smartinterlocking

[vickyvicarious]

"He is young and strong; there are kisses for us all."

May 16

"He is so young and strong and of blood so pure that we need not defibrinate it."

September 8

Thinking about this echo, and the way Lucy and the suitors + Van Helsing provide a kind of opposing force to Jonathan and the vampire ladies + Dracula.

In both cases, we have the young, appealing innocent who is soon to be married and has entered a new phase of their life (Jonathan/Lucy). Both have an older foreign man become very interested in them and very fond of them in their own way (Dracula/Van Helsing). Both have three 'admirers' who want to 'love' them (vampire ladies/suitor squad).

Of course, noting this is nothing new. Plenty of people (and I myself) have pointed out these and other parallels between all these individuals. But I want to go a little farther with it today.

A vampire's 'love' is one of corruption and consumption. Jonathan was held captive in Dracula's castle, and forced against his will to adopt a largely nocturnal schedule*; he had to adapt in this and many other ways to his captor's way of life. The vampires had him in their control from the start, and he had to behave in certain ways to please Dracula lest he suffer consequences of his displeasure. Dracula was extremely possessive of Jonathan, right up until he wasn't going to be around anymore, and then he was happy to throw him aside for the others to devour. Despite this 'sharing', he and the vampire women are at odds and dismissive of one another (he spends most of his time shooing them away from Jonathan, they scoff at and mock him), and whatever love may have been there in the past is clearly long gone.

Human love is one of dedication and trust. The suitors (and later Van Helsing) all come to Lucy. Both initially, in visiting her to make their proposals at her house, and then later on coming to her home when she is ill; they come to her side when she is in need, and they drop what they're doing to adapt to her. When Lucy has to turn two suitors down, she feels awful about not being able to please them all, but each of them emphasizes that they don't hold it against her at all, and they will remain devoted to her friendship. None of them are possessive of her. (Admittedly, Van Helsing does somewhat frequently work to keep Lucy's loved ones apart from her, ushering Arthur away or drugging her to sleep when he's there; but he also invites them to come and help her with their transfusions.) Arthur, the one she has chosen at the exclusion of the other suitors, is notable for being especially welcoming to the others. It is on his behest that both Jack and Quincey arrive to help Lucy in the first place, and he is extremely grateful for and welcoming of their efforts in that vein (pardon the pun):

"Young miss is bad, very bad. She wants blood, and blood she must have or die. My friend John and I have consulted; and we are about to perform what we call transfusion of blood—to transfer from full veins of one to the empty veins which pine for him. John was to give his blood, as he is the more young and strong than me"—here Arthur took my hand and wrung it hard in silence—"but, now you are here, you are more good than us, old or young, who toil much in the world of thought. Our nerves are not so calm and our blood not so bright than yours!"

And this quote brings me to the next detail I find so interesting. In order to finally escape alive, Jonathan turns many of Dracula's tricks against him. Just to name a few, he does things such as: wall-climbing, sneaking around while Dracula is asleep, stealing Dracula's belongings. There are a lot of reversals between them in the last few days, both in Jonathan's explorations and his attack on Dracula. He's 'fighting fire with fire', so to speak, and it works to get him out of the castle. Later on, we see even more of this when he is hunting Dracula down near the end of the book.

He's far from the only person to do such a thing. Dracula himself is very deliberately doing this sort of thing throughout much of the book, from imitating Jonathan in the Castle to innovating ways to work around old vampiric limitations. And Mina is of course a whole example on her own of weaponizing the enemy's own tools against him. But so is this Van Helsing + suitor squad group in a really interesting way. Even Lucy herself, though due to circumstances, she's not the most intentional/active participant in doing so. Let's look back at that quote above again. Van Helsing says that Lucy "wants blood, and blood she must have" - in order to stop her from becoming a supernatural vampire, instead they willingly perform a sort of medical vampirisim. Here we once again see the contrast between modernity and the supernatural, and interestingly, how they overlap to cross purposes.

