Monster Costumes
Do you want to explore your creepy side this Halloween? LTM party features a wide variety of monster costumes to suit your gothic lifestyle! From fun and freaky monsters to professional monster masks from special effect mask makers - LTM Party has it all!

Do you want to explore your creepy side this Halloween? LTM party features a wide variety of monster costumes to suit your gothic lifestyle! From fun and freaky monsters to professional monster masks from special effect mask makers - LTM Party has it all!



Young Frankenstein (Special Edition) (1974)

Amazon.com essential video
If you were to argue that Mel Brooks's Young Frankenstein ranks among the top-ten funniest movies of all time, nobody could reasonably dispute the claim. Spoofing classic horror in the way that Brooks's previous film Blazing Saddles sent up classic Westerns, the movie is both a loving tribute and a raucous, irreverent parody of Universal's classic horror films Frankenstein (1931) and Bride of Frankenstein (1935). Filming in glorious black and white, Brooks re-created the Frankenstein laboratory using the same equipment from the original Frankenstein (courtesy of designer Kenneth Strickfaden), and this loving attention to physical and stylistic detail creates a solid foundation for nonstop comedy. The story, of course, involves Frederick Frankenstein (Gene Wilder) and his effort to resume experiments in re-animation pioneered by his late father. (He's got some help, since dad left behind a book titled How I Did It.) Assisting him is the hapless hunchback Igor (Marty Feldman) and the buxom but none-too-bright maiden Inga (Teri Garr), and when Frankenstein succeeds in creating his monster (Peter Boyle), the stage is set for an outrageous revision of the Frankenstein legend. With comedy highlights too numerous to mention, Brooks guides his brilliant cast (also including Cloris Leachman, Madeline Kahn, Kenneth Mars, and Gene Hackman in a classic cameo role) through scene after scene of inspired hilarity. Indeed, Young Frankenstein is a charmed film, nothing less than a comedy classic, representing the finest work from everyone involved. Not one joke has lost its payoff, and none of the countless gags have lost their zany appeal. From a career that includes some of the best comedies ever made, this is the film for which Mel Brooks will be most fondly remembered. Befitting a classic, the Special Edition DVD includes audio commentary by Mel Brooks, a "making of" documentary, interviews with the cast, hilarious bloopers and outtakes, and the original theatrical trailers. No video library should be without a copy of Young Frankenstein. And just remember--that's Fronkensteen. --Jeff Shannon

Review: Comedic Classic: A Rare and Touching Gem,


YOUNG FRANKENSTEIN is one of the funniest movies I've ever seen. There are so many things that Mel Brooks and Gene Wilder got right in this film, it is hard to enumerate them. Suffice it to say that this film, spawned from a real love of the "Frankenstein" films of the 1930s, manages to satirize the originals with perfect grace, all the while creating a movie that is strangely touching in its own right. The comedy is spot-on and I found myself rolling at several points.

The film itself is gorgeous. It is entirely shot in black & white. It was a great decision to do so, too: the black & white film lends the movie a "haunted" feel that transports the audience back to the shadows and gloom of the 1930s originals. Not only does the B&W film allow us to "get in the right mood," I also believe that it is what contributes to the fact that YOUNG FRANKENSTEIN achieves more than just a simple parody. As strange as it sounds, particularly when compared to modern parodies, this film manages to tell a touching story. There is a real human element to this film, despite all of its (hilarious) off-color jokes and humor.

Let me make a few comments on the special features: this is not a crummy DVD. There are a bunch of extras that make this edition worthy of buying. The DVD quality is superb. Additionally, there is a commentary by Brooks, a 36 minute documentary, outtakes, deleted scenes, and some weird "Mexican" interviews. I particularly enjoyed watching the documentary of how this wonderful film came to the big screen. It was obviously a labor of love and it shows.

If you enjoy Mel Brooks's films, the original Frankenstein films, or simply a great & timeless comedy, you honestly cannot go wrong with YOUNG FRANKENSTEIN. It holds up after thirty years and will continue to do so for many to come.

Review: Slapstick comedy masterpiece!

