also has a Hungarian royal army 16th century hairstyle, and military heraldry on his coat of arms, so he saw battle and/or military service.

Orlok being of Székelys lineage is also aligned with the “Dracula” novel, where Count Dracula shares the same ethnicity: “We Szekelys have a right to be proud, for in our veins flows the blood of many brave races who fought as the lion fights, for lordship. . . . What devil or what witch was ever so great as Attila [the Hun] whose blood is in these veins?” The Székelys are said to be only true Transylvanians, because they guarded the land's borders long before the Magyar invasion and Hungarian rule. Their allegiance was only to the sacred soil of Transylvania, no matter who holds temporary political dominion over them, which also makes sense as to why Orlok/Dracula, on vampire form, needs to rest on their soil during daytime.

Men could become sovereigns really young in the event of their fathers deaths. Sigismund Báthory (we’ll talk about him in a minute) became prince of Transylvania at the age of six. And it’s the same with weddings; we have several cases of marriages at 14, 15, 16, and so on, throughout History. No idea what’s Orlok case.

Being a Count, Orlok was probably a hereditary member of the Union of Three Nations? Founded in 1438, and composed by Hungarian, Székelys, and Saxon noblemen of Transylvania. Their function was to provide mutual aid against Ottoman attacks and peasant revolts, and were successful for centuries. As a Count, Orlok wasn’t low in the aristocratic hierarchy; he was just two ranks below the Prince (Marquis and Duke).

Bill Skarsgård citing the Bulgarian epic “Time of Violence” as one of Eggers’ many inspirations for Orlok backstory, might indicate he probably was involved in the religious turmoil of Protestants vs. Catholics in Transylvania in the late 16th century. In the 15th century many Romanian noblemen converted to Catholicism; and in the second half of the 16th century, Transylvanian authorities forced their people to convert to Calvinism.

In the late 1550s, Protestantism began to spread in Székely villages due to Hungarian-speaking preachers, who promoted the theology of John Calvin (Calvinism). While the majority of the population remained Catholic, some Calvinist settlements joined the new Unitarian Church of Transylvania. In 1566, priests who didn’t convert to the “true faith” were expelled from the country.

However, when Stephen Báthory took power in Transylvania in 1576, restrictions began to arise, and Orthodox hierarchy was restored. Székely peasants demanded for their freedom, but were refused. As retaliation, hundreds of Székelys joined his opponent, Gáspár Bekes, who was defeated in 1575. As consequence, more than 60 Székelys were executed or mutilated, and Báthory's supporters received Székely serfs (slaves).

When Stephen’s sucessor, Sigismund Báthory, a Catholic, came to power in 1586, he wasn’t well-liked by the Union of Three Nations representatives, which tried to undermine his authority on several times, with plotting and conspiracies. The “Long War” (1591-1606) started; it began as a Christian alliance against the Turks, and became a four-sided conflict in Transylvania involving the Transylvanians, Habsburgs, Ottomans and the Romanian voivod of Wallachia led by Michael the Brave.

In 1593, Sigismund abdicated, and tasked his cousin Balthasar Báthory with the government of Transylvania, and he tried to seized the throne for himself, but was stopped by other leading officers who set up an aristocratic council. The commanders of the army, persuaded Sigismund to return, and arrest Balthasar and fourteen other noblemen for plotting. They were either executed (beheaded) or strangled in prison. Only one was Protestant, the others Unitarian. Many of their relatives converted to Catholicism to prevent the confiscation of their estates. Which side was Orlok?

In 1595, the persecution of radical Protestants began, and hundreds fled Transylvania. In that year, Sigismund married Maria Christina of Austria but was unable to consummate the marriage. He accused Margit Majláth (mother of his executed cousin, Balthasar Báthory) of witchcraft, causing his impotence.

Sigismund promised to restore the Székelys' liberties if they took up arms against the Ottomans, and more than 20,000 Székelys joined the royal army. They helped win the Battle of Giurgiu. However, their decisive warrior role during the war was ignored, and they were not only denied their freedom, but, in 1595, their leaders were massacred in the “Bloody Carnival” by István Bocskai, the commander-in-chief of the Transylvanian army.

In 1599, Andrew Báthory becomes prince of Transylvania, but the most influential noblemen didn’t support him. His main supporters are noblemen forced into exile in 1594, but they were impoverished young men, without influence. However, Andrew choose Catholic lords over them. Meanwhile, Michael the Brave invades Transylvania and the Székelys become his allies. Andrew tries to flee the country, but is ambushed by Székelys slaves and beheaded with a shepherd's axe.

We’ve arrived at the end of the 16th century, and we don’t know if Orlok lived to see the 17th century because we have no indication of that, since Robert Eggers only talks about 1580s and 1590s. Whoever Orlok was in life, clearly left a lasting impression because there were legends about him, as Thomas was made aware once he arrived, and several locals warned him about Orlok’s shadow. He was also connected with the Devil by the Christian Orthodox nuns.

From the movie, it’s clear he’s remembered more because of his “magical powers” (sort of speak) than for his military accomplishments. Which is the same case as Bram Stoker’s Count Dracula. In “Nosferatu” (2024), it’s Ellen who awakes Orlok in the 19th century, with him being dead for centuries at that point. Still, there appear to be legends about him in Transylvania, all the same.

If Orlok was involved in the Catholics vs. Protestants conflicts in Transylvania in the late 16th century, like everything seems to suggest (“Time of Violence” inspiration and historical context), he certainly wasn’t on the Catholic side of the conflict. We don’t have any Christian religious iconography on his coat of arms or personal sigil; and he used both during his life. Protestantism defended a more personal and private relationship with religion, than the performative and grandeur of Catholicism. A Protestant facade would allow Orlok to pursue and practice his true religion without raising suspicion to his county. Still, rumors about it certainly spread during his lifetime, until they became legend.

Hypothesis #1

Now, if we go with Orlok being 55 years old at the time of his death; let’s do some math. Both Robert Eggers and Lina Muir have said he’s 300 years old during the events of the movie, which is set in 1838. If we do the math (1838 minus 300), the date of Orlok’s birth would be 1538. And if we add 55 years to this date, we arrive at 1593 as the date of his death. Which would mean he was probably among Balthasar Báthory supporters, and was arrested for treason and strangled in prison (he obviously wasn’t beheaded).

We also have a woman and accusations of witchcraft as retaliation for the death of these noblemen. Someone also commissioned Orlok’s sarcophagus, not only expensive-looking (fit for his ranking), but also filled with symbols and sigils of immortality and rebirth. Who had this sarcophagus made? Himself or someone from his family?

On his castle catacombs, there are more sarcophagus, which obviously belong to Orlok’s family, who’s also buried down there. He was also placed in a prestige location within the cryptic; someone respected his role as Count, which suggests someone either cared or respected him, in life. Unless he was the last one to die, and ordered for his sarcophagus to be placed there.

Did his wife, the Countess, survive him, and ordered his sarcophagus to be made? If so, she clearly wanted him to return to life. Maybe she was also involved in sorcery as he was. We also have countless examples of wives taking over their husbands estates/titles after their deaths (even as rulers of Transylvania). Maybe his wife was one of those who reluctantly converted to Catholicism in order to keep the family estate?

“I [was inspired by] a 15th-century sarcophagus from Poland. Orlok is Dacian so I started looking at Dacian dragons. Trajan's Column in Rome shows the battle of the Romans defeating the Dacians and you see their Dacian dragon, which has a wolf’s head, so I started adding wolves’ heads. The feet of the casket are actually Dacian dragons. We came up with a coat of arms for Orlok to put on and added Solomonic symbols. The idea is that the more you stack up the details, the more you’re creating the world.” Production designer Craig Lathrop

Now, we do have “strangling” associated with Orlok and Ellen, right in the prologue, when he reveals himself to her, under the lilac trees:

This is a horror movie, yes, but Robert Eggers is very intentional with his stories and he doesn’t do cheap jump scares. Why did Orlok do this to Ellen? Especially when he just asked her to be one with him ever-eternally. This act does have a meaning we aren’t aware of.

And his first words to her are “You”, and then he says “you wakened me from a eternity of darkness”, and he repeats “you… you”, and says she’s not for the living. This somehow suggest a recognition from his part. He knows not only what she is, but who she is.

Orlok also calls Ellen “enchantress”, and it was her sadness (grief? Heartbreak?) which powered her prayer. She did it unconsciously, and due to her supernatural abilities, but maybe her soul has tried to achieve this in the past? But didn’t succeed then?

Orlok’s “asmatic” speech can also indicate his vocal chords are damaged? Sure, he’s been dead for centuries and has to inhale and exhale in order to be able to speak, because he doesn’t need to breathe (obviously, he’s a walking corpse).

The flaw with this theory is that Orlok doesn’t seem to have neck injuries compatible with death by strangulation.

Hypothesis #2

Another likely option, is that Orlok might have died from the plague, the “Black Death”, during the second plague pandemic in Europe (1346-1844), which known several outbursts throughout these centuries. Which would explain why he returned as the “plague carrier” and his association with rats (since the Black Plague was believed to be caused by the fleas of certain rats).

The plague hit Transylvania particularly harshly during the 15th and 16th centuries, more deathly than before; especially between the years 1550 and 1587. The towns and villages in the Carpathians suffered deeply with the plague in 1553-1554, with countless deaths. Between 1552 and 1554, many aristocrats died, and some territories were even depopulated due to the plague.

The Catholics saw this outbreak as God punishment of His enemies, as divine justice against the heretics (Protestants). Protestants, on the other hand, refused the “plague” Catholic saints (like St. Sebastian) and saw hardship as a path to salvation but also as punishment for pride and other sins, advising against attachment to the “riches of the world”.

Being a Count, in the face of a plague epidemic, Orlok had to work alongside religious and medical authorities to deal with the situation. However, when epidemics got out of control, physicians (doctors) could have full power of decision over the people. Several restrictions to gatherings of every kind were made during this period. Burials on churchs were forbidden. Mentions of rotten corpses and maggots were popular in religious speech to force citizens to keep the plague graveyards clean, and avoid the spread of disease. In “Nosferatu” we have allusions to all of this and even the “Death and the Maiden” motif at the end of the film.

If we take 1538 as Orlok’s birth, these dates (between 1552 and 1554) can’t possibly be his dates of death because he would be a teenager during these years, between 14 and 16 years old. They can, however, be when he became Count? Maybe his father and/or mother also died from the plague? Or even his wife?

The plague epidemic could also be the reason why he became so interested in conquer immortality, tapping everywhere to achieve it: alchemy (“elixir of immortality” and “panacea” to cure all diseases), Zalmoxis cult, and Şolomonari magic. Him dying of the plague anyway would be one of those wicked ironies which would fit his character. His corpse certainly exhibits plague wounds, like the ones on his victims.

However, this would make Orlok younger than Robert Eggers claims he is; but Eggers being so secretive about Orlok background, he can also be concealing his true age, after all. Orlok dying during the Transylvania plague epidemics would make him 49 years old tops or even on his 30s, at the time of his death. Which would fit Lina Muir comments on his hat design being worn by younger men.

