#vampyr concept art

[kiivg]

.Progeny 🦷🩸.

[organised-disaster]

First Drawing Of 2025

Inessa Mori (left) and Jesse-Avery Morwin (freak on the ground with the tail). I cried too hard trying to actually draw Inessa and I moved on to silly cartoons.

These two are my "modern" supernatural ocs (vampyr and changeling respectively) in the sense that they're leading mostly normal lives aside from Inessa's whole eating people thing and Jess-Ava having never had any face-to-face contact with literally any human being ever until the age of 17 and also the shapeshifting lizard thing

@randosfandos I MADE FUCKIN SOMETHING!! AT LAST!!

[artboomboom]

Today's Halloween drawing: Even vampires can have a bit of "ennui" in their favorite season of the year.

[dakotalovesdontnod]

Concept Art for Vampyr

Welcome to a new series where I will share some of the amazing concept art for DON'T NOD's games. Absolutely in love with the different art styles I've seen throughout the concept art I've looked at and seeing the environments and characters in a style that may not reflect the one used in game.

I don't plan on posting chronologically (in terms of game release dates). So for this first entry, since supposedly it was recently "halfway to Halloween"...

First up: Vampyr

With concept art by Gary Jamroz-Palma, Gabriel Lemaire, Florent Auguy and Adrian Meribault.

[cosmicgardencreative]

First concept of Zaniyah is completed! The pencils were drawn by Izzy around 2022-23. I was inking it on and off over time, but I finally had the weekend to sit down and finish inking with colors!

At the time when Izzy sketched the initial draft, Zaniyah was originally known as Zannus. Funny enough, Zannus was actually Eastern European back then, but that was when 16-year-old Choi didn't know how to write vampire villains. So she ended up simmering in the background, getting a whole design overhaul along the way.

Recycling OCs for your more mature projects has always been a satisfying activity for me. It really gives me a chance to think back to what I used to know, and how I've grown since to make the design choices on the present version. I think teenage me would've been really stoked to know how their characters will evolve in the future.

[jackjolene]

BioShock/Sinking City/Vampyr: The Blood of Alex the Great

Liz and Lady Ashbury make their way to Fontaine Futuristics, aided by a map that Eleanor made for them from Delta's memories. Thankfully, they don't have to contend with Alex the Great controlling the building's security. Instead however, they have to deal with the numerous Mutants walking around.

Fontaine Futuristics was ground zero of the Mutant outbreak, as it was Orrin Lutwidge's original base when he arrived in Rapture, and where he gave the mutated ADAM to his new splicer recruits. The source of that ADAM is what they're here to investigate, as well as any leads on Lutwidge's plans.

Thanks to the large number of Mutants wandering the halls and floors of Fontaine Futuristics, Liz and Elisabeth have to use their stealth abilities to evade their notice. Evidently, Elisabeth has a Peeping Tom plasmid like Liz's, along with her teleportation plasmid. Something's off, though, but Liz can't tell what it is.

After getting through the main building, they don their diving suits again and venture out to the entrance to the secret lab. Outside, they find the bodies of a dozen or so Mutants who tried to make the walk outside without a suit on. What's frightening about this trail of death is the evidence of them evolving.

Each one is further along than the last, having survived the crushing pressure and lack of air longer. The very last one, a few yards from the entrance, wasn't crushed at all, but certainly drowned. On its neck is what appears to the beginnings of a set of gills. Liz can't help but shudder as they walk past.

Time is running out.

In the lab, they instantly become aware of a massive, living thing within the huge tank in the middle of the main room. Its movements and heartbeat suggest that it is asleep, and so Liz and Elisabeth make sure to move carefully and quietly around the tank. The red tinge of the water keeps them from seeing inside, and they're both thankful for that.

In the room to the left, they find out where Lutwidge got the mutated ADAM. Alex the Great wasn't killed when Delta electrocuted him, just very close to death. After Delta left, Alex regenerated, and that's how Lutwidge found him. After figuring out that Alex had essentially mutated into a giant ADAM slug, Lutwidge began extracting ADAM from him to generate new recruits.