This film is one of my all-time favorite Mel Brooks movies. It has been called one of the ten funniest movies ever made, and I am not about to argue that. Everything about this film works. From the casting, to the set pieces, to the dialogue, to the direction, to the soundtrack, everything clicks. One thing in the film's favor: the decision to film in glorious black and white, as in the glory days of Hollywood horror films, which this movie paid direct homage to. The cast was spot on, and you could only imagine the crack-ups that occured after each take. Peter Boyle was wonderful as the Monster, and Gene Wilder was a true genius as Fiedrich Frankenstein. Teri Garr, in an early appearance, is great as Inga, the lab assisant. Marty Feldman lends his maniacal eyes to Igor, giving a rousing performance in the process. Madeleine Kahn, as usual for this great lady, nearly steals the whole show as Dr. Frankenstein's american fiancee. She will forever be remembered for her rendition of "Love at Last I've Found You". Overall, one can tell this film was a true labor of love. Every scene is filled with detail, which this DVD release brings into sharp focus. The contrast is wonderful, the sound is sharp, and the film just glows. If Mel Brooks rather crude humor isn't your forte, this film is closer to mainstream than normal for him. As a result, he gave us a true cinema classic, and we thank him for it.

Review: Reanimating Dead Tissue Is Easy, Comedy Is Hard
Released in 1974, Young Frankenstein is irrefutably one of the funniest movies ever made. Devotees are quick to recreate favorite scenes and certain lines from the film have insinuated themselves into popular culture. Never has the phrase, "Dying is easy, comedy is hard," seemed more fitting. Indeed, anyone who has ever intentionally attempted humor knows it's a whole lot more difficult than it looks.

Viewed in this context, Young Frankenstein is one of those incredibly rare examples of a project where everything goes right. The best place to begin is with the chemistry between Mel Brooks and Gene Wilder. Left to his own devices, Brooks is the original loose canon, willing to embrace any outrageous extreme in pursuit of laughs. Wilder, a far more refined and nuanced artist, is his perfect foil, they balance each other ideally. (This was also true in The Producers and Blazing Saddles.)

Next is the supporting cast. Great comic actors are less common than hen's teeth, but Brooks managed to assemble a veritable Who's Who. Teri Garr, in addition to bringing sex to the picture, has superb comic timing. Madeline Kahn is as gifted a comedienne as you might ever find, and her flamboyance is irresistible. Marty Feldman is more than just another pretty face with a moving hump, he delivers. Actors like Cloris Leachman, Peter Boyle, and Gene Hackman - not known for comedy - rise to the occasion and become funny by virtue of their context.

Next is the discipline. Brooks and Wilder stay close to the original Mary Shelley story as well as the two famous film versions, even going so far as to locate and use the laboratory set from the 1931 Frankenstein by James Whale. By making the film an homage to the great monster pictures of early Hollywood, (note the decision to shoot in black and white), Brooks and Wilder created something that is more than just a broad farce, at times it is actually touching.

Architecture firmly in place, the mayhem could begin in earnest. This is as good a comedy script as you are likely to find anywhere, one-liners zing by with the manic pace of a Marx Brothers movie. But even the best script can die in the wrong hands, and there are no wrong hands in this film, (not even the dead ones). From physical humor, to timing, (where comedy lives or dies), to snappy, deadpan delivery of over-the-top dialogue, Young Frankenstein is practicality a masters class in comic acting - plus - these performers are obviously enjoying themselves. If you were to own just one comedy film, this should be it. Absolute perfection.

Review: "This DVD needs a new Special Edition"
I've had this DVD for about 5 years, and I have to say that it needs a "NEW" Special Edition. (1) It needs a anamorphic tranfer, watching it on my widescreen TV does not do this movie justice. (2) It needs new audio, a mono soundtrack is good if you're watching using your TV speakers. Give it a Dolby/DTS 5.1 this film deserves it. (3) "Making Sense of... " is great, but what about the FOX Channel special that aired for it's 25th Anniversary that would be a great addition. (4) The deleted scenes are in 4:3. Did Mel shoot them that way, I don't think so. Present them the way they were shot in 16:9. (5) The trailers should be in widescreen (some are, and some are'nt). Bottom line "Young Frankenstein" needs a "NEW" Special Edition, come on FOX you release that same crap over and over, do we really need another DVD release on ID4- I think NOT.

Review: One of the finest comedies ever made
The other reviews have summarized this film's qualities quite well, so I won't repeat them. Instead, I'll simply say that this is, bar none, my favorite comedy ever. I've watched it so many times that I know the entire script by heart, and I still laugh every time I see it. I recommend this film unconditionally. It is sheer brilliance. Buy it. Enough said.