Dracula takes Lucy's blood away. Van Helsing (by proxy at first) gives it back. Dracula wants Lucy to become a vampire, and drink the blood of those around her. Van Helsing, in giving her transfusions, enables her to drink in their blood in order to prevent her from becoming a vampire. The three vampire women wanting to gang up on Jonathan and drain him of his strength. The three suitors join together to take turns sacrificing their own strength in order to supply Lucy with more when she's in need of it.

Dracula wants her to take, just as he and the vampire women do. In fact, almost everything he does to turn her involves depriving her of things: restful sleep, blood, eventually her mother. But in her friends, Lucy is surrounded by people who love her and give freely, and this saves her (at least temporarily). They all work together and love one another in a way deeply at odds with Dracula and other vampires' form of consumptive 'love'.

And so their vampiric actions of transferring blood between bodies are life-saving instead of life-taking. Jack and Van Helsing even remember a version which is all the more a mimic of vampiric body language and leans way into the vampire-as-disease metaphor, with the reference to the time Jack sucked "from [Van Helsing's] wound so swiftly the poison of the gangrene" - it's got the mouth on skin, the sucking, but it's taking away illness rather than infecting someone. It also fosters a long-standing dedication and love, which in turn lends itself to the saving of someone else. This too ties in to the way vampiric love isolates, while human love connects.

* Lucy, meanwhile, in fighting against her terrible dreams, often attempts to be awake at night and is unable to do so. A more nocturnal schedule would make her safer, since her sleeping state is where Dracula has the most influence over her.

[eerieeccentrix]

[tyrantisterror]

A Dozen Or So Great Vampire Ladies

Ok, so, on a mostly unrelated post the topic of good vampire ladies came up, and @bisexualdaikaiju suggested/challenged me to do a top 10 vampire women list. As a self-professed lover of vampire women, it felt like a challenge I couldn't back down from. But it is kind of challenging, for two kind of contradictory reasons.

First, while there are MANY female vampires in fiction, most of them feel like afterthoughts, getting far less characterization than their male counterparts, who more often than not are the star villains of the show. When these supporting lady vampires do get something to do, it's generally the same role: make their human lovers sad when they rise from the dead as a monster that has to be killed, an emotional beat that is often undercut by a lot of these vampire women not getting much characterization to endear them to us before they died. Everyone wants to have the Lucy Westerna plot beat from Dracula but they don't want to do the work that Bram did to make Lucy lovable. The lady vamps who get to step out of Lucy's shadow are rare - but that just makes them all the more wonderful.

The second problem is that, since this is an obsession of mine that few seem to share (there are lots of vampire fans, but man do the boy vamps get to hog the spotlight among them), I've done a lot of scattered thinking about it and I just know I'm bound to forget at least one excellent lady vampire character that should be here. And whittling it down to ten, and trying to rank them? That's too hard! My thoughts are too mercurial to do that reliably in a way I don't forget!

So instead here's a list of, like, a dozen or so lady vampires that I think are just fucking stellar, many of which I think break the mold of what pop culture makes us expect lady vampires to be. It is not ranked - I love all these characters more or less equally, and think it's a lot more interesting to see how they take their archetype in different directions than to figure out which one is "best" of the lot.

Carmilla Karnstein

I'm going to start with the most famous literary female vampire, Mircalla Karnstein from Carmilla. I think she might be the first vampire to have an unhealthy obsession with using anagrams of her real name as aliases, though I'm sure now that I've typed that someone will find an earlier example to school me. She's also the one who popularized the idea of lady vampires being extremely sapphic, with an arguably genuine romantic affection for her female victims. She's got well-deserved clout, basically, and like Dracula has been adapted countless times and reinterpreted in some excellent ways. My favorite screen Carmilla is Ingrid Pitt's take, which captures her fierceness, passion, and tragic nature so well.

2. Amy from Fright Night

Ok, we're having one Lucy Westerna knockoff on this list, but as Lucy knockoffs go, Amy is one of the best. It actually helps that she spends 90% of her movie as a human, because we get to know and love her so much before she turns monstrous. And once she does...

It is pants-shittingly terrifying. I will never stop raving about the vampire designs in this movie - they made their "game faces" so fucking monstrous and I feel like in a better world this would be the standard ever since, especially since they still gave the vampires pathos while making them so ghastly when they've got their feeding faces on.