Thanks to Alex the Great's mutations, his ADAM is corrupted. There's something more vile in its reactions, something primitive. Reading through Lutwidge's observations, Liz suddenly has another episode, seeing the same gothic city as before, witnessing ordinary people mutating into grotesque monsters, Beasts, like the Mutants.

"We are born of the blood, made men by the blood, undone by the blood. Our eyes are yet to open. Fear the Old Blood."

Those words echo through Liz's mind as the episode progresses. When she comes out of it, her nose bleeding again, Elisabeth tells her that she was saying that phrase. She's looking at Liz strangely now, and her eyes keep dropping down to the blood draining out of Liz's nostrils with something like hunger.

With the origin of the Mutated ADAM discovered, they head over to the room on the other side of the tank. They both can't help but feel like something is watching them, even when they're invisible.

After some searching in the labs where the Big Daddies and Little Sisters were bonded together, they find some notes of Lutwidge's. After the splicers who took Alex the Great's ADAM began turning into Mutants, Lutwidge came up with a plan on how to control them.

Using the same method as Andrew Ryan did to control the splicers and win the Rapture Civil War (mind-control pheromones distributed throughout the city via the ventilation), Lutwidge will take control of the Mutants and continue with his original plan. Blueprints for a prototype that would allow him to keep the Mutants docile in a single area are among the documents they find, explaining how he is able to keep them at bay wherever he sets up shop.

With Lutwidge in Arcadia, the source of Rapture's fresh air, he must be closing in on his goal to take control of the Mutants. Once he does that, he can kill everyone else in Rapture, including the survivors in Minerva's Den, and then plunder the city for its horrifying secrets.

With Lutwidge's plans now in hand, Liz and Elisabeth begin making tracks for the exit. In the main room, Elisabeth grabs a sample of Alex's ADAM, knowing that Jonathan and Tenenbaum will likely want some for analysis. Liz looks over at the tank, just in time to see the massive and distorted silhouette of Alex the Great charging at them, also noticing the huge cracks in the tank's glass for the first time.

The tank's glass shatters as Alex the Great smashes through, great gashes appearing in his skin only to heal in seconds, shards pushed out right after they impale him. His bulbous head appears to have no mouth, until it opens to expose a circular maw of razor sharp teeth like a huge leech's. Laughing, crying, and roaring all at the same time, he lunges at them, pulling himself along with two pairs of elongated arms.

Elisabeth grabs Liz and teleports them both to the airlock. As she hits the button to close the doors and begin cycling the airlock, Alex appears at the end of the corridor and begins pushing his way through the coral to get at them. Just as he's about to reach the airlock, the doors close in his face. Liz and Elisabeth hear his cries from behind the door as they race the rising water to get their helmets on.

Once outside, they begin making tracks away from Fontaine Futuristics. They'll walk until they find another airlock and then they'll find a bathysphere to take them back to the Den. They've both had enough of Fontaine's old stomping grounds.

As they walk amongst the ruins of Rapture, Liz begins to realize what's been bothering her about Jonathan and Elisabeth Reid. Not once has she seen them eat food, or drink water or alcohol, and despite the use of their strange plasmids, they don't use EVE hypos.

As she remembers the look in their faces whenever she's gushing blood from her nose after an episode, she recalls a story that Charles told them about his own adventures in Oakmont, about a Mayan priestess brought back from the dead with a taste for blood....

[sephis-kastle]

[bloodlesssun]

garlic grenade!!!

(p.s. someone gave me an idea... what if vampires like garlic? And they just pretend to be allergic! And their victims spread the spices on themselves before becoming dinner???!!!)

[loosketches]

Birthday gift for a friend!!

[hildred-rex]

ALRIGHT!!!

People have figured out the thing that I thought was probably spoilers, so this weekend (probably; I think time should allow for it) I'll sit down and rant into a tumblr post about all the little things I've loved so far about LXGF's handling of The King in Yellow (book), "The King in Yellow" (fictional play), and the King in Yellow (entity).