Hypothesis #3

If we go with the strigoi folklore, Orlok might have died with “unfinished business”, which is a staple of ghost legends everywhere in the world. The cause of his death, or even the date, is not exactly relevant here.

Connecting with Ellen being a reincarnation of his past lover; she might not have been his wife, at all. The majority of aristocratic weddings were motivated by politics. The wife Bill Skarsgård talks about, might have been chosen for political reasons, and alliances. She might have died, too, and Orlok wanted to remarry (which was the usual practice), this time for love. But, his bride died before the wedding, or he did.

This option would fit this story better, because Orlok and Knock talk about Ellen as “bride”. Even when asking Thomas about his “maiden token”, Orlok calls Ellen “your bride”. It would also give a deeper meaning as to why Ellen put on her wedding dress to marry Orlok at the end.

In this option, Orlok’s bride wasn’t buried next to him in his castle crypt, and death separated them. Which would explain why Orlok is so obsessed in pursuing Ellen’s soul and have her by his side for all eternity.

Şolomonari and Zalmoxis

Orlok sigil: an heptagram surrounded by a Draco ouroboros (death; rebirth; reincarnation); the letters are cyrillic for “Zalmoxis”; the center is the alchemist symbol for blood; the symbols appear to be Vinča; with archeological findings in Romania with these symbols being over 8,000 and 6,500 years old, and consider by many as the oldest form of human writing, but their meaning is still unknown. They are here either to show Orlok comes from an ancient bloodline; or he has known reincarnations throughout the ages?

Heptagrams are connected to the seven elements of Alchemy but aren’t represented like this. Heptagrams are also connected to divine feminine goddesses, like Babalon and Isis.

We also see Ellen’s beauty being compared to a sylph by Herr Knock (probably due to his own deal with Orlok), which makes her connection to the 16th century, because “sylphs” were created by Paracelsus, a Swiss alchemist, in 1566 (Orlok would be 28 years old when this book was released). Sylphs are beings of the air element, a sort of fairy or nymph.

The genetics of historical Vlad III, “The Impaler”, “Dracula” can be traced much farther back than the Szekelys and the Huns: he was descendent from the Dacian warriors. And this seems to be the same case with Eggers’ Orlok; or he developed a fascination with them. Aside from his sigil and coat of arms, the audience knows there’s a connection between Orlok and the Dacian civilization, because he speaks Dacian in the film (a language which was already extinct in the 16th century).

The Dacians were a Indo-European people from Ancient times (6th century) which inhabited modern-day Romania (as well as parts of the surrounding countries) and were eventually conquered by the Romans. Their cult was a deity called Zalmoxis, God of life and death, who granted eternal life and knowledge to the worthy, ensuring their place in the afterlife. Sacrifical rites and shamanism were practiced in his honor. Zalmoxis was considered a prophet, represented as a handsome man, a priest who controls the forces of nature, with power over wild animals.

Zalmoxis is kind of a mysterious figure, he’s a man who became a God to his people, and in some legends he was a king, in others a slave of the Greeks who freed himself, while in others he’s the high priest of the actual God of the Dacian people. He’s often compared to Jesus Christ because he, too, was resurrected after being three years underground. According to Herodotus, Zalmoxis learned the secrets of immortality when he traveled to Egypt: we already have a link here with Ellen, because she was compared to a “priestess of Isis” (Isis, the Queen of the Underworld).

Ancient greek historian Herodotus wrote about several Dacian legends and rituals; as the priests of Zalmoxis who kept the secret of incantations that could make human beings immortal, and the ritual practice of wrapping a young man who wished to become a warrior in the skin of a wolf (some men were said to be able to change themselves each year for several days into the form of a wolf). There are some theories among historians that hallucinogenic mushrooms were used in the wolf-pelt ceremony, allowing the men to experience a complete psychological transformation into wolves.

Dacian warrior

Once psychologically transformed into a wolf and thereby initiated into the Brotherhood of the Wolf, the Dacian warrior would enter fearlessly and ferociously into battle under the banner of the Draco, the wolf-dragon. This appeared to be Orlok’s case because he has the Draco on his coat of arms, which he would wear in battle.

Draco: the Dacian battle flag; Brad (Romania)

We are told this book is Şolomonari by Von Franz, and obviously belonged to Orlok, and it was in Herr Knock’s office:

However the language it is written is Latin-based, so I’m guessing it’s Dacian (instead of the cyrillic Orlok used before in written material). My mother language is Latin-based, I can understand some of the Dacian spoke by Orlok, and I’m recognizing some words here, too. This book is probably from a Zalmoxis cult, which isn’t surprising because this leads us to another question: scholars in recent years have been disputing long-lasting ideas about who the folkloric Şolomonari truly were, which seems to be the approach Robert Eggers is taking with his adaptation of “Nosferatu”.

In the “Dracula” novel, Van Helsing says Dracula attended the school Scholomance. In Romanian folklore, it’s located in the Carpathian mountains where the Devil was the lead instructor of 10 or 13 students. One of each class was either kept by the Devil or given permission to ride a dragon. In “Nosferatu”, the old abbess tells Thomas, Orlok was selected to have his soul kept by the Devil, and, possibly, cursed to vampirism as a result: “A black enchanter he was in life. Şolomonari. The Devil preserved his soul that his corpse may walk again in blaspheme.”

Xenoarcheologist Jason Colavito is one of the pioneers of these kind of studies, exploring science, pseudoscience and speculative fiction, and has done research on the Scholomance and the Şolomonari. He made the connection between Dacian priest-shamans and the folkloric Şolomonari (named after King Solomon and alchemy) and how they were perceived as benevolent forces until the Christians defamed them as “devil worshippers”. This association between Paganism and the Devil wasn’t exclusive to Romania, it happened throughout Europe when European kings and leaders converted to Christianity and forced their populations to forsake their old Pagan beliefs.

The Devil’s School of Scholomance is, then, a distortion of Dacian Pagan beliefs; where Zalmoxis had a underground chamber, a great hall, where he taught the secrets of immortality, and of life and death to his followers. In “Nosferatu”, it’s the Orthodox nuns who first make the association between Orlok, the Şolomonari, and the Devil; and then the alchemist Von Franz does the same. But none of these characters have first-hand knowledge of what the Şolomonari truly are, and Von Franz admits he never encountered a Nosferatu before. And, indeed, there’s no “satanic” symbols on Orlok’s sigil and coat of arms. He’s Pagan, a follower of Zalmoxis.

The question here is: how did Orlok had access to this knowledge? Was there an actual “school” or a Zalmoxis cult in the 16th century, in this story?

[livefromcastledracula]

What would be your thoughts on reinterpretationing the sisters/brides in a sympathetic lines?

If two of them really are the Drac's daughters that could have some REALLY disturbing implications even ignoring them potentially being born vampires or turned at a young age and legitimately not knowing any other way.

*insert joke that there forgiven for eating babies because there hot

I think the first thing that jumps to mind is that - in older folklore - a vampire preys on its own family first. It goes immediately to the people it loved most in life and sucks the life out of them, and then they prey on the people they cared about and so the horror perpetuates...

(if you guess the connection here with rural villages and the spread of communicable diseases like tuberculosis, yep)

Stoker's Count adheres more to the Romantic gothic era literary vampire (mysterious aristocrat in a haunted castle etc) tropes than the grimy peasant folklore of original flavor vampires, but he also clearly did his research and makes use of a lot more of the folkloric superstitions than most other foundational vampire lit.

We also see with Lucy for example that Stoker vampires prey opportunistically upon the most vulnerable people they can access. Loved ones are easily lured by a familiar, beloved face, and in Lucy's case children are quick to trust the pretty, sweet-speaking Bloofer Lady.

It would have been a very folkloric twist if Lucy (and by extension the Brides?) preyed on children or infants because they desired or had some connection to children of their own, but Lucy never expresses any feelings about children either way, so I think that's a dead end.

It wouldn't surprise me that Stoker's implicit backstory behind the Three Sisters, if they WERE once Dracula's living family, was that he turned them first upon becoming a vampire.

Them being born vampires is a novel idea but I don't think there's any suggestion Stoker's definitely undead corpse people vampires can reproduce the old fashioned way or any other way than transmitting their curse, and they also don't age unless they don't feed, so the idea of a child vampire is a bit of a paradox in Stoker lore. Would a child vampire grow and age like Dracula does when not feeding and then revert to the age it was turned at when it feeds?

I have no idea and I can't pop into Bram's DMs to ask him ☠️🧛alas.

[biocrafthero]

Why Sunny’s Halloween costume is a mummy instead of a vampire

Okay strap in guys this is a long one

(Under a read more because I have lost my mind)

(Also for some stuff I’m using Wikipedia as a source this isn’t a professional essay or anything)

Something I have noticed with Omori fans is that, much like with other fandoms, people like to assign fun Halloween monsters to their favorite characters. For a character like Sunny, I have noticed that many people opt to make him a vampire, which is a choice that seems quite understandable. The idea of the modern vampire can be traced back to many different authors, the most popular one in the minds of most being Bram Stoker’s Dracula, which was published in 1897. Some of the visual and behavioral trademarks of a vampire has to do with things such as aversion to sunlight, pale skin, fangs, and the need to feast on the literal blood of others to stay alive. Vampires have always been considered undead, which aligns with their history throughout folklore; there were several instances where corpses were staked after being accused of vampirism.

Reading this, its easy to see why fans would assign a character like Sunny to the idea of vampires based on all of the common traits of vampirism. However, while I do enjoy AUs and such of a vampiric Sunny, I disagree with this common interpretation and instead propose the idea of Sunny being associated with a different kind of undead monster: the zombie.

(“But Kaun, didn’t you say in the title of this post that Sunny is associated with mummies?” Yes, but we’ll get there.)

The origin of the zombie can be traced back to several different sources throughout the world, the most well-known one being Haitian folklore during the 19th century. Regarding modern depictions, popularized by the film Night of the Living Dead, zombies tend to be slow, rotting, human undead (while it must be noted that undead animals isn’t particularly uncommon either). Much like vampires, zombies need to consume humans to survive, but the difference is that, while vampires only need blood in most depictions, zombies tend to eat all parts of the body. The idea of the brain being the specific target is something that’s only come up within the last fifty years throughout pop culture; adding to these newer additions, it was only within the last twenty or thirty years that the idea of the running zombie was introduced and subsequently popularized.

So what does any of this have to do with Sunny?

Well, thought Omori, we are shown clear evidence of why the idea of the zombie resonates with his character. The most obvious example is with Hellsunny, who can be found throughout the entire truth sequence, in some parts of Black Space, and in a very particular cutscene in the Hikikomori Route.

Now, while its easy for us to assume things from the POV of Sunny himself, sometimes its important to take into account the intent of the creator in order to interpret things such as this. So, once again, why a zombie?

Well, the choice of the zombie is quite obvious to me: the fact it is commonly referred to as the living dead. Now what does this allude to regarding Sunny? It most likely correlates with his emotions in the wake of Mari’s death, especially considering he’s the one who killed her in the first place. It is commonly said by people who have experienced the loss of a loved one feel as if they’re just drifting through life after their passing, and the same can definitely be said for Sunny. At the time the real world sections of the game take place, its been four whole years since the incident had occurred, and Sunny has both figuratively and literally wasted away in his own home. Characters comment on how he seems very skinny and/or frail, and how he clearly hasn’t been taking care of himself. In a way, its like a part of him died alongside Mari.