Horror Classics Collection: 50 Movie Pack

Titles include:
Dr. Jekyll & Mr. Hyde starring John Barrymore
Blue Beard starring John Carradine
The Corpse Vanishes starring Bela Lugosi
Night of the Living Dead starring Judith O’Dea
Doomed to Die starring Boris Karloff
The Phantom of the Opera starring Lon Chaney, Sr.
The Indestructible Man starring Lon Chaney, Jr.
The Hunchback of Notre Dame Lon Chaney, Sr.
Nosferatu starring Max Schreck
Swamp Women starring Mike Connors
The World Gone Mad starring Pat O’Brien
The Little Shop of Horrors starring Jack Nicholson
Tormented starring Richard Carlson
The Monster Walks starring Rex Lease
Monster from a Prehistoric Planet starring Tamio Kawaji
The Gorilla starring The Ritz Brothers
A Shriek in the Night starring Ginger Rogers
Bloodlust starring Robert Reed
The Amazing Mr. X starring Turhan Bay
Last Woman on Earth starring Robert Towne
The Bat starring Vincent Price
The House on Haunted Hill starring Vincent Price
The Last Man on Earth starring Vincent Price
Dementia 13 starring William Campbell
Phantom from 10,000 Leagues starring Kent Taylor
Carnival of Souls starring Candace Hilligoss
Atom Age Vampire starring Alberto Lupo
Creature from the Haunted Sea starring Robert Towne
Nightmare Castle starring Barbara Steele
Black Dragons starring Bela Lugosi
Invisible Ghost starring Bela Lugosi
One Body Too Many starring Bela Lugosi
White Zombie starring Bela Lugosi
Attack of the Giant Leeches starring Ken Clark
The Screaming Skull starring John Hudson
Beast of Yucca Flats starring Tor Johnson
The Terror starring Boris Karloff
Revolt of the Zombies starring Dean Jagger
The Giant Gilla Monster starring Don Sullivan
The Fatal Hour starring Boris Karloff
Dead Men Walk starring George Zucco
The Mad Monster starring George Zucco
Maniac starring Bill Woods
Metropolis starring Gustav Frolich
The Vampire Bat starring Fay Wray
The Ape starring Boris Karloff
The Monster Maker starring J. Carol Naish
The Killer Shrews starring James Best
The Brain That Wouldn’t Die starring Jason Evers
King of the Zombies starring Joan Woodbury

Product Description
Get an instant library of some of the greatest horror classics ever to come out of Hollywood on twelve double-sided DVDs. From legendary silent classics such as Phantom of the Opera, Nosferatuand Metropolis, to cult favorites like Night of the Living Dead and House on Haunted Hill, the Horror Classics 50 Movie Pack has something for everyone. Never has such a comprehensive collection of great classic horror films been assembled in one exciting package, all for an amazingly low price!


Review: What A BARGAIN! 50 Classics & Schlock For A Pittance!!!,

I purchased this 50 DVD box set this past autumn (for Halloween) and have viewed all of the films. There are some GREAT CLASSICS mixed with fabulous SCHLOCK for a price that can't be beat!

Different horror genres including:

Crusty, Creepy Creatures
Descend to the depths of the deep, dark ocean and encounter the "Phantom From 10,000 Leagues" and "Creature From The Haunted Sea". Check out the cheesy and quite primitive special effects in "The Giant Gila Monster". Rediscover terror of dogs dressed up in fur playing "The Killer Shrews". Hold your breath to see which hick from the backwoods will actually survive "The Attack of the Giant Leeches"! Also the great "The Hunchback Of Notre Dame" with the fabulous Lon Chaney, Jr., "The Gorilla", "Swamp Women", "Atom Age Vampire", "Beast Of yucca Flats", "Black Dragons", "Invisible Ghost", "The Vampire Bat" with Fay Wray, "White Zombie" with Bela Lugosi and "The Bat" With Vincent Price!

Majorly Maddening Madmen
Descend into insanity and weird funereal rites in Francis Ford Coppola's first full-length feature "Dementia 13". Be astounded at the scientific perversity of Jason Evers as he keeps the severed head of his fiance alive in "The Brain that Wouldn't Die". Also includes, "Dr. Jekyll & Mr. Hyde", "The Monster Maker", "Maniac", "The Amazing Mr. X", "The Tormented", and "Bluebeard".

Cult Classics
Watch when Audrey II cries "feeeed me" in "Little Shop of Horrors". Fear for the fate of humanity as flesh-eating zombies roam the earth in Romero's "Night of the Living Dead". Find out what it's like to be "The Last Man on Earth" with Vincent Price and "The Last Woman On Earth" with Robert Towne. Go to the "Carnival Of Souls" with Candace Hilligoss, even!