3. Drusilla

Buffy the Vampire Slayer had a bunch of vampire characters, and to its credit they did a decent job of making the ladies just as distinct as the gents. Harmony and Darla could both have made this list, but my favorite was always Drusilla, who was so traumatized before she became a vampire that it kind of overwhelms the demon spirit inside her. Like, bare minimum thing to make a lady vampire more interesting than 90% of other female vampires in fiction: give her at least one personality trait, preferably an interesting one, outside of being a vampire. Drusilla's fun, and she survives the entire series after dumping her boyfriend to be a single female vampire. Good for her.

4. Ruby from Scary Godmother

Ok look I am a fake Scary Godmother fan but kudos to the artist of the books for making a lady vampire who's very clearly of the nosferatu mold and is also explicitly benign and sweet. A+ vampire lady character design. I hope it doesn't awaken anything in me.

5. Nadja

What We Do in the Shadows is excellent at finding new takes on vampires in general - it even made me actually like Psychic Vampires as a concept, a feat I thought was impossible - but goddamn do I love Nadja specifically. She's got a distinct personality as vampire ladies go, being very confident and self-assured while also being a complete fucking goober (it is a comedy, after all). She's perfectly capable of being terrifying AND hilarious, often at the same time. A vampire girl failure, in the parlance of our site. I love her.

6. Lady Dimitrescu

I know that she's apparently only in a fourth of the game, but it's still pretty great that Resident Evil 8 decided its mascot villain - its equivalent of the Tyrant, G, Nemesis, etc. - would be the hottest woman I've ever seen a milf an 8 foot tall lady vampire. She's not dainty and willowy like most lady vamps in fiction - not an ambush hunter - but rather HUGE and capable of tossing a human around like a rag doll. She's a physical powerhouse and she looks fine feminine while doing it. Despite being an unabashed blood-sucking monster, she still has enough depth and complexity to have important relationships (like a genuine love for her "giant mass of hive mind flies" daughters), and also she gets to have an awesome transformation into a fungal vampire dragon, which is rad as hell. Also goddamn, her fashion sense is immaculate.

7. Hecate from Hellboy

"Hey, she's not a vampire! She's a goddess! That doesn't count!" Fuck you, my list, my rules. Hecate posits herself as the progenitor and mother of vampires, she drinks blood, and her main form in the comic is as a sicknasty lamia version of the iron maiden used by Elizabeth fucking Bathory, if she doesn't count as a vampire, nothing should. She is the concept of a vampire amped up to maximum capacity, a major mythological figure and an awesome villain.

...also I lowkey shipped her and Hellboy when I was a teenager. They could have made it work!

8 - 12. Carmilla and her girl squad from Castlevania

I suppose I could have counted Castlevania's Carmilla as an adaptation of Miss Karnstein - they're both basted out of Styria, both sapphic, and it's clear she's meant to be an adaptation of the former, just as the Dracula of this show is meant to be a take on Bram's famous vampire. But ultimately they're VERY different characters in the grand scheme of things - Castlevania's Carmilla has none of the tenderness and vulnerability of her literary counterpart, instead being full of barely restrained fury. She is an excellent villain, complex enough to be interesting but thoroughly despicable enough to make it VERY satisfying when she bites it.

I also love her girl posse... in concept, at least. They've all got great designs and the groundwork of interesting characters, but of the the three, only Lenore, the waifish redhead, gets to do much of note. The two on the edges kind of just show up for a few scenes and then bail before the plot catches up to them, doing very little of note - though at least the big hunky one gets one of the coolest fight scenes in the whole show.

Back to Lenore though - she gets a really nice character arc, and manages to become one of the few sympathetic vampires in the series (while still doing a lot of monstrous shit - she is not a defanged vampire by any stretch). I think her death scene is one of the most moving moments in the series finale.