Also, I have a pen that changes colors sometimes and today it decided to go yellow.

First page || Previous page || Next page

Dialogue transcripts:

Panel 1

The King: Rrhh…aiirr…nnh… (Cas…sil…da…)

Panel 2

(n/a)

Panel 3

Sound effect: BANG

The King: RRNGH (Fool)

Panel 4

(n/a)

Panel 5

Sound effect: BANG

Panel 6

The King: Aarrrhhh…hhhhhh (Enough playing)

Panel 7

Sound effect: CRASH

Panel 8

The King: Irene... (Unmask)

[manueljiniesta]

"I am an appetite" by Manuel J. Iniesta ilustración inspirada en #Nosferatu Digital Art con @procreate y @Photoshop

No sé como definir esta obra de arte, todas las palabras que use se quedarían cortas, o inexactas ante esta belleza. Solo doy gracias por ir al cine a verla, por que creedme os arrepentiréis si no la veis en pantalla grande, es simplemente una obra maestra un 100/10.

https://manueljiniesta.artstation.com/ http://iniestailustraciones.blogspot.com https://www.facebook.com/iniestailustraciones/ https://www.instagram.com/manueljiniesta_art/

#manueljiniesta #art #arte # dibujo #Draw #draws #concept #conceptart #conceptartist #digital #ilustracion #digitalilustracion #digitalart #digitalartist #nosferatu #vampyr #vampiro #condeorlok #terror #fanart #fanarts #ghothic #gotivo

[beautifulgazelle]

So, I didn't like the new Nosferatu movie a whole lot. (SPOILER WARNING)

There were a lot of elements I liked, the cinematography was amazing, the costume and set design were great, and many of the actors (particularly Willam Defoe) gave fantastic performances. Still, if I were to put all the Nosferatu films on their list (excluding Shadow of the Vampire, as I've yet to see it), the 2024 movie would be last.

The main issue I had was that it didn't really scare me. My favorite Nosferatu movie is Nosferatu: The Vampyre from 1979 and what I love about it is how tense it is, there are so many long scenes that emanate this amazing sense of dread I never really got with this movie. I think the main reason for this is the weird pacing.

Nosferatu movies all have a bit of a pacing issue in the fact that the scenes can drag on a lot. However, the 2024 movie is weird in the fact that it has that issue in scenes where I feel like it could hurry things up a bit but moves way too fast in scenes I think would have benefited from being a bit slower. A good example is the scene when Thomas is in the castle, and Orlock approaches him, it moves so fast that I don't really feel any tension before it cuts to the next scene. I feel it would have worked better if we had gotten a long shot of Orlock approaching the audience until his cloak completely covered the camera in darkness, then a cut to Thomas' terrified face as the Count's shadow grows closer until he is consumed by it.

As much as I loved the film's dream-like editing, I think it was a bit much at times to the point of eliminating some of the horror, an example would be the scene of Orlock's shadow opening Ellena's door. In the original, that scene was great because it was basically just two long shots of his shadow walking up the stairs and reaching for the door handle. I think if the new movie has done something similar; like having a long shot of Orlock's shadow slowly ascending the spiral staircase before transitioning into the scene of his shadow opening the door (which was a really cool piece of editing), I think it would have worked better.

The movie honestly kinda grossed me out more than it scared me, it had a lot more sex and violence than the prior movies (not necessarily a complaint as both the other Nosferatu movies and the Dracula novel had a lot of sexual undertones it simply expanded on, and the lack of violence is likely in large part due to the era they were released in.) but because it didn't scare me those scenes just felt...weird. If it had the tension of the 79' movie, I feel those scenes would have worked a lot better to elevate the horror rather than trying to induce it where it was lacking. Even the few attempts and jump-scares didn't get me, I think the only one that made me actually jolt a bit was the scene on the ship.

The last (but probably least) of my issues was the pretty divisive design of the count himself. Obviously, the mustache is a bit weird, and while it does have a precedent from the novel, I personally am still mixed on it. What annoyed me more than that was the weird tuft of hair they gave him. I did like how they made him very corpse-like as it makes sense with him being undead and all, and the burns and scaring on his body gave his character a good sense of history like he had been in hundreds of battles over his long life. I remember seeing a piece of concept art where they made him completely hairless I think would have worked WONDERFULLY. But overall I thought his design was still good and Bill Skarsgard did a great job with his acting.

This is a little bit of a side note, but a lot of the scenes had a weird, CGI-iy feel, even when I don't think CGI was used. I feel like the movie may have gone through a bit too much post-processing.

I almost feel bad about the fact that I didn't like it as it clearly had a lot of heart put into it, and a lot of people online really seem to enjoy it, which I'm glad for! But I think I still personally prefer the 1922 original myself

[artboomboom]

For Inky Friday and the start of Vampyre weekend, the first of three drawings of various vampires in their world.  Vampires resonate with our most profound desires and fears. The temptation of immortality, perpetual youth, and extraordinary powers aligns with our wish to command our mortality. While their eternal existence entices, it also mirrors our dread of death and the mysteries it holds. But don't fear, it's just a drawing.

[ascalon-club]

I think I found Jacob Blackwood looking through Vampyr concept art. The tall man on the left. He looks identical to the man in the portrait displayed on Ashbury’s castle wall. He’s handsome.

UM, HELLO???? HELLO?????? I HAVEN'T SEEN THIS BEFORE

God fuck Jacob is such a wasted character imo. I'm working on too many unfinished fanfics in other fandoms but every time I come back to Vampyr, I think 'hey, that subplot with Carina, Jacob, and Elisabeth never got wrapped up' and I want SO badly to do something with it. like legit any time I brainstorm possible Vampyr fic ideas, they all include wrapping up that one subplot because Jacob is just too interesting of a character to not.

[czolgosz]

list of pdfs on my phone because i know everyone wants to find out

race, discourse, and the origin of the americas: a new world view (many authors. i'm not writing all that)

what is to be done? (vladimir lenin)

"chemistry and the 19th-century american pharmacist" (gregory j. higby)

the torture garden (octave mirbeau)

"the vane sisters" (vladimir nabokov) + questions for discussion

"the tell-tale heart" (edgar allan poe)

"the lottery" (brainerd duffield)

slideshow about different english cities during the industrial revolution

the compleat works of nostradamus

"terms of endearment in english" (julia landmann)

"speech reflections in late modern english pauper letters from dorset" (anne-christine gardner)

"slopjank prographilose" (rose q. drifting & magnesium oxide)

a few pages of the 1897 sears, roebuck & co. catalog + some other related things

orientalism (edward said)

"in event of moon disaster" (bill safire)

ragtime (e. l. doctorow)

enough to make you blush: exploring erotic humiliation (princess kali)

"you're a mean one, mr. grinch" (dr. seuss) + close reading questions

merry muses of caledonia (robert burns)

"women and the english civil wars" lesson outline

"the concept of the left" (leszek kołakowski)

"kids in the early 1900s" (betty debnam)

"heterosexualism and the colonial/modern gender system" (maría lugones)

"for heidi with blue hair" (fleur adcock)

"flowers for algernon" (daniel keyes)

excerpt of the beginning of m*a*s*h (tim kelly)

tristan tzara poetry collection

"the nature of the beast: the portrayal of satan in the ballads of seventeenth century england" (christopher bailey)

"all the king's horses" (kurt vonnegut)

"conditional divorce in ottoman society: a case from seventeenth-century erzurum" (bilgehan pamuk)

"gender oppression in the enlightenment era" (barbara cattunar)

who's afraid of virginia woolf? (edward albee)

"visual difference & disfigurement in the arts"

"trans-misogyny primer" (julia serano)

the brothers karamazov (fyodor dostoyevsky)

the other victorians: a study of sexuality and pornography in mid-nineteeth century england (steven marcus)

the mistborn trilogy (brandon sanderson)

"the life of an unknown assassin: leon czolgosz and the death of william mckinley" (cary federman)

the brothers karamazov (fyodor dostoyevsky) again

spanish idioms with their english equivalents: embracing nearly ten thousand phrases (sarah cary becker & federico mora)

a sensation novel (w. s. gilbert)

basic principles of marxism–leninism: a primer (jose maria sison)

russia under the old regime (richard pipes)

tristan tzara: dada and surrational theorist (elmer peterson)

pan tadeusz (adam mickiewicz)

psycho nymph exile (porpentine heartscape)

1984 (george orwell)

neath to reach zine: the traveler's guide to [illegible] (i am not writing all that!!)

the dada painters and poets: an anthology (i continue to not write all that)

machine of death (still not writing all that)

"merchants, proto-firms, and the german industrialization: the commercial determinants of nineteenth century town growth" (gavin greif)

"introduction to the history of mental illness"

"girl detective & the mystery of the sap-stained skirt" (porpentine heartscape)

gadsby (ernest vincent wright)

feeling very strange: the slipstream anthology (authors galore.)

english women's clothing in the nineteeth century (c. willett cunnington)

socialism: utopian and scientific (friedrich engels)

the waste land (t. s. eliot)

"debility and disability in edith wharton's novels" (karen weingarten)

death of riley (rhys bowen)

"the black vampyre: a legend of st. domingo" (uriah derick d'arc)

raoul hausmann and berlin dada (timothy o. benson)

flight out of time: a dada diary by hugo ball

art and production (boris arvatov)

"the culture industry: enlightenment as mass deception" (theodor adorno & max horkheimer)

a gilded lady (elizabeth camden)

"changing narratives of martyrdom in the works of huguenot printers during the wars of religion" (byron j. hartsfield)

112 gripes about the french

"the spelling of the country name "romania" in british official usage: from uncertainty to standardization" (paul woodman)

"sarajevo 1914: trial process against young bosnia – illusion of the fair process" (veljko m. turanjanin & dragana s. čvorović)

[grandwitchbird]

An Ode to the AA Oddball

If you don’t want spoilers, stop reading now and just go play Vampyr. It’s usually on sale for under $10. Have fun.

I tend to think of the AA category in games as a kind of sweet spot for the swing-for-the-fences concepts. Devs working in this range usually have the freedom to write whatever nonsense they want because they haven’t been handed a budget (and the strings attached) to make the next big industry-driver. They’ve got more resources and accountability than the indies though, and that has real benefits.

Never have I been more vindicated in that position than I was by Vampyr. This is not going to be a coherent analysis because this is not a coherent game. It is a ridiculous and singular gaming experience though. So what I’m going to do is give you what you need to decide if this experience is for you.

Would you like to play a doctor in the midst of an influenza pandemic where you can also eat your patients?

How about an RPG where there’s distinct and satisfying drama in all three endings?

Enjoy truly fantastic art direction and sound design?

Do you like vampires? Yes? Good. Because we have:

Regular vampires

Werewolves (who are vampires)

Big monster ogre guys (also vampires)

Zombies (you guessed it. Actually vampires)

Mythic heroes (you won’t believe it: vampires)

Actual historical figures (don’t make me say it)

Secret societies (least shocking vampires)

Gods (would you be surprised if I said they’re vampires)

Everything is vampires, and life is beautiful. Also you really do play a doctor (who is a vampire), and 90% of gameplay is managing the health of various districts. This system feeds directly (heh) into the progression mechanic because you get very little xp if you choose not to feed on the people you’re trying to keep healthy. And you get the most xp from the healthiest people who trust you most. You can resist though! It’s a viable path, and you get a wildly romantic ending as a result. Oh yeah, this weird fucking game also has the quietest and most natural romance embedded in its story. More importantly, the world changes dramatically and organically based on gameplay choices in a way that’s more reminiscent of immsim masterpieces like Dishonored than it is of most RPGs.

You can also eat rats. If you want. I guess.

10/10 game