Silent Horror Classics
Watch the amazing Lon Chaney in "Phantom of the Opera", slinking through the cellars of the Paris Opera House. Marvel at the chilling Max Schreck in "Nosferatu", giving a truly mesmerizing performance and the classic and futuristic, "Metropolis".

AND MUCH, MUCH MORE! I highly recommend this very cool and inexpensive box set for anyone who likes classic horror, cheesy schlock, Bela Lugosi or stylings of the great Ed Wood!

Happy Watching!

Monsters (Paperback)


Review: Intriguing

The book's author takes a kind of "scientific" approach to the subject matter. This book is intended for the novice and does include some creatures not necessarily thought of monsters, like angels and mermaids. Nine different types of "monsters" are described here, starting with vampires, ghosts and werewolves, and finishing off with demons. Things that go bum pin the night, indeed.

Greer takes great pains to debunk a number of "facts" about each of these creatures. For example, vampires who in most lore are thought of to be almost "glamorous," are portrayed here as something completely different. He also talks briefly about "psychic vampires," which in some cases can be just as nasty as a "real" vampire.

He also devotes chapters to "monster investigations," what to look for, what to watch out for, the "tools of the trade," and cautions the reader to never go alone when "looking" for one of these creatures, and the book's final chapters are devoted to defending yourself by the use of magic.

While this is not the definite guide to "monsters," it is a good overall book on the subject and there's a long bibliography of related books listed at the book's end for those who wish to learn more.

Review: Not intended for those already knowledgeable on the subject.
This book is clearly a primer, intended for beginners and disbelievers. As such, it does what it sets out to quite well; if it is a disappointment to those who expect advanced tracts from Mr. Greer, as some of the other reviews suggest, the problem is with their expectations, not with the material at hand. One wouldn't rate a first-year calculus book poorly simply because it fails to increase one's understanding of differential equations.

For those inclined to learn a bit about the lore of occult creatures, whether or not they actually believe in the reality of said creatures, this is a very good book. Even if one doesn't believe, and is somewhat put off by Greer's unapologetic stance that magic and occult monsters are real, nonetheless, one must concede that he is very practical in his approach; he repeatedly reminds the reader to consider all other explanations before assuming true occult activity, including hoaxes and simple misunderstanding of "normal" happenings. He states repeatedly that true paranormal activity is much rarer than such other happenings, and is clearly attempting to discourage people attempting to live out their Fantasy Role Playing Games in the real world, a phenomenon that he is obviously all too familiar with.

For those who ARE inclined to believe in the possibility of the occult, this is a very good beginning text on the subject.

Review: Interesting, but empty in the end
I guess this book would be better appreciated by those who actually believe in magic, protection spells and things like that. The book does offer it's fair share of information to those who are just interested in monsters generally, but there are far more better books for that kind of research.

The book has chapters for ghosts, demons, angels, werewolves, vampires and other things that go bump in the night. Greer has included sightings and legends from the history, but I always found myself wanting more details. Most portions of the book are about monsters generally and they also offer magical means to defend oneself from monsters. If you are not interested in magic and spells, the book offers only a brief glance into the monster lore.

I was somewhat disappointed in the book, it had only a few interesting bits and pieces of information. Most of the times I found myself reading about Greer's own theories, which I am sorry to say, didn't seem too convincing. If you are offering an example from the history or news, you should include more information about it, otherwise the example has no real use.

If you are interested magic and it's involvement with monsters, this might be the book for you. If you want to really read about monsters, I recommend you find other books for your reading pleasure.

Review: An Ok Book and truly Interesting.
I found this book very interesting, but, some where missleading to the reader(s) (i.e.:"ghosts","spirits") which are pretty much the same thing no matter how you look at it.However, some of the points he makes about certain creaturs are interesting and make sense. This is a really good book, but, its not that great. I say if you want to learn about certain folklore then this book is for you if you truly want something thats interesting.

Review: This book shatters some common perceptions of Monsters,
I found this book to be interesting, thought-provoking and overall one of the best I have read on paranormal and fatastical creatures. He hit upon ideas I have held for years, but had never ran into in a book. He shatters Hollywood created stereotypes for ancient creatures such as werewolves and vampires and provides theories that make perfect sense and finally shed light on all the "missing" evidence in relation to fairies and alien abductions. Also included are easy-to-use ways of removing negative and/or unwanted energies from houses ..ie ghosts. The only negative thing I can say about this book is that he labels the Unicorn as a true Mythical creature! ::my inner child weeps:: If you have even a small intrest in magick creatures...get this book. It is an easy to read, down to earth, explanatory guide to things considered "unknown"!