13. Seras Victoria

A good female vampire has at least one non-vampire part of her personality, right? Ok, so, Seras is:

the muscle in almost every scene she is, which is to say, the one absolutely beating the shit out of people while her allies run for cover

the perky henchman/morality pet of one of history's greatest monsters

the sole ray of sunshine in cast of edgy, cigar-chomping grizzled mercnaries and antiheroes she's been pressganged into fighting alongside

the victim of some HIDEOUS trauma even before her vampirization

the protege of a wise master who gets a full hero's journey arc, taking up his mantle at the end of the series

Like, I love her. She's the secret protagonist of Hellsing. She's got layers like an onion. The scene where she killed Zora Blitz reminded me why I love anime.

(yeah it's the TFS version fuck you)

14. Youko Shiragami

My Monster Secret is not a horror manga. It is a romantic comedy about a bunch of idiots trying to keep painfully obvious secrets hidden and succeeding only because almost everyone around them is as dumb as they are, just in very different ways. It is a manga where an entire chapter can be summarized as "all the characters race to get the last McRib, using their various supernatural abilities to try and cheat their way to the front of the pack." It is one of the funniest and most heart-warming stories I have ever read, one of my favorite romances of all time, and an excellent piece of long form story-telling.

One of the two main characters is Youko Shiragami, a vampire girl who can't let anyone know she's a vampire or else her dad will pull her out of school. She desperately wants to have a normal life with friends and, like, school shenanigans, but her fear of people uncovering her secret and hating her is so immense that she's been isolating herself from everyone, accidentally torturing herself by being close to what she wants but unable to actually have it.

At least, until Kuromine, the other main character of the story, discovers her secret while trying to ask her out on a date. He ends up promising to keep her secret, and the two of them form a real friendship that blossoms into a very sweet romance, where Youko gets to display all her incongruous personality traits that go against what you'd expect of vampires - namely, that she's kind of a ditz, with an unrefined style of speech and a complete inability to be suave and seductive. She's a sweet, flaky goofball with a big heart, who just happens to drink blood and tan really quickly in the sunlight. There is no other vampire like her, and the world is richer for her being in it.

15. Marceline, the Vampire Queen

This list isn't ranked, but if it was, I'd put Marceline at the top. I think she is not only the most unique and deeply characterized lady vampire in fiction, but ranks right up there with Dracula in how she redefines the idea of what a vampire can be. Like, look at the forms she takes!

There are DOZENS of different monstrous shapes Marceline takes during Adventure Time's 9+ seasons of television, and any one of them would be a superb and memorable vampire on its own. And she's ALL of them. Just on a design standpoint, she is a standout. I think only Dracula himself could compete.

But she also explores what the concept of what a vampire is in ways no other vampire in fiction can, in part because of the unique nature of Adventure Time's setting. In a world where humans are an extreme minority and most people are weird monsters, a vampire isn't that odd, so we get to explore what being a vampire means divorced from the comparison to "normal" human beings. There's the expected tragedy to Marceline, of course - she's a 16 year old who has been stuck in that adolescent state for hundreds of years, and much of her character arc over the show (including the magnificent vampire-centric storyline, "Stakes") focuses on the horror of being stuck in that transitional state, not quite a child but not quite an adult. Marceline struggles to mature, to understand herself and others, and her vampirism both keeps her distant from reaching those goals but also gives her a lot of time to figure out how to approach them when the opportunity arirves. Marceline goes from one of the most immature and selfish characters in the show to perhaps the most emotionally intelligent, blossoming into a sensitive and thoughtful person she could never have been without first becoming a creature that seems so inherently opposed to ever having those traits.

And she did it all in a children's show where she was rarely if ever allowed to actually drink blood - a problem the writers got around by having her suck the red color out of things, which is right up there with the Joker Venom from BTAS in terms of genius ideas spawned by children's show censorship.

Marceline is the GOAT.

[serial-serializednovelreader]

In a Canadian 1973 Dracula TV-movie (it's on youtube), when Jonathan sees Dracula leaving the castle for England, he touches his throat, and we see two bite marks on it, showing that Dracula had bitten him off-screen.

Then the three vampire women appear, and tell him that now that Dracula has left, Jonathan is meant to become their new husband.

