Vampires Among Us

One of the most popular role-playing properties in the world gets new life with this trio of horror novellas set in Vampire: The Masquerade's World of Darkness by three brilliant talents: Genevieve Gornichec, Cassandra Khaw, and Caitlin Starling The subtle horror and infernal politics of the World of Darkness are shown in a new light in Vampire: The Masquerade: Walk Among Us, an audio-first collection of three novellas that show the terror, hunger, and power of the Kindred as you've never seen them before. In Genevieve Gornichec's A SHEEP AMONG WOLVES, depression and radicalization go hand-in-hand as a young woman finds companionship in the darkness... In Cassandra Khaw's FINE PRINT, an arrogant tech bro learns the importance of reading the fine print in the contract for immortality... And in Caitlin Starling's THE LAND OF MILK AND HONEY, ideals and ethics bump heads with appetite on a blood farm. Three very different stories from three amazing, distinct voices, but all with one thing in common: the hunger never stops, and for someone to experience power, many others are going to have to feel pain.

For centuries, vampires have been the stuff of myth and legend, dreams and nightmares. Now, a journalist and psychic investigator reveals the secret lives of modern-day vampires. Based on interviews and first-person accounts, this book tell of the bizzare double lives of many men and women.

There are vampires among us in a shadow world that has its subtle hooks into organized crime itself, as well as practically every major business, governmental, cultural, and religious institution in existence. Subtle, influencing rather than controlling, and ancient, it predates most if not all of the present-day institutions it influences. And evil. No shades of gray here. No redeeming social merit. Most of these vampires are educated, refined and charming, but as pure in their evil as the foulest of their bloodsucking kindred whose transformed faces match their twisted souls. A world of shadows; shadows of evil. When a maverick who prefers the twisted, bloodsucking condition of the classical vampire becomes too powerful to be controlled, a wave of evil is unleashed.

Initial point and working hypothesis Drakul. Nosferatu. Upyr. Vampyre. There have been many names for what we know today as the vampire. It is believed that the existence of the vampires goes back in time for almost one thousand years. At least since Bram Stoker’s successful novel Dracula from 1897, almost everyone is familiar with the image of the walking undead that creeps out of its coffin at night and sucks the blood out of humans. Today’s American popular culture makes it even inevitable to not be faced with vampires on television, in advertisement, on cereal boxes, or even in educational programs for children. The undead has always been appealing to viewers especially of the horror and fantasy genre. Zombies, ghosts, demons, mummies, and vampires have been present in movies and on television ever since the invention of the motion picture at the turn of the twentieth century. It is the “otherness” of such monsters, their frightful darkness and exoticism that makes them so interesting. Since the turn of the twenty-first century, a striking popularity of the undead figure of the vampire in American popular culture is particularly notable. Since F.W. Murnau’s masterpiece Nosferatu in 1922, it is not possible anymore to imagine cinema and television without these nocturnal creatures. The vampire has always been serving as a metaphor for something strange, for anxieties and hidden desires in society. What it has in common with other undead figures in American popular culture is its representation as a monster. The vampires’ “otherness”, their mystical darkness, hypnotizing men, seducing women, longing for life and its taste in human blood – that is what makes the figure of the vampire so extraordinary fascinating and engaging to today’s movie and television audience. This thesis deals with the figure of the vampire regarded as the “unknown other” and how it is fictionally represented in the American TV series True Blood (2008 - ). The thesis argues that the figure of the vampire in postmodern American popular culture lost some of its “otherness” to a certain extent and cannot be regarded as a “monster” per se anymore.

Drakul. Nosferatu. Upyr. Vampyre. There have been many names for what we know today as the vampire. For over a century, literature, television, cinema and many other areas in our daily lives cannot be imagined without the appearance of this fictional character. Almost everyone is familiar with the image of the walking undead that creeps out of its coffin at night and sucks the blood out of humans. The undead has always been appealing to its audience. It is the ‘otherness’ of such monsters, their frightful darkness and exoticism that makes them so interesting. This book deals with the figure of the vampire regarded as the ‘unknown other’ and how it is fictionally represented in the American TV series True Blood (2008 - ). Considering both psychoanalytical concepts as well identity theory, the author depicts the literary and cinematographic development of the fictional figure of the vampire since the late nineteenth century, and analyzes different representations of the vampire and its “otherness” as well as their appeal to the audience in the True Blood.

A chilling chronicle of the often ignored history of vampirism as it has surfaced repeatedly in news articles, historical accounts, and first person interviews, this shocking account of occultist rituals and the inhuman forces that influence them shines a light on the horrifying truth. Revealing that real vampires are not immortal, do not have fangs or sleep in coffins, and have no fear of sunlight or crucifixes, the examination dispels many myths but also confirms the truth behind several traits of real vampires, such as the insatiable thirst for blood and the dream of an eternal soul. Complete with 30 spinetingling tales of the hideous wraiths and creatures that lurk in shadow, this fascinating collection includes the stories of the Mexican prostitute who mesmerized an entire village, convincing them she was an Incan goddess who required human sacrifice for her magic; the three teenagers who left a trail across the South as they conducted blooddrinking rituals with animals; and the mysterious Lady in Black who draws psychic energy from men who dare approach her as she wanders through city streets and parks.