Review: Interesting but irrelevant.
As someone who has spent most of my short life trying to understand the paranormal and occult I believe this book poses some very interesting ideas. Interesting as they are they mean nothing to anyone who is at all serious about the paranormal. There is an interesting talk about the abduction phenomena and Faery that I have seen parralleled in other works. The rest is just dribble. I showed the book to some of my Wiccan and other "magically inclined" friends (of which I am still puzzling over the validity of magik) and they were all very angry at some parts of the book. However it is a fun read if you want to read something that is ultimately much more fiction than fact.

Review: More bull from Llewellyn
There seems to be a new fad in the magic section these days. If being a witch with fluffy bunny superpowers doesn't make you feel special enough, you can spend $20 and call yourself a monster hunter! You can now do battle with the horrible dangers we all face in life: vampires, werewolves and disgruntled fairies!

Vampire and werewolf wannabees beware! Mr. Greer's readers are packing heat! I consider this one of the more dangerous books out there because it not only confuses the reader with fabricated idiocy but it also inspires violence between the lines. For instance, after stating that physically shifting werewolves are indeed a present threat the author advises loading a gun with silver bullets or purchasing a silver tipped staff and taking up martial arts. He even recommends discretion when committing a slaying as it would be difficult to justify the act to the authorities by stating the victim was a werewolf. Due to the supernatural nature of the "werewolf" he also states the corpse might appear in an inconvenient location in human form. Perhaps the author would be more apt at writing books on committing crimes!

Review: In-depth Research Guide to "Imaginary" Beings & "Monsters",
I accidentally dismissed this book, because of the cover, until my wife brought me a copy to peruse. The cover doesn't really do the book justice--although, I am sure it sells many copies, normally. If this book had an entirely different cover, I believe it would be taken Very Seriously by many students of The Mysteries, Anthropology (especially), and could possibly be used in a College Course on Mythology.

Greer's explanation of Occult, Ghost, UFO, Fay, etc., Phenomena makes more sense than most of what I have read on the subject, throughout my life. I have read Secret School materials that do not make as much sense as this amazing treatise on the Paranormal. I am especially Impressed with the UFO-Fairy connection. This theory not only makes tremendous sense, but resolves Numerous issues I have experienced and debated, over the years. For those who research the Paranormal and have experienced UFO, Ghost and such "Otherworld" activities, this book makes tremendous sense, and often makes the reader realize things in a very ( "So, that's it !" ) revelatory manner.
I could have really used this book, when I was younger and silly-enough to go looking for trouble. Throughout my life, I have experienced various Hauntings and Paranormal Events, and often went looking for them, as Inspiration for writing books. Personal experience leads me to conclude that Greer is an Expert and should be taken very Seriously by Anthropologists, Psychologists, et al.
I doubt that most people who are not psychically inclined or Initiated will "get it," but this guide is Certainly well-worth owning just to discourage people from "Dabbling" in Occult Matters. Amazingly, this is the first "Occult" book I have ever read that would be perfect material for Christians to encourage their teenagers to read. The usual Christian theory of "Don't Dabble" (in the Occult) is repeated throughout the book. However, the book is written from an Initiated, Mystical perspective, coinciding with Common Sense.
To make a long review short.... This is a perfect guide to "Monsters" (the Paranormal, Mystical, Hauntings, Vampires, Werewolves, etc.) that should be on the shelf of every "Occultist," Christian, Psychic, Psychologist and Anthropologist.

Please, do not "judge the book by it's cover." This is not a sensationalist, copy-cat, or un-researched book written to capitalize on Vampire Trends and such. I sincerely expect this book to make it's way into college courses. Greer has obviously researched this material in-depth and first-hand. This is the only Serious work on the subject that I have encountered. If you are expecting sensationalized UFO encounters, this book isn't for you. However, this book does explain, Rationally, the UFO phenomena. This book does not "debunk" monsters, ghosts and fairies--but, it does Explain them, logically
Greer obviously has the Credentials to back-up his theories. "Monsters" is being used as a "Reference book" at Libraries (a book you cannot check-out: "for Research purposes, only").
For those who may be interested, several chapters included in this book involve Natural Magick and Ritual Magick, with detