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The Book of Nod is an epic poem written by Sam Chupp and Andrew Greenberg, published by White Wolf Publishing in 1993. [1] [2] [3] Based on the tabletop role-playing game Vampire: The Masquerade and the World of Darkness series, it tells the creation myth of vampires, following Caine, the first vampire and the biblical first murderer.
The Silver Kiss was inspired by Klause's poems and her teenage fantasy about romancing with a vampire. It is set in a suburban area near the east coast, in the late 80s and explores themes of belonging, death, and loss through the romance between a young woman—Zoë Sutcliff—and Simon, an English vampire who was turned since he was a ...
Lenore" is generally characterised as being part of the 18th-century Gothic ballads, and although the character that returns from its grave in the poem is not considered to be a vampire, the poem has been very influential on vampire literature. [2]
9. Sleepwalkers (1992) . Arguably vampire-adjacent, this Mick Garris-directed psychosexual horror film penned by Stephen King focuses on supernatural creatures posing as mother and son humans but ...
The poem was released by White Wolf Publishing in November 1998 in the form of a 123-page booklet, [3] [4] [10] and has also been published as an e-book. [11] The poem was followed by the Vampire: The Dark Ages book The Erciyes Fragments in 1999. [12] [13] A German translation of Revelations of the Dark Mother was published by Feder & Schwert ...
One of the first works of art to touch upon the subject is the short German poem The Vampire (1748) by Heinrich August Ossenfelder, where the theme already has strong erotic overtones: a man whose love is rejected by a respectable and pious maiden threatens to pay her a nightly visit, drink her blood by giving her the seductive kiss of the ...
The first, most famous and perhaps only example of an early Hollywood lesbian vampire film is 1936's “Dracula’s Daughter,” Universal Pictures’ follow-up to its massive 1931 hit “Dracula ...
The two dark-haired vampire women are described as facially resembling the Count, in that the three have aquiline noses. Literary scholar Jan B. Gordon suggests this that it may have been Stoker's intent that these two are Dracula's daughters, extending the sexuality metaphor of vampirism to incest . [ 7 ]