This is where we get to what some would consider to be an extension of the zombie archetype: the mummy.

Regarding its depiction in horror since the history of real mummies is an entirely separate conversation, the modern depiction of the (male) mummy can be found dating back to the 1932 film The Mummy. While most historical, real life mummies had their organs removed before burial, the mummy from the film (named Imhotep) was deduced to have been buried alive after it is discovered that its organs had not been removed at all. Now while the rest of the film’s plot isn’t quite as relevant to our analysis, I believe these details are important to note. The idea of the mummy being something sealed away, only later to be awoken again as some kind of living dead, is very interesting considering the parts of Omori that make this comparison to Sunny. The allusions to the idea of Sunny’s own home being some kind of coffin or tomb adds to these ideas.

This is why I think the vampire comparisons simply do not fit. The idea of the vampire inherently implies that the afflicted needs to take something from others in order to survive, and while the same can be said about zombies it must be noted that within recent years the idea of a kind zombie has been slowly making itself known. Additionally with mummies, aside from the blatantly orientalist bullshit regarding its history in pop culture, don’t tend to be depicted with having to consume any physical part of the human body (but physical violence in general is still on the table for them. They tend to be depicted as more on the level of vampires in terms of their intelligence).

In contrast, the living dead (referring to both zombies and mummies) tend to be much more passive. Most don't go out of their way completely to hunt humans, only hunting if one crosses their path—mummies even more so, with them not even needing human flesh to maintain themselves. When not hunting, these monsters tend to just... exist, not doing much of anything at all. They don't expend energy on actively looking for what they need to survive, instead opting for what they need to find them, wasting away all the while. And the thing is with zombies: they rot. They decay, bound by more realistic things than mummies are (which tend to be sustained my more magical elements in pop culture).

While the idea of having to actively go out and hurt others to sustain yourself is very interesting, when specifically regarding Omori’s canon, it doesn’t quite fit in line with Sunny’s character and his arc. In contrast, him neglecting his own needs and wasting away is more in-line with all of that, which is why he’s more commonly depicted as being a zombie or a mummy by official material.

I know this post is extremely long-winded, but I think this kind of analysis is very fun. Additionally, you don’t have to take my word as gospel, either. I enjoy AUs where Sunny is a vampire, since he’s in a position where he has to violate his own morals in order to sustain himself. I think it acts as a very interesting way to deconstruct his character, and to push him to his limits (including the brink of death if he refuses to hunt).

[erikmodi]

King Laugh got me thinking.

So, we know that, since "Dracula," vampires have gotten progressively sexier, and the metaphor of "blood = sex" has gotten more and more blatant. Very blatant, to the point the film "Bram Stoker's Dracula" makes it so explicit that if they went any farther it'd be straight up porn. Yet here, in Van Helsing's "King Laugh" speech, the idea of blood sharing having deeper meanings is brought up, and literally laughed off. Stoker, through Van Helsing, seems to be saying "sometimes a cigar I'd just a cigar," there doesn't really need to be a deeper meaning. Dracula I'd an evil undead who wants to suck your blood, kill you, and make you a Godless monster just like him, you don't really need to add anything to make that scary. Yet "blood = sex" has become a staple of vampire fiction, including adaptations of this very story, where the suggestion is portrayed as literally laughable.

You know what else also happens in adaptations of this story? Lucy going from a sweet, innocent, fair young maiden to a horrid flirt or full-on slut. Does this "blood = sex" connection, and the fact Lucy famously get blood from four different men, play into this?

Even if you're in favor of the "blood = sex" connection (and that's fine, you do you), it's more complex than just that. Dracula is like a disease afflicting Lucy, but you could also read him as a sexual assailant. He takes from Lucy what she wouldn't give him willingly. By contrast, the men all give blood to Lucy willingly because they all love her in their own ways. That doesn't really fit a sexual metaphor. . . maybe physical/emotional support to recover?

[bluecatwriter]

So I watched a tv movie called Bram Stoker's Van Helsing (2021) that's only about the London Lucy segment of the story and… you know how no one (despite Van Helsing's fear) is seething with jealousy over Lucy? well, it's a love triangle now because they wanted to make it more interesting. Arthur and Jack keep headbutting for dominance and Arthur is so jealous that he's the one who throws the garlic away at night, for Jack to not be the one who becomes the hero in Lucy's eyes.

Putting this on the pile of Dracula stuff that includes Arthur, but completely changes him to "fix how boring he is"... (see also Anno Dracula (allies with Dracula, becomes a serial murderer all because the Newman loathed Arthur in the book), The Athena Club series (allies with a demon to become a fascist ruler), Dracula 2006 (huge rich jerk, invites Dracula to fix his syphilis), Dracula 2020 (loves to publicly humiliate Jack, horrible person)

Every day I learn about a new adaptation in which my boy is massacred... :'( Bless you for watching so I don't have to.

Turning the Suitor Squad into a love triangle (square?) is just lazy writing, period. Ohhh, multiple guys are interested in one girl and they're jealous and fight over her?? HOW ORIGINAL. *eye roll* It's such a cliché that there is NO excuse for using it, and triply so when the source material doesn't have it in the first place! Arthur throwing the garlic away because of some male ego thing makes me want to smash a chair through my dining room window.

It's honestly discouraging how little imagination adapters seem to have. All right, adapter guy, so you think Arthur Holmwood is boring... it's not a completely unreasonable statement. But look— look at the actual source material and see what's buried there! Just off the top of my head...

-Being someone who cries so openly and on so many different people is a huge character trait. Show how he's defying Victorian masculine norms by freely expressing emotion (or how he's conforming to the stereotype of Sighing Lover) and do something with that.

-What kind of person travels literally all the way around the world, having tons of wild and wacky adventures, and yet never tells any stories about it? What is his motivation for not trying to impress his girlfriend with tales of running from wolves or crashing a ship in Polynesia? What does this say about the way he experiences life?

-The story is ripe with little hints about how incredibly close he is to both Quincey and Jack. If adapters weren't so homophobic, they could explore all sorts of possibilities there.

-He likes dogs! That's a whole character trait!

-All right, adapter doesn't want to engage with any of that and is set on making him evil? Okay, then, make him evil in a way that fits the source material. Once again, making him jealous of other men or a philandering spoiled lordling are super-cliché. How about thinking about what could make him actually go off the rails? Is he haunted by how obedient he was in killing Lucy, even when he didn't know exactly what was going on? Does he carry a grudge against Van Helsing for making him into a killer? Do we take the text at face value that when he set his mind to it, he was ruthlessly effective in ending Lucy's undead life— does he get addicted to that feeling, does he get righteously caught up in vampire hunting (or just murder) because he can't bear the thought that he could've been wrong?

People making adaptations don't have to follow canon, of course, but it seems reasonable for the decisions to be rooted in canon, for readers/viewers to be able to draw a line from point A to point B. At the very least, there's no excuse to fall back on tiresome tropes.

Thanks for giving me the chance to rant about this. :D

[see-arcane]

It's come to my attention that the last time I pinned up all these new chapters, it apparently got lost in the slog of other updates when I first opened my Substack. So many folks are shocked that Penclosa has new chapters, hiatus'd though it is at present. So!

All Chapters of Penclosa (So Far)

Chapter 1 - Chapter 2 - Chapter 3 - Chapter 4 - Chapter 5 - Chapter 6

“The Parasite” by Arthur Conan Doyle for background.

And for new readers who don't know what this is all about:

It’s been almost a year since Jonathan Harker made that fateful first trip to Transylvania. The monster that imprisoned him, that threatened his love, that died in a box of earth by two blades, has been gone for months. Yet Jonathan’s nightmares have never left. In fact, as the bleak anniversary nears, they have worsened. Van Helsing’s mesmerism has made no progress in freeing him from the nightly horror. But he has come from Amsterdam for a potentially fruitful visit to another professor. 

Prof. Wilson is playing host to a mesmerist of singular and uncanny power, Miss Helen Penclosa. On meeting the troubled young man and his wife, she is only too happy to help…

So opens Penclosa, a story sadly locked in stasis for the indefinite time being. The work is a crossover between Bram Stoker’s novel, Dracula and Arthur Conan Doyle’s short story, “The Parasite.” The one features the infamous vampire and the heroes who clash with him, the other stars a professor who gets himself entangled in the amorous-to-villainous intentions of a hypnotist who’s implied to have more than the usual power behind her mesmeric ability. While I was reading both of these stories around the same time, an idea occurred:

Wow. This hypno-lady would be such a huge problem for Jonathan Harker specifically.

Which led to the next thought:

I should make her a huge problem for Jonathan Harker specifically.

And then I did!

(Sorry there’s no grander scheme behind it than that, I just like playing dolls with scary classic lit characters. And terrorizing my favorite gothic horror solicitor in particular. Sorry, Mr. Harker.)

That said, I make no promises as to an if or when of continuing Penclosa beyond the point it was paused at. I have an inkling of other ways to play with the story in a further-down-the-line plot where she meets the Harkers under different circumstances, but I’m also really attached to the bones I’ve already laid down here. So it’s a bit up in the air for now. Let me know what you guys think, I’d love to know what the interest level is.

In the meantime, don’t make direct eye contact with any mesmerists and/or undead horrors.

[gardenerian]

actually i have been meaning to ask you... if you would tell me all your thoughts about Dracula and Landlordism 🙂

well!!! okay! whew yeah alright! let's do thissssss 🧛🏻‍♂️ i wrote an actual paper about this in grad school but... alas... i can'T FIND IT !! so here are some insane and incoherent thoughts i have cobbled together. it's, uh, long:

so. here's a bunch of stuff:

we know bram stoker was irish (anglo-irish, technically, but he was born and spent his first 30 years in dublin). his mother was from sligo - she herself was a writer/activist, and she published a record of the 1830s cholera outbreak in western ireland (it's argued by some that even this piece of writing + theories of public health partly inspired dracula... more on that later!).

but also! bram stoker was a sickly kid and spent a lot of his early childhood bedridden. during those long days stuck in bed, his mother told him irish folk stories and other tales. he later said that his illness "gave opportunity for many thoughts which were fruitful according to their kind in later years."

some theorists have written that he would have heard stories like this:

from an early irish legend, abhartach was said to be a demonic tyrant who terrorized parts of derry. the locals tried to kill him with the help of a chieftan - but he kept returning night after night with increasing violence (later versions of the myth say that he demanded blood from villagers to sustain him, but this is a more modern addition). a druid said that abhartach had to be killed and buried in a very specific way (upside-down, for one) in order to stay dead. and this worked! the people were free! yay! spooky!

charlotte stoker also lived through the famine (she moved to dublin after marrying in 1844, bram was born in 47), a pretty bleak fucking period in history. while she was in the city, her family remained in the stricken west. there are folk tales from that time that involve menacing undead who would drink the blood of the poor and dying as they slept - this is likely inspired by the actual famine practice of mixing animal blood with oatmeal to supplement starving diets.

then you have ACTUAL family history! bram stoker's great uncle, george blake, took part in the 1798 rebellion of the united irishmen (wolfe tone, etc.) and was executed for his part in leading 1500 irishmen against the crown. another branch of his family, the o'donnells, were involved in the gaelic revival movement. charlotte's cousin richard o'donnell facilitated the donation of gaelic artifacts (the psalter of st. columbcille) to the royal irish academy.

some of these influences hold more weight than others, and so far this has little to do with landlordism BUT i do think it sets a precedent for stoker to be influenced by and concerned with irish matters. stoker was always interested in irish affairs, even if he didn't always come to the conclusions i wanted him to 😂 still, combined with his early career in the irish civil service and as a critic of irish theatre.... despite the fact that the novel was written in london, with obvious influences of the empire, i really do think there are some elements of the novel that are quite irish.

so! landlordism. what's going on in ireland in the latter half of the 19th century? this is a period of major agitation in the lead up to the revolutionary decade in the early 20th century. the main conversation here is about LAND. ireland is hugely rural and agrarian at this time:

in 1841, 4/5 of the irish population lived in villages with fewer than 20 houses

meanwhile, by 1870, 50% of the land on the island was owned by just 700 families - many of whom did not live in ireland

between 1850 and 1870, landlords collected 340 million pounds in rent, and reinvested just 5% back into the irish economy

so in the late 1870s, the irish land league is formed. the land league's goal was land reform - they wanted irish people to have the right to own the land they worked on. they used rent stikes and boycotts - and sometimes intimidation and violence - to achieve reform (1881 land act did restrict rights of landlords). under charles stewart parnell, they also succeeded in extending the right to vote to many agrarian workers. the land league soon became the national league, which pushed for home rule and other economic reforms beyond the land.

what's funny is that the land/national league agitators were themselves depicted as vampires in contemporary criticism - in order to paint the league as a secretive, sinister force that could disrupt imperial stability and suck the life of the irish colony. look at that poor damsel:

that bat even has the face of parnell 😭

so!!! the land!!!! is a constant thread in irish revolutionary activity. the 1916 proclamation declared "the right of the people of ireland to the ownership of ireland and to the unfettered control of irish destinies, to be sovereign and indefeasible." the irish revolution was in many ways a socialist revolution, and the right to LAND was a huge part of their goals. this is also seen in literature of the period, no matter the perspective - there are constant references to soil, earth, environment, and land.

so....... dracula. here is an aristocrat who not only drinks and lives off the lifeblood of people, but also literally removes soil from the land and brings it to england with him so he can live. the ultimate absentee landlord - and a poor one, too. like the ascendency class he may well be based on, dracula continues to drain people of life and resources while his ability to retain his fortune grows weaker (perhaps a nod to reform?). this has been read by some scholars as a depiction of a class that is losing its grip on power, unable to adapt to a changing social and economic landscape. there's also van helsing's constant reference to their plan of campaign/attack, etc. in describing their hunt of dracula... this is curious in that even though it was certainly a commonly used phrase, it's also a direct reference to a specific strategy by the land/national league against landlords in the late 1880s.

then you have the similarities between the eastern question and the irish question.... basically two anxiety-ridden issues from the imperialist point of view on "what to do" with the ottoman empire and the ireland as a colony. as these regions are beset by economic decline... war..... nationalist rebellion.... the question becomes "how do we fix this AND maintain power over people and land?"

we do have to remember that while stoker grew up hearing distinctly irish stories of folklore, rebellion, and famine, he was still a member of the anglo-irish class: he was not writing from an anti-colonial perspective, nor did he hold much anglo-irish guilt for his status. stoker was concerned with irish affairs, but he was never a nationalist. he was instead known to write off both militant fenianism and british landlordism as damaging.

stoker labeled himself as a "philosophical home ruler," meaning he, in theory, supported irish home rule if achieved through peaceful means. he supported irish self-government as internal autonomy - as a monarchist, he believed that ireland should remain in the british empire. stoker was a protestant, even if a liberal one, which also put him at odds with a largely catholic ireland.

so while we can (and i do!!) read the irish political influences here, what stoker himself was more concerned with was the idea of modernity, and he felt like both national and capitalist allegiances held people back from progress.

stoker was hugely interested in medicine as a way to advance progress. there is an anxiety here about infection. back up to charlotte stoker's record of the cholera outbreak in sligo - 10% of the town's population died. it was bram stoker who suggested that his mother write her history of the outbreak - where she noted that the illness came from ships and then infected people as it moved over the land... just like dracula. many cholera victims, nearly dead but still undead, loaded up with morphine and waiting to pass, were burned or buried alive. stoker was said to be morbidly interested in this... the idea of being buried in the earth before being truly dead. the original title of the novel was the undead, before stoker settled on dracula.

i had a whole thing about medicine written out here but i have veered so far away from landlordism that i am going to shut up. i just think that what stoker is messing around with here is a massively changing world, with conflict and advancement alike. landlordism is an obvious influence, but i think it goes hand in hand with an overall sense of: the order as we know it is crumbling.

this pairs well with contemporary anxieties about race, sexuality, and gender.... but that's another post altogether. there are also obvious influences of eastern european history at play here as well, and if i had another post in me i would get into that too!

this is all to say that there is nO WAY stoker didn't have at least some thought of land and empire - mixed with anxiety about the future as modernity and a new century rapidly approaches... a very victorian concern! what makes societal progress - power, knowledge, capital??? everyone at this time seemed to have a different answer!

shut up mel!

[atundratoadstool]

I know you've listed the character ages already, but what about physical descriptions? I remember Van Helsing being described as having red hair and blue eyes and I know Lucy's a blonde, but that's it.

Stoker is both frequently very spartan in his physical descriptions of characters and obsessively interested in detailing their facial features owing to his zealous belief in the thoroughly racist science of physiognomy. Here's a breakdown of what we know in the text plus some notes on how these features possibly operate in relation to Stoker's views, experiences, and research:

[CW: Spoilers and a fair number of mentions of Stoker's inescapable racism/antisemitism under the cut.]

Jonathan Harker: Jonathan is barely described but in possession of hair that turns white over the course of the novel. He possibly has a beard or a lot of stubble following the unfortunate yeeting of his shaving mirror. Like many of Bram Stoker's hunky lawyer protagonists, he's more often describing characters than being described by them.

Mina Harker: She is described by Seward as "attractive," "sweet-faced," and "dainty looking." She also has eyes that blaze like "pole stars," which is a very common description in Stoker's greater body of work (See: Stephen Norman in The Man and Teuta Vissarion in Lady of the Shroud) and match with his rapturous descriptions of real world actress Geneviève Ward. While it isn't as common a denotation of willfulness and determination as aquiline noses, it's generally used to indicate female characters who are very hardcore and may obtain a gun. Her skin is light enough for the red mark she obtains to be clearly visible upon it, although I will note that Mimi Salton from Lair of the White Worm is both undeniably a Mina 2.0 and mixed race/darker skinned, which might be worth considering in the realm of headcanon given how frequently Stoker just recycles characters and their physical attributes.

Lucy Westerna: She's pretty, and her weight and appearance definitely fluctuates over the course of her illness. Her hair is laid out in "sunny ripples" while she's alive. She becomes a "dark-haired woman" while undead. This frustrates many many critics and commentators. It's been proposed that the "sunny ripples" just refers to the gloss on her dark hair. It's been proposed the blondeness/darkness hair is an indicator of her innate goodness/evilness... like Smurfette (which has--again--some Stoker-typical racist implications). The most obvious Doylist explanation is that Stoker cannot track characters' hair color much as he cannot track all his dates.

Jack Seward: Strong jaw. Nice forehead. Immense lunatic asylum. He's also mentioned as being thin in comparison to Renfield and Lucy thinks he's handsome (although obviously not as desirable as Arthur).

Arthur Holmwood: His hair is curly. He is tall. He is also a hottie, as attested to by Lucy and by Jack (who finds him very manly as he kills his vampire fiancee).

Quincey P. Morris: I haven't recalled or been able to look up any major descriptors. He apparently carries himself like a "moral Viking" (as Jack attests in the midst of commenting on yet another friend's manliness). I went into some detail as to how he reads in terms of race here and how it might mesh with Lucy's comparison of him to Othello.

Abraham Van Helsing: After the Count, he's the most thoroughly described character in terms of physiognomy, and that physiognomy... is more or less the spitting image of Bram Stoker as he describes himself (...you know, Abraham "Bram" Stoker, who has the same first name as this super genius great-at-everything character). He's got sensitive nostrils, big forehead bumps, a nice jaw, a big mouth, a strong build, and red hair. I wrote a comparison between him and Stoker here. I will also note that the forehead bumps are a phrenological feature denoting creativity and that Jonathan remarks that he apparently has eyebrows incompatible with self doubt.

R. M. Renfield: He appears to be swoler than Seward even if his swoleness is to no avail against Dracula.

Dracula: There is a lot to unpack with Dracula. He has an aquiline nose, which is one of the absolutely most significant recurring features in Stoker's greater corpus (See: The Judge from "The Judge's House"; Solomon Mendoza from The Watter's Mou; Don Bernadino from The Mystery of the Sea; Joy Ogilvie from Lady Athlyne; and Edgar Caswall from The Lair of the White Worm), and this trait was shared by his boss and Idol Henry Irving. It undoubtedly has physiongomic significance to Stoker, who seems to use it to denote command and leadership, although it is worth noting that Cesare Lombroso mentions aquiline noses as a feature of murderers and that many critics have pointed out its potential connections to Stoker's antisemitism (and specifically the suspicion regarding Jewish immigrants in the wake of the Jack the Ripper killings). Dracula additionally has a "domed forehead," which can paradoxically be associated in physiognomy with both high intellect and mental feebleness. His sharp teeth are a trait Stoker associates with "a militant instinct" (Lombroso, again, connects them with murderers) and are described in much the same way he describes Alfred Lord Tennyson and Sir Richard Burton's teeth, although he took notes from Sabine Baring-Gould's Book of Were-wolves in which sharp teeth are a werewolf trait. We also have pretty explicit evidence that Dracula's unibrow, pointy nails, and hairy palms are also from Baring-Gould. Overall, Dracula seems to be a real hodgepodge of physiognomic traits that seem to haunt Stoker's work, racist criminological theory, and actual folklore.

[pricescigar]

Vampire!Price & Elvira Wolff Lore

Even though I've written Vampire!Price twice, I'm going to dump some new lore between Vampire!Price & Elvira Wolff

I have been brainstorming for a while because why not >:)

(And also because I've been too shy to share it lmao)

You could say I got heavily inspired by Bram Stoker's Dracula / Castlevania because it's my brainrot ¯\_(ツ)_/¯

ANYWAYS... LETS BEGIN

John Price lore

Captain John Price, also known as "Dracula." "Prince of Darkness." "King of the Night."

Before he became a Vampire was of course a famous captain in the British army in the Medieval era ranging from 500AD to 1500's. John was born at some point in the early 1060 A.D. exactly date, month, was deemed to been long forgotten. The older you get, of course you forget your age and the people around you who are long dead now.

In his human years standing proudly at 190.50 cm / 6ft3 , short brown hair that was always slicked back. His blue eyes shone in the sunlight. Chizzled mutton chops, always neatly shaved regardless of time and place.

At a young age he joined the army, leaving the life he knew behind. He became an excellent swordsman, leader & strategist. He was a young man after all, well built, strong like any man.

Knowing the basic means of survival thanks to all what his father taught him, his father's name forever unknown to everyone else but John.

He sought his enemies to be dead upon the battlefield, always the one to rush into Battle. With his great courage and bravery he quickly became captain, leading his men into Battle with no hesitation. Despite all of the Battles he had won, he wanted more. Of course, John was immensely recognised by his bravery, leadership. He wanted more; He wanted to be King.

At the time had a supposed lover by his side. Despite how forbidden it was for a Knight to have fallen in love with a Princess, he did fall in love with her. He wanted nothing more to take her hand, and make her his. Yet... she soon passed away due to a grave illness, which also made him angry and guilty.

Greed & Power could only get a man so far. With deadly consequences, he betrayed the King, the same one who knighted him all those years ago. Taking the Throne for himself, his other relatives had been slaughtered, taking no second chances. While he sat ever so proudly at the Thone, killing anyone who had defied, dared to betray him.

(That had also meant most of his soldiers for that matter)

To be the Kingdom's forever ruler, John sought out means to possess immortality. He heard of many rumours that of a "Crimson Stone." By any means necessary, the stone got into Price's possession thus he gained immortality. But at a cost.

He became a Vampire. His appearance changed as a whole, all forms of humanity, forms of emotions were gone.

His skin became paler, his ears almost pointed. Teeth sharp like canines, sharp nails that could easily cut you at the slightest touch; Standing now at a staggering height 213cm / 7ft.

With his powers he managed to revive his men forming an undead army, at the bend of his will. Raging War on anyone. With his now gift of immortality, he also gained knowledge of Necromancy & master of Sorcery. Although he gained the common abilities of a Vampire. Price was the most special one of all.

Under the restrained rule of John Price, a band of rebels formed a resistance. A band of powerful sorcerers. With Price's newfound powers, it raged a powerful battle. Almost defeating Price he transformed into a bat, escaping just in the nick of time before his ultimate demise.

One of the sorcerers that almost killed him was a member of the Wolff family. Escaping England for good, moving far away to another foreign land. Yet over time, Supernatural forces grew despite Price's dissappearence, Vampires spawning everywhere causing destruction everywhere.

Soon a Hunters Regieme was formed to tackle the supernatural creatures.

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Elvira Wolff lore

The Wolff family became strong as the generations went by, one of the many few families built the Hunters Regime, and what it became of in this day and age.

Elvira's mother passed away during birth, so it's been herself and father that stuck through thick and thin. Along with Elvira's godfather, godmother and uncles in their family estate.

Elvira was trained from a young age to be a hunter like her family members, from the age of 5 her training begun. Her knowledge was built on by reading various books about the supernatural creatures; How to fight them, how to deal with them, what to do when you encounter one.

(The list goes on)

By the age of 10 Elvira already had basic knowledge of supernatural creatures, but that was a starting point of her career path.

As she grew older her father got attacked and seduced by a Vampire and eventually turned into one. Bit by bit, all forms of humanity dissapeared within him.

Elvira's godparents, and uncles died in the hands of her father as they tried protecting her but to no avail. Dietrich always had the upper hand.

Elvira became a captive in her own home, each night she heard the various screams of men, women, being dragged into the family estate so Dietrich could feed on his eternal hunger.

Elvira did all she could to save them but that would only result in punishment, when she turned 21 in 1476. She risked her life to do the inevitable. Eliminating her father.

She risk burning down her family estate, trapping her father in it. By the time she got out Elvira was gravelly inured, yet she survived.

The Hunters came and nursed her back to health, yet due to her father's betrayl she had to work hard to regain their trust once more.

Her mission was to kill the Vampire King, John Price. Elvira had everything she needed to make the mission successful.

Yet the moment Price set his eyes on Elvira, the young woman reminded him for his long lost princess... His lover.

[twistedtummies2]

Top 15 Vampires (Who AREN'T Dracula)

Something a lot of people seem to misconstrue about me is that I am a massive fan of vampires and vampire fiction. This really isn’t the case: what I AM is a massive fan of Bram Stoker’s “Dracula,” specifically. I am fascinated by seeing different interpretations of that particular novel, and especially its title character. When it comes to vampire fiction as a whole, I am much less well-versed and interested. SPOILER ALERT: you won’t be seeing TV franchises like “True Blood,” “Buffy the Vampire Slayer,” “Dark Shadows,” or “What We Do in the Shadows” here, for the simple fact that I have never seen any of them and really don’t have any intention of seeing them. This applies to a lot of other television programs, works of literature, films, and video games: vampires, by default, do not automatically equal my vested interest. HOWEVER…this does not mean I have NO interest in vampires, as a concept. Long before Bram Stoker’s seminal work was published and reached its heights of popularity, the idea of the vampire - an undead creature who rises from the grave to drain the blood of the living - was a fantasy and myth spanning not only many centuries, but many different cultures. Just about every nation, region, and spiritual belief under the setting Sun has had some variation of the vampire legend, and written stories of vampiric characters and events date back much, much further back than Stoker’s time. What “Dracula” really did was bring the concept into the popular consciousness, especially through its renditions onstage and in motion pictures, in a way no written or orally transferred piece of work had done before. That popularity has really only continued to grow over the decades. Being such a widespread idea, and one with increasing fascination for many people over time, it’s only natural that while I may favor Dracula and his exploits beyond all the rest, I have still seen SOME pieces of vampire fiction not necessarily related to the Count of Transylvania. So, I decided it was time to give all of them some attention. Now, I should point out that I won’t be counting characters I already talked about on my Top 31 Favorite Dracula list: even if they aren’t technically Dracula himself, such as with The Count from “Sesame Street,” or Count Chocula, it just seems like cheating to include them here since…well…I already brought them up, and it was in relation to Dracula! With that said, some Dracula-inspired characters WILL be present on this list that did NOT get discussed in the past, because Dracula-inspired does not equal Dracula himself. Also, I will be including characters who are dhampirs - half-vampire, half-human - or might be considered “unconventional vampires,” so to speak. If they have all the hallmarks I’m looking for, they can be eligible. Oh, and if you’re a fan of “Twilight”...firstly, you probably shouldn’t be reading this, and secondly, you’re going to be massively disappointed. :P Now that we’ve established those points…let’s waste no more time. Prepare some garlic and, if you don’t have any crucifixes handy, consider buying a couple: these are My Top 15 Favorite Vampires…Who AREN’T Count Dracula.

15. NOS-4-A2, from Buzz Lightyear of Star Command.

Starting off with an unconventional sort of vampire. NOS-4-A2 is Dracula parody character, created by the evil Emperor Zurg. He is a robotic “energy vampire” who detests the taste of blood, instead feeding off electrical energy. This, of course, still makes him a very dangerous threat, especially in a sci-fi styled universe with so many electronic gadgets and gizmos laying around, and with more robots roaming the galaxy than you can shake a stick at. Ultimately breaking away from his creator’s influence, NOS-4-A2 continued to bedevil the heroes of Star Command throughout the show’s run, and was arguably the scariest major villain of the whole show. This is especially fascinating since he was played by Craig Ferguson, of all people; not the most obvious casting to play a vampire of any kind, I’d say.

14. Demetri Maximoff, from Darkstalkers.

These games were inspired by the Universal Monsters of yore, with characters based on figures of fright like the Wolfman, the Frankenstein Monster, and the Mummy, just to name a few. Demetri is effectively the Dracula surrogate of the franchise…but, since he ISN’T actually Dracula, and I have not mentioned him before, I think he can count here. (Plus, in the…very, VERY bad cartoon series loosely based on the games, Dracula is actually present as a character and is Demetri’s uncle, so…there’s that, too, I guess.) Demetri is an extremely vain and power-hungry vampire warlord, who believes himself to be superior to not only all humans, but perhaps all other forms of life. This led to him arrogantly challenging the demon Belial to a duel in a time long past. Demetri lost, and thus was banished to the mortal realm, where he now seeks to find a way to regain his former glory. His greatest rival is the succubus, Morrigan, daughter of Belial. Demetri isn’t particularly complex, but he IS a very entertainingly dark and powerful character. At the same time, there are some humorous aspects to Maximoff’s personality: one of his special moves, “Midnight Bliss,” literally causes him to turn the male characters he fights into comical female forms, because Demetri really, REALLY prefers the blood of women to that of men. Also, how many other vampires will stop in the middle of a fight to spray themselves with cologne?

13. Lady Dimitrescu, from Resident Evil Village.

I could be entirely wrong about this, but I got the feeling that “Village”- much like the Darkstalkers franchise - was Resident Evil’s throwback to the classic Universal Monsters. When the villains include an elegant vampire, a werewolf, a mad scientist, and a mutant fish person, and the setting is a creepy little town with a dark castle? You’ll forgive me if I see certain parallels. Regardless of any influences, I think it’s fair to say that Lady Dimitrescu, a.k.a. “The Tall Lady,” stands on her own two (very long) legs quite well. While all of the villains in the game are different shades of awesome, Lady D. is by far the most popular. She is the first major antagonist the players encounter in this action/horror combination, as we are forced to try and escape from her Gothic castle while facing not only her, but also her equally wicked daughters. Dimitrescu isn’t a typical vampire, but rather the result of scientific mutation, which has transformed her into a vampire-like creature with a humanoid veneer. Still, she’s no more unconventional than NOS-4-A2, I’d say (or a bunch of other characters still to come), so I don’t see any reason she can’t count.

12. Father Abel Nightroad, from Trinity Blood.

Finally, a character who is decidedly NOT influenced by Dracula! There are a ton of vampire-themed anime out there, but I haven’t seen very many of them; again, I’m more into Dracula, specifically, than vampires as a whole. However, there are a few characters and shows on this list, and this guy is the first of them. “Trinity Blood” focuses on the adventures of Abel Nightroad, who is one of only two surviving members of a race known as a Crusnik (also spelled “Krusnik;” not sure which is the more generally accepted spelling): while vampires feed on human beings, a Crusnik is essentially a vampire that feeds on other vampires. Abel works for the Vatican (which, in the alternate reality of the series, has basically taken over the human world…read into that what you will), acting as a sort of ambassador, trying to keep peace between the nation of humans and the nation of vampires. Abel is a classic example of a character type I really love: I don’t know what the name for it is, but it’s a scenario where the character often appears to be silly and goofy and perhaps even a sweetheart, but underneath it all they are made of steel and can be VERY dangerous. Characters like Sans, The Doctor, Disney’s Clopin, Adrian Monk…the list goes on. Abel is one of those types: on the surface, at first glance, he’s a clumsy, sugar-addicted, perpetually-broke goofball who tries desperately to avoid all conflict. When the chips are down, however, he’s quick to remind those who cause trouble why he’s basically the alpha predator of this world’s food chain. It’s the classic “beware the fury of a patient man” concept: when the peaceful priest is also a vampire of vampires, the last thing you want to do is make him mad.

11. Taiga Nobori, a.k.a. Kamen Rider Saga, from Kamen Rider Kiva.

“Kamen Rider Kiva” is a Japanese superhero program - part of the long-running “Kamen Rider” franchise - themed around…you guessed it…Universal Monsters. The series focuses on the titular Kamen Rider Kiva (real name Wataru Kurenai), who uses his powers to hunt down shapeshifting, vampiric monsters referred to as “Fangires.” The Fangires are ruled by a chess-themed group of superiors known as the Checkmate Four. At the time of the series’ start, the current leader of the Checkmate Four is this character: Taiga Nobori, who becomes a rival of Wataru under the identity of Kamen Rider Saga. Taiga is a childhood friend of Wataru, who is ultimately revealed to secretly be his long lost sibling. Despite this, he at first plays an antagonistic role in the story; as the series goes on, he has to struggle with his relationship with Wataru, his love for Mio - a lady both of them love dearly - and his responsibility as the new King of the Fangires. Again, not by any means a conventional vampire (or dhampir), but a very fun character and more than worthy of placement on my personal list.

10. Bunnicula.

This little guy is almost undoubtedly the cutest life-sucking undead creature in history. Why? Well…he’s a bunny. A cute, adorable, fluffy, sweet little bunny with big red eyes and a little widow’s peak marking on his noggin. How can you NOT love this fuzzy little sweetheart? If I weren’t allergic to rabbits, I’d snuggle him to bits! Bunnicula is the mascot of the popular “Bunnicula” book series…however, in the original books, he’s not actually the main character. In fact, there are several short novels where Bunnicula never appears. He is, however, nevertheless, a prominent figure throughout the series. The books typically follow a certain formula: Chester the Cat and Harold the Dog encounter some spooky, creepy thing. Chester - an over-dramatic ham who never likes to admit his true feelings and isn’t as smart as he thinks he is - tries to solve the mystery in the most inept and hilarious way possible. Harold, who is much more practical and reasonable, basically acts as the straight man to hold back Chester’s crazy. Bunnicula is, at first, Chester’s arch-nemesis, as the cat believes the vampire bunny has plans for world domination…but in fact, Bunnicula is completely harmless. He doesn’t drink blood, but instead just drains vegetables of their juices, leaving shriveled, dried-up husks behind. It’s a bit creepy, sure, but he has no desire to hurt people or other animals. And, even though he may be centuries old, he’s still basically just a baby bunny; he’s way too young and sweethearted to even imagine world conquest. The books are highly popular - renowned for their messages of tolerance and looking-before-one-leaps - and have been the inspiration for multiple reimaginings and adaptations. Most of these versions give Bunnicula even more vampiric powers and heighten his role in things. Regardless, however, his basic personality remains the same: occasionally mischievous, but generally just a cuddly little bun-bun…who also happens to be an immortal vegetable-draining demon, but that’s just part of his charm.

9. Lestat de Lioncourt, from The Vampire Chronicles.

I don’t think I’m physically ALLOWED to talk about vampires (that are not Dracula) without acknowledging the work of Anne Rice. She is the author of “The Vampire Chronicles,” an EXTREMELY popular series that many consider to be second only to Dracula, in terms of influential literature. The books focus on the life and adventures of Lestat de Lioncourt: a centuries old vampire, living in 1980s America. Once the son of a nobleman, Lestat was transformed into a vampire by an ancient evil; in the modern day, he is now the head of a vampiric rock band. Rice is often credited with revitalizing interest in vampires as a concept, especially focusing on the sexual overtones of the idea, and the sympathetic qualities of a lonely, eternal life. This reputation is…somewhat dubious; as far as I can tell, these things were popular and noteworthy well before her first book was published. In my opinion, the REAL power of Rice’s work is due to two specific factors. First, the explicitness of the writing: her books are some of the raunchiest and most violently bloodthirsty vampire novels written up to that time. Through literature, she gets away with stuff that, up to that point, not even most films - in a genre that was growing increasingly brutal and randy - could get away with. Second, and I think this is where her reputation really shows its power…Lestat himself, and the way he’s treated. It’s not simply that Lestat is a sympathetic character, it’s that - unlike, as far as I can tell, ALL major, noteworthy vampires in fiction before him - he isn’t treated necessarily as a monster. He is not the antagonist, but instead the main character we follow and learn about, as well as learn from. While he is not necessarily a hero, he also isn’t the villain, and is not meant to be seen as such; he is simply a man who has lived a very long life. And like any man, ESPECIALLY one who has lived a long life, he has done many terrible things…but he has also done many good things. Ultimately, I personally find other vampires and vampire stories much more interesting than Rice’s work, but the influence she’s had cannot be ignored. Lestat is more than deserving of recognition in my Top 10.

8. Vamp, from Metal Gear Solid.

Of all the unconventional vampires on this countdown, Vamp is arguably the weirdest. Rather than a supernatural being, Vamp is what might be termed a “science vampire”: the result of biological experimentation, rather than anything magical or paranormal. Not only that, but despite looking like a vampire, having vampire-like abilities, being of stereotypically vampirish Romanian descent, and even having a literal taste for blood…Vamp’s name has NOTHING to do with him being a “vampire.” (Where does his name come from? Look it up, I find it to be absolutely stupid, so I’m not naming it here.) It’s as if the creators wanted to make a vampire character, yet for some baffling reason didn’t want to make him a “real” vampire. While this whole setup is utterly backwards, it does nothing to harm the actual character, thankfully. Vamp is one of the more well-known antagonists in the MGS series, despite only appearing properly in two games, and a personal favorite of mine (for obvious reasons). He is vicious, mysterious, has a slight flair for the dramatic, and generally is just really, REALLY cool. The most noteworthy thing about Vamp - aside from his superhuman strength and speed, and the fact that he’s REALLY hard to kill - is his skill with knives and daggers. Whether it’s wielding them at close quarters or flinging them about left and right, his abilities with blades make him a particularly frightening foe to take on, and his boss battles are among the more tricky in the titles he appears in. Kudos must also go to voice acting great Phil LaMarr, whose unsettling performance is a big part of the character’s appeal. Whether he’s a “true” vampire or not, Vamp is certainly vampire-themed, and therefore I say still more than counts for the top ten on my list.

7. Seras Victoria, from Hellsing Ultimate.

I specifically credit “Hellsing Ultimate” because I haven’t watched the original Hellsing anime, nor have I read the manga. With that said, “Hellsing Ultimate” is one of my favorite anime programs, as well as quite possibly the single most violent I’ve ever seen. While the main protagonist of the series is Count Dracula-I mean, Alucard (GREAT way to disguise your identity there, sir), I would argue it’s the apparent secondary protagonist of the series who has the most dynamic story arc. That character is everyone’s favorite “Police Girl,” Seras Victoria. At the start of the show, Seras is a young rookie cop whose squad is attacked by a horde of ghouls, controlled by a villainous vampire. Alucard is only able to save her life by transforming her into a vampire as well. The rest of the series has Seras trying to balance who she is with what she’s become: she not only has to discover how to handle her newfound vampiric powers, but also has to learn and accept what it really means to be a vampire. Some people seem to dismiss Seras as pithy comic relief - she is the most lighthearted character of the main cast - but I feel that’s an extremely unfair assessment: while I admit it took a little time for me to warm up to her, I now feel she’s one of the most interesting characters in the show, second only to Alucard. Seras is earnest and altruistic, at times almost childlike…but she is also more than capable of kicking butt, and is as mighty on the battlefield as virtually any of her comrades. It’s that wonderful dichotomy of her being a good, gentle person and a powerful, stalwart warrior that makes her so enjoyable. It’s rare you’ll find well-written, strong female characters who are able to be impressive physical threats while also still being generally good-hearted human beings, as well as very funny to watch. Seras is such a rarity, and earns all the praise she gets and more for it.

6. Carmilla.

If there is a single vampire that has been portrayed as often as Dracula…well, factually, there hasn’t been. But if there is one who comes close, it’s the Countess Karnstein: the titular character of the story “Carmilla” by J.S. LeFanu. Her story was, in fact, an influence on Bram Stoker when he created “Dracula.” The story is most well-known because it is heavily, HEAVILY implied that Carmilla is a lesbian: considering the tale was published in the 1870s, it’s kind of amazing that LeFanu got away with that. Of course, the REASON he got away with it is because he depicted the lesbian character as being a literal bloodthirsty monster, but Carmilla, in the book, is also something of a tragic figure. Her feelings for Laura - a young lady who befriends her, not realizing Carmilla wants to make her into her next victim (and probably has the hots for her) - are ultimately unreciprocated, but from Carmilla’s side at least, they seem to be genuine, or at least very passionate. Once she is slain, Laura doesn’t rejoice: she admits that she misses the person she considered a friend, and still has nightmares about the horrible truth itself. The character of Carmilla has appeared multiple times beyond the story, but sadly I haven’t seen many interpretations: Hammer Horror’s “Karnstein Trilogy” of films follow the book to a point, before veering off into wilder territory. In the “Castlevania” franchise, Carmilla is a recurring antagonist, usually serving as Dracula’s rival, follower, or both. She is referenced in “The Batman vs. Dracula” as Dracula’s former bride. In “Fate/Grand Order,” it’s revealed that Carmilla’s true identity is the infamous serial killer Elisabeth Bathory. None of these have ANYTHING to do with LeFanu’s story, but they are certainly intriguing. There are much more faithful versions out there, if you look, but I have not experienced them…yet. I was very tempted to name Carmilla in my Top 5, but ultimately I think there are just more characters, in general, I like more, so she just barely misses out. Sorry, ma’am.

5. Noe Archiviste, from The Case Study of Vanitas.

If there is a single vampire ALMOST as adorable as the aforementioned Bunnicula, I would argue it’s Noe: one of the main protagonists of the anime “The Case Study of Vanitas.” The show is based on the manga (which I still need to read) by Jun Mochizuki: the creator of my favorite manga (and what SHOULD have been my favorite anime), “Pandora Hearts.” While PH is a reimagining of the “Alice” stories by Lewis Carroll, “Case Study of Vanitas” is an homage to various works of dark period fiction. It contains various references - some more obvious than others - to literary works like “The Island of Dr. Moreau,” classic horror films like “Nosferatu,” and more. The plot is set in a steampunk universe where vampires and humans co-habitate more or less harmoniously. Many vampires in this world are infected with a mysterious curse, which turns them into violent monsters. Noe is a young vampire nobleman, who - while traveling to Paris - ends up becoming a bodyguard for the mysterious Vanitas: a self-proclaimed doctor who uses a magical book to “heal” cursed vampires. At first, the two start off on a very rocky relationship, but as time goes on, they eventually become friends. Noe is wonderful because of the dichotomy of his character: on the one hand, he’s absolutely precious. Seriously. He’s usually friendly, naive, at times a bit dim, tries hard to be polite, loves his pet cat, and is filled with a sense of spellbound wonder at the world around him, showing an excitable playfulness. He’s typically just the most loveable cinnamon bun of a vampire you could ever meet. On the flip side, however…he IS a vampire, and not only that, he’s a POWERFUL vampire. While he’s usually an absolute sweetheart, his patience is not limitless: if Noe is angered, or feels a need to defend himself, he can be TERRIFYING. I really love characters who have that kind of dual nature, and Noe is a great example of it: easily a fine pick for my top five.