HAHAHAHAHA wait, that’s so funny!! I’m glad someone at least thought of this too when making an adaptation. I’m simultaneously picturing a “babe, wake up, new husband just dropped” meme and the women appearing — checking their nails — while one of them says “ok, so you’re, like, our new husband now. So be a dear and get us some food, why don’t you?”

I imagine it goes down much less funny than either of these, but I’m having a blast imagining this! It’s just so bizarre.

And you said it’s on YouTube? I checked and I think it’s free…oh no. Now I’m tempted to watch it and post my reactions. I haven’t even posted my final thoughts on BBC Dracula though. Decisions, decisions…

[niceminipotato]

I may have gone a bit crazy and splurged big today. What do you potatoes think?

Yall should know four out of the six are about vampires lol I think we can understand why. I mean I don’t simp over the glorious Lady D for nothing 😏. Oh and umm all of them are sapphic, of course 😎.

[thedarkone121]

Dracula: Storm the Castle (Sketch Animatic)

Took an opportunity for my Drawing Final to make an animatic of my own choosing and I decided to go with my Dracula adaptation idea!  One thing to note is that this not the full series idea. This is just a concept scene that clearly establishes what I want it to be. Anyway, I hope you enjoy the video!

[mintshiiarts]

Just some faces (maybe designing for something…. ;D).

[rinpin]

So I finally got around to making LILITH her own tumblr. Finally a space just for our favorite demon lady. 😈

[pikslasrce]

im ngl that scene in the lighthouse when hes trying to jerk off to the idea of a hot mermaid but keeps getting distracted by unsightly visions symbolizing his guilty conscience and descent into insanity is so real like. it really is like that sometimes

[vickyvicarious]

The Count's warning came into my mind, but I took a pleasure in disobeying it. The sense of sleep was upon me, and with it the obstinacy which sleep brings as outrider. The soft moonlight soothed, and the wide expanse without gave a sense of freedom which refreshed me. I determined not to return to-night to the gloom-haunted rooms, but to sleep here, where, of old, ladies had sat and sung and lived sweet lives whilst their gentle breasts were sad for their menfolk away in the midst of remorseless wars.

Jonathan's stubborn defiance of Dracula's edict here is followed very shortly afterwards by another passage aligning him with peaceful, loving, lonely ladies of old.

And then who should come upon him but vicious, 'loving', companionable ladies of old, intent on defying Dracula themselves? Women whose laughter is like music.

In the moonlight opposite me were three young women, ladies by their dress and manner. [...] They whispered together, and then they all three laughed—such a silvery, musical laugh, but as hard as though the sound never could have come through the softness of human lips. It was like the intolerable, tingling sweetness of water-glasses when played on by a cunning hand. The fair girl shook her head coquettishly, and the other two urged her on. One said:— "Go on! You are first, and we shall follow; yours is the right to begin." The other added:— "He is young and strong; there are kisses for us all."

Throughout this entire encounter, in fact, Jonathan and the ladies are aligned. Jonathan lays still, frozen in a state of hypnotic anticipation - and the vampire who is to bite him first is very deliberately slow in her approach. She pauses multiple times to savor both the experience of being able to defy Dracula by biting his guest (as Jonathan took pleasure in sleeping where he was told not to), and to linger in her own anticipation of the bite.

The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck she actually licked her lips like an animal, till I could see in the moonlight the moisture shining on the scarlet lips and on the red tongue as it lapped the white sharp teeth. Lower and lower went her head as the lips went below the range of my mouth and chin and seemed about to fasten on my throat. Then she paused, and I could hear the churning sound of her tongue as it licked her teeth and lips, and could feel the hot breath on my neck. Then the skin of my throat began to tingle as one's flesh does when the hand that is to tickle it approaches nearer—nearer. I could feel the soft, shivering touch of the lips on the super-sensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in a languorous ecstasy and waited—waited with beating heart.

When Dracula arrives, Jonathan's attention is focused on how his hand grabs her neck. It's the culmination of the snatch at his own neck that the crucifix warded off before. It's all the violence he feared being unleashed upon himself:

When the Count saw my face, his eyes blazed with a sort of demoniac fury, and he suddenly made a grab at my throat. I drew away, and his hand touched the string of beads which held the crucifix. [May 8]

As my eyes opened involuntarily I saw his strong hand grasp the slender neck of the fair woman and with giant's power draw it back, the blue eyes transformed with fury, the white teeth champing with rage, and the fair cheeks blazing red with passion. But the Count! Never did I imagine such wrath and fury, even to the demons of the pit. His eyes were positively blazing. The red light in them was lurid, as if the flames of hell-fire blazed behind them. His face was deathly pale, and the lines of it were hard like drawn wires; the thick eyebrows that met over the nose now seemed like a heaving bar of white-hot metal. With a fierce sweep of his arm, he hurled the woman from him, and then motioned to the others, as though he were beating them back; it was the same imperious gesture that I had seen used to the wolves. [May 16]

Dracula himself cements the connection between Jonathan and these women. He's already shown his dominance over the women and asserted his possession of Jonathan. Then he stares at Jonathan just before he speaks of his past with them. He even uses the same language he weaponized against Jonathan the other day, the 'is it not so?'

Then the Count turned, after looking at my face attentively, and said in a soft whisper:— "Yes, I too can love; you yourselves can tell it from the past. Is it not so? Well, now I promise you that when I am done with him you shall kiss him at your will."

So much about this scene tells us these women are Jonathan's future. Not just that they will be in his future, that he will be given to them when Dracula is done with him. No, first he spends all that time imagining himself in their place as they would have been in the past. And then all of these connections creep up to suggest he will be in their place in the future as well. Dracula 'loved' them once, just as he 'loves' Jonathan now. Dracula will be done with him eventually, just as he was done with these women.

And then Jonathan will be given to them, cast aside with the rest of them, left behind to laugh together like a terrible sweet song, as the man who 'loved' them all is away waging his remorseless war on England.

[eliotbaum]

Another year, another Curse of Strahd secret santa! This time featuring Anastrasya Karelova 🩸

[puzzled-artist]

Oh to be a small town girl who wanders into the sexy Vampire's castle

[serial-serializednovelreader]

In Scholomance, where Dracula had studied when he was alive, one of the powers granted to graduate students by the devil is weather control.

https://en.m.wikipedia.org/wiki/Scholomance

That’s so cool!!! So that’s where Dracula got his weather powers. I actually didn’t know the lore behind the Scholomance references in the novel, so that’s very helpful. Thank you for the info, anon!!

As thanks, let me give you a fun headcanon from the ask game I reblogged a while ago.

12. Crack Headcanon - Dracula:

Dracula originally did not know how to do the cooking and the cleaning. In fact, he refused to do anything so petty! Pretending to be the coachmen was one thing, but serving his guests: bah! Never! He quickly realized, however, that his fun game of host and guest devolved rather quickly when his victims asked why there were no servants to clean their rooms or cook the meals. Eccentricity can only go so far in explaining away this strange issue. If he wanted to draw out the game for any period of time, he’d have to do something different. So, he decided to get some more vampires…and thus, the three ladies were lured into castle Dracula. Yes, they were noble ladies, but surely they could cook and clean for him, right?

Nope!!!! They absolutely refused to do that. He could compel them into it, but that took more energy than it was truly worth, and he liked having servants who would do as they’re told, rather than having to force the issue. After much bullying and teasing from the vampire sisters about why he couldn’t just do it himself…he eventually bought a cookbook and learned how to cook for his guests. As for cleaning, he picked that skill up as he went along; he found he was actually quite good at it!

You may wonder why he didn’t turn someone from the working class in the first place, or why he didn’t try again to find someone willing to be in his service. For the first point, he didn’t want anyone beneath his status living in his castle permanently (classist, much?). As for the second point…quite frankly, it was embarrassing to be bullied by the very people he turned into vampires to serve him and he wasn’t eager to repeat that experience.

Ask game here

[rabbitbelle]

sketches i did. yesterday when my ipad was low on power

[iluvrabbitz]

[6lilith6]

The High Mother. Cherished by her children of Babylon. 🌹