4. David, from The Lost Boys (1987).

It’s hard to believe, given the bad rap he often gets nowadays for movies like “Batman & Robin,” that filmmaker Joel Schumacher was actually considered a highly respected and talented movie master. He, in fact, made a bunch of REALLY good movies in his time, and many would argue that this horror-comedy blend is his best. “The Lost Boys” is considered one of the most influential modern vampire stories, alongside the aforementioned works of Anne Rice, but in a different kind of way: the vampires in the Lost Boys are not elegant, glamorous figures, nor sympathetic immortals tortured by their own eternity. These are what I call “punk vampires”: the main villains are basically your standard biker gang of Goth hoodlums, who love wearing leather, smoking, drinking, causing general street mayhem, and swagger around with cocksure pride in their antics. They just also happen to be vampires, and have all the powers vampire have as a result: extended lifespans, eternal youth, flight, superhuman strength, and various other supernatural abilities. The allure of these vampires comes from their vivacity and fun; there’s a certain “wish fulfillment” aspect to the way the vampires are portrayed in “The Lost Boys,” as they represent all the things people sort of WISH they could do…but the cost of having so much power and access to so many thrills is very high. Nowhere is this better embodied than in the main antagonist, David, played by Kiefer Sutherland. David is a charismatic fellow with a commanding presence and charm. He is the quintessential “bad boy”: a sensual, attractive portrait of raw danger. He is also, however, a murderous psychopath, without a shred of compassion left in his soul. Whenever I think of vampires, David is one of the first characters I imagine, and more than worthy of a spot in my top five.

3. Genevieve Dieudonne, from the works of Kim Newman.

I say “the works of Kim Newman” because Genevieve was originally created as the heroine of a series of books by Newman called “Drachenfels.” These books are connected to the highly popular “Warhammer” franchise. I know basically nothing about either of these things. So, how is Diuedonne so high up in the ranks? Well, as it turns out, Newman also used the same character as one of the main protagonists of another series I really, REALLY love: “Anno Dracula.” For those who came in late, “Anno Dracula” is set in an alternate universe where Dracula succeeds in taking over England, ultimately turning a large number of the population of Europe into vampires. In many ways, I think the books succeed in doing something that I personally feel other vampire stories that are perhaps more acclaimed - such as the works of Anne Rice - didn’t quite manage for me: they completely humanize the vampires. Vampires in Anno Dracula aren’t treated as monsters inherently; they may drink blood, dislike sunlight, and have certain weaknesses, but at heart, they’re still basically just people. Some are good, some are bad; it really depends on what is in their heart of hearts. Other universes that have come since have taken this idea as well, but “Anno Dracula” is the first I’m aware of, and in my opinion still the best attempt at the idea. Genevieve herself stands as a testament to this philosophy: she is essentially the “Anti-Dracula.” She is even more ancient than the Count, and presumably just as powerful, if not moreso. However, while Dracula is a self-serving villain who seeks power and glory, Genevieve is a good person at heart, who simply tries to do what she feels is best for not only her fellow vampires, but for people as a whole. She has many of Dracula’s abilities and traits we would recognize - being very dramatic in her own way, very cunning, extremely well-educated, and also an experienced warrior - but she has gone in an extremely different direction as a person. I don’t know how the version in the Warhammer universe compares to Genevieve in “Anno Dracula,” but if she’s anything like the one there, it only cements how much she deserves place in my Top 3.

2. Blade & Morbius, from Marvel.

There are many vampires and vampire-like creatures and characters in the Marvel universe. Dracula himself, as I’ve said in the past, is among those ranks. However, aside from Dracula, two particular vampiric figures stand out amongst the crowd: Blade the Vampire Hunter, and Morbius the Living Vampire. Frank Blade - originally born “Eric Cross” - is a dhampir who has devoted his life to hunting down all the evil vampires of the world, along with many other monsters. His arch-enemies include his “father,” Deacon Frost, and - you guessed it - Count Dracula. He is a brilliant swordsman, marksman, knife-wielder, martial artist, and all-around badass. Michael Morbius, meanwhile, is a sort of “science vampire”: created not by being bitten by a supernatural fiend, but instead mutating as the result of a biochemistry experiment gone wrong. Driven by an insatiable need to consume blood, lest his physical condition - brought on by the experiment - worsen exponentially, Morbius flip-flops between being a sympathetic villain and an anti-hero in the Marvel universe. In the comics, the two have clashed several times; in fact, one particular battle between the pair led to Blade actually gaining some new abilities, as a result of the Living Vampire’s DNA mingling with his own. Outside of the comics, the two have been adapted and reimagined multiple times for other media (with mixed results), though the only time I know of where they MET in other media was the 1990s show “Spider-Man: The Animated Series,” where Blade and Spidey had to work together to stop a rampaging Morbius. Whether you love them together or separately, and whether you prefer the comics or other interpretations, they’re two of the first characters I think of when I think of vampires in general. They are probably the most iconic vampire characters in superhero fiction. That, if nothing else, definitely earns them a high place on my list.

1. Alucard, from Castlevania.

It is perhaps fitting that a list of my favorite vampire characters NOT including Dracula should finish with the Count’s son. Because that is what Adrian Farenheit Tepes - a.k.a. Alucard - is: the Son of Dracula. Alucard is one of the main protagonists of the Castlevania franchise, having appeared in virtually every reiteration of the franchise: from the classic games, to the “Lords of Shadow” reboot trilogy, to the recent animated streaming programs on Netflix. As the series has evolved and changed over the years, so too has Alucard, but the basics of the character have always remained the same. Alucard is the son of Dracula, and a human woman. When the Count is driven mad by the death of his wife, Alucard is forced to take up arms against his father, to stop the King of the Vampires from spreading death and destruction worldwide. Being a vampire himself (or, at least, half-vampire), Alucard is just as immortal as his father, and nearly as powerful, meaning that - better than any Belmont, or member of the Morris family, or other mortal monster slayer - he can keep a watchful eye on the dark lord and his minions. Alucard is my favorite character of the entire Castlevania franchise, and while every version is slightly different, the simple and yet classic conflict between father and son is a big part of the reason why: in each rendition, you realize each side cares about the other, but their philosophies make it difficult for them to co-exist. As a result, he is one of the most fascinating and yet tragic characters of the series, and is one of the first characters I think of when I think of Castlevania. I don’t know how many other people would place him so highly, but for me, it’s almost no contest placing Alucard as My Number One. If anybody can rival the Prince of Darkness best, it is him.

HONORABLE MENTIONS INCLUDE…

Strahd von Zarovich, from Dungeons & Dragons: Ravenloft.

Not hugely into D&D, hence why I can’t count him on the main list. ‘Nuff said.

Lothos & Amilyn, from Buffy the Vampire Slayer (1992).

I said I couldn’t count the series, never said anything about the movie that inspired it. Played by Rutger Hauer and Paul Reubens, respectively, these vampire villains are probably the funniest characters in the film. Reubens as Amilyn, in particular, gets one of the most hilarious death scenes in any motion picture, period.

The Sackville-Bagg Family, from The Little Vampire.

I’ve never read the book series, but I have a big soft spot for the 2000 film; loved it as a kid, still like it now.

Dio Brando, from Jojo’s Bizarre Adventure.

I know basically nothing about Jojo, but I felt I had to include him here simply because people would kill me if I didn’t.

Kurt Barlow, from Salem’s Lot (1979).

I’ve never read the original Stephen King novel, but the 1979 miniseries adaptation is pretty much “Dracula in Modern New England.” Reggie Nalder’s Barlow has barely any screentime, but the impact of his actions and evil presence is enormous. Plus, REALLY cool Nosferatu-inspired costume and makeup for the win!

Vladimir, from League of Legends.

Vladimir technically isn’t a vampire, but a blood mage; however, considering he literally has a Nosferatu-inspired alternate look, I think I’m justified at least giving him an Honorable Mention.

[dailycharacteroption]

Mummy (Pathfinder Second Edition Archetype)

(art by Uriak on DeviantArt)

And it’s time for another archetype from Book of the Dead that lets you play an undead character! This time it’s a pretty interesting one in that we’re looking at: mummies!

Mummies have been in RPGs since the beginning, but their presence as undead creatures is actually relatively recent compared to the age of the culture they come from. That’s right, there are straight up no stories of mummies rising from their grave to torment the living in Ancient Egypt, presumably because a mummy, by necessity, was one that had undergone all the proper rites of death and therefore didn’t have any reason for stories of them rising and complaining about it.

Heck, even The Curse of the Pharaohs, the idea that those that dare disturb the tombs of kings would be cursed with a painful death is fairly recent, with the closest thing we actually have from the various dynasties and periods of the nation being warnings to not disturb or desecrate the tombs and sarcophagi of a pharaoh lest they lose the favor of the gods, but those are more akin to having the awareness to realize that your successor is probably gonna deface any statue of you they can find and strike your name from all records they can get ahold of, because that happened a lot.

The actual undead mummy is actually a creation of foreign writers, going as far back as the 1840s with Gautier’s The Mummy’s Foot, and 60 years later with Bram Stoker’s (yes, that Bram Stoker) The Jewel of the Seven Stars, along with others in that period like Arthur Conan Doyle, and so on.

Curiously, most of these undead mummies were not monsters per se, having no hostile intentions towards mortals, but rather, were often love interests for the protagonists, which smacks of elements of the exotification and sexualization of the East, which is unfortunate. On the other hand, if there’s any online community that can emphasize with the idea of dating an immortal being from a bygone era, it’s tumblr. This focus on desire also explains why even more horror-focused mummy fiction often gives the mummies ways to “rehydrate”, regenerating themselves into a fleshy, lifelike form, if only temporarily and usually at the expense of some poor sap, cursed or otherwise.

Mummies as horror monsters didn’t really start until the 1930’s with Boris Karloff in the Universal Studios The Mummy movie, and even that retains the notion of the mummy regaining a semblance of life, since he only spends one scene of the movie as a shambling corpse and the rest as an offputting older gentleman who politely insists not to be touched.

Beyond that, mummies in fiction have ranged from being similar undead sorcerers to being particularly dusty zombies that may or may not have a would-be necromancer commanding them, and their appearance in tabletop games has similarly varied.

In Pathfinder, the generally accepted paradigm is that mummies range in power from the basic variety, which were typically mere servants or mummified accidentally by extreme outdoor conditions such as bogs, deserts, or extreme altitudes, whereas greater mummies (represented by the Osirian Mummy and Mummified creature templates in First Edition) were a step above, retaining their skills and sense of self. Meanwhile, at the pinnacle were mummy lords, created from the bodies and souls of the most powerful and magically-skilled pharaohs.

However, a detail that was brought into focus with Second Edition was that mummies, no matter what culture they belong to or where they are found, are undead tied to the land, which makes sense due to the way that every mummification process involves at least some level of environmental process, from being soaked in anaerobic bog water/peat to being desiccated by the sun or natron salts, and so on. That connection is what gives many mummies their strange powers over the environments they hail from (like conjuring sandstorms or turning into clouds of sand and the like). Of course, that connection also subtly taints the natural world around them wherever they go, given their status as undead beings.

While it is possible to play a character who underwent the ritual to become a mummy in recent times (either just after death or more horrifyingly while still alive), the nature of this archetype lends itself better to playing a time-displaced undead character who only just woke up from their eternal rest. Whether you’re a millenia-old citizen of a now-defunct desert kingdom or some poor explorer that died in a bog and only clawed their way out a century later when someone accidentally stepped on their head while wading through the muck, there’s a lot of potential there.

So let’s take a look, shall we?

Like all undead archetypes and certain other spellcasting ones, you can technically take this archetype at first level, but must obviously take the dedication as your 2nd level feat. In this case, the dedication provides the basic undead benefits, as well as increased physical durability at the cost of fire vulnerability. Additionally, their unarmed strike becomes stronger as they pull water from their targets on contact. Meanwhile, they also establish a bond with an extreme terrain predominant to the region they were mummified within, which determines the aesthetics of later abilities as well as what terrain certain other abilities function with.

Case in point, most are able to stride through difficult terrain in their bonded environment with ease, as well as see through concealment within it as well, be it the snowstorms of the arctic or mountains, the sand of deserts, or the fogs of the marsh.

Whether it be from their strikes or from another ability, they can use the moisture drawn from other creatures to trigger a transformation, regaining a semblance of life and vitality for a short time.

Many also develop the greater benefits of undeath, as well as resistance to actively harmful aspects of their bonded terrain as well.

Whether they were mummified alive or merely endured the traumas of their soul being bound to their corpse, the process of becoming an undead mummy is filled with anguish, which they can then weaponize in one of their more infamous abilities as an aura of despair. While not yet potent enough to paralyze with fear, it can send foes fleeing.

While this archetype can’t grant true mummy rot, they can inflict a withering necromantic affliction on foes when they get a particularly lucky blow on foes, consuming their vitality and body while it lasts.

Some of these mummies can call upon atmospheric phenomena from their bonded region to summon concealing storms of mist, sand, and the like, making their presence obvious but their exact position impossible to determine, making for a useful defense.

Those of a warrior disposition often learn to channel their lesser curse through weapons rather than their limbs.

While otherwise ordinary cloth, many mummies can infuse some of their malevolence into their wrappings to briefly animate them, following up a strike to entrap foes with them.

Taking their bond with the terrain further, some learn to actually become the terrain, turning into flying clouds of an appropriate substrate such as mist, snow, sand, bog water, and the like.

In a horrific display of their mastery of moisture and life force, powerful mummies can suck both right out of foes in a wide conical area with a horrid inhalation, harming them and healing themselves.

Finally, some refine their despair aura so they can do so more often, and those that are especially affected are outright paralyzed with fear for a few critical moments.

The mummy archetype does a good job of emulating the powers most commonly associated with undead mummies in a balanced way, and can certainly be fun for any sort of character without requiring you to invest super heavily into it. If the game takes place in a lot of set pieces covering their favored terrain, it can be quite powerful if you spec for that, or you can just focus on being an especially tanky undead melee character. Certainly the despair ability is useful for every character, and being able to enshroud oneself or turn into clouds of particulate is useful for close and ranged characters alike. As such, there is no one specific build for this archetype, but you can choose to add it’s benefits to whatever build you’re going for.

Like I said before, it is entirely possible to play a truly ancient undead with this archetype, which opens up some interesting roleplaying opportunities. Obviously culture clash between your original culture and those that exist in the modern era is one, but also consider the knowledge that you bring with you from your old life. After all, undead mummies have included royalty, high priests, mages, and more in fiction, so their perspective can be interesting.

His hairs all fallen out long ago and his husk as dry as an old waybread wafer, Nshantu the Ensnared is the oldest storyteller among the anandi, though that’s hardly an impressive boast since he ventured high into the mountains to become a mummy. Still, the silk-bound arachnid boasts the deepest pool of knowledge in the region, which he will share with those who offer him information in exchange.

In their quest to  defeat the risen pharaoh that has kidnapped their patron, whom he believes is a reincarnation of his lover, the party finds a lead in references to one of his old servants, a jaathoom, or djinn genie who still dwells on the material plane.

Ever since the party made it through Blackwater Bog, something has been following them. They sometimes sense something on the edge of the firelight that vanishes when they try to find it, and just yesterday the woman they’ve been escorting found a muddy handprint on her bag. But is this stalker foe, or friend?

[elkieanddoppo]

warning: messy plot

~~

dooming the least doomable dazai ship is actually crazy but it happened....

"Two birds on a wire. One tries to fly away. And the other,, watches him close from that wire. He says he wants to aswell but he's just a liar."

Kunikida and Dazai both promised to each other that they'll stay alive. As surprising at it sounds, yes, Dazai agreed to the promise.

Dazai had to leave for Mersault. Because his plans will start there. But then he was killed by his former partner, Chuuya Nakahara. Or did he actually die?

No. It was still a part of his plan.

He didn't die. He continued with his 'fight' with Fyodor until he successfully 'defeated' him.

Did I say successfully? Actually, Fyodor's ability states that when he dies, he'll transform into the person who killed him. And in this case, it was Bram, the Lord of the Undead.

Bram was back in Yokohama when he felt the chill. He knows what's happening. He pushed Aya who was beside him and told her to run away. However, she didn't get a chance to when Fyodor suddenly took over his body.

Timeskip when Fyodor and Ame-no-gozen were against three ADA members, Tanizaki, Kunikida, and the late-comer Atsushi. They were no match for the other two, Kunikida thought. So that's when he thought of a plan. The kids should run away while he's distracting this... creature.

And so he did exactly that.

The ame-no-gozen pierced his sword right into Kunikida's chest.

As he fades away, he said these lines:

"I'm sorry, Osamu. I couldn't keep my promise. But don't worry, my ideals will live on. Please take care of it and yourself. Please do not follow me into the afterlife. I love you."

~

As Dazai finally arrived, he immediately searched for any of the ADA members. He spotted atsushi running towards his direction.

"Atsushi, where is everyone?"

"D-dazai-san! You're back...! I... The president is somewher among these boulders. He said he's gonna rest for a minute, also said to let him be as he's mourning.... So i ran towards here and i.... well um idk where the others are... tanizaki and... kunikida though... tanizaki went for the ame-no-gozen, i couldnt stop him from running away from me. i tried to catch up to him but well.... im sorry."

"... you tried your best, atsushi." dazai said as he pat the younger's head. "where's kunikida then?"

atsushi's breathe hitched. he lowered his head as he tried his best not to cry. he gets a notebook from his pocket and gave it to the brunette.

"im so sorry, dazai-san... he- kunikida-san is...." atsushi let his tears flow as dazai took the notebook from his hands. it had ideals written on the front. this was kunikida's notebook. where is he. please dont tell him...

"no. please stop joking, atsushi..." dazai felt his tears fall. he didnt even bother wiping it. showing weakness, be damned.

"im sorry. im sorry i couldnt protect him. dazai sannnn" atsushi cried.

hes gone.

hes gone

HES GONE

HIS BELOVED PARTNER

HIS LOVER IS GONE

he.. he promised... he promised he wont die....

then dazai screamed. screamed so loud that chuuya has to run up to him and comfort him.

he couldnt stop crying.

whats the point of even living anymore.

without kunikida, he's nothing.

without kunikida, dazai osamu is just a broken doll.

[libraryleopard]

so to understand joseph sheridan le fanu's classic horror novella carmilla, one must understand that it's a text in which queerness and monstrosity are integrally linked. it's basically impossible to read laura and carmilla's relationship as something other than a lesbian one, but carmilla's romantic seducation of laura coincides with the vampiress draining laura's blood and life force away as she has done to many women before, so it's also a story in which queerness is linked to illness and the undead. carmilla predates bram stoker's dracula and it's interesting to see the ways in which it does and doesn't line up with popular ideas of vampires. for instance, there's the sexual connotation of blood-drinking and the vampire in a coffin, but carmilla takes the form of a large black cat instead of a bat or a wolf when she visits laura in her room at night.

in other words, it's possible to read carmilla as a lesbian horror story answering a single central question: what if the pussy ate you?

[thebellekeys]

Anne Rice's Interview with the Vampire seems to me to be lovechild of The Picture of Dorian Gray, Dracula, and No Exit.

Oscar Wilde’s The Picture of Dorian Gray, because Louis is primarily drawn to vampirism as it awakens the senses and reveals the rich hidden beauty of the world. Louis observes life with an impressionist painter’s eyes and is on a quest to contextualize the beauty of humanity around him, that which he can’t himself partake in. Like Dorian, he’s immortal and invincible, but he has paid for this infinity of living with his soul and his humanity. Borne of evil himself, he can only behold goodness and beauty by gazing at the canvas. Also, gay.

Bram Stoker’s Dracula, because the novel pays homage to 19th-century Gothic literature. This time, the vampiric monster is the protagonist, the Byron, the anti-hero, the person we’re forced to sympathize with. The novel answers questions Jonathan Harker never bothers to ask: Where did Dracula come from? What does he feel? What does he want? What is human within him? Rice’s novel further enriches the vampirical canon by situating Louis, who believes himself to be a child of the devil, as the moral heart of the story. We are left wondering how much of Dracula, Stoker’s villain, had remained human upon his death.

Jean-Paul Sartre’s No Exit, because the characters are living an undead existence of angoisse and our vampires can’t handle their infinite, solitary existence without companionship. Their loneliness is hell, but we learn through the dynamic between Louis, Lestat, and Claudia that “hell is other people” also. Louis is grappling with the existentialist question of how to give his life meaning, trying to discover the essence of himself and vampirism, struggling to take action and evade cowardice. The Sartrian idea that existence is inherently meaningless and vampires are cursed with the burden of endless consciousness is the hell Louis can’t bear.

[ivoryratdoggerythethird]

spoilers for bsd chapter 114.5 because i just read it, mostly just screaming

FUCK THIS FUCK YOU WHAT IS THIS NO. NO. NO.

YOU ARE NOT TAKING BRAM AWAY FROM ME WHAT ABOUT AYA? WHAT ABOUT AYA AND HER KNIGHT BRA-CHAN? WHAT ABOUT THE POWER OF LOVE AND FOUND FAMILY AND WACKY ADVENTURE WITH THE DUO OF ALL TIME? WHAT ABOUT MY HEART, ASAGIRI-SENSEI????

WE GOT FYODOR SERVING LOOKS AND RANPO BACK ON THE SCENE BUT AT WHAT COST? AT WHAT COST?

bram better not be dead (double dead? reverse undead?) i SWEAR

how could you look so beautiful after taking my beloved away from me fyodor how

also like side note but man poor fukuzawa really fucking going through it huh

also also side note but like. wh. why is fukuchi still not dead what happened to the tragic teruko stabbing moment why is everyone in this manga immortal except the immortal vampire king and the guy who could literally see his death coming. what kind of sick joke is this. like the last episode implied he was gonna be back but still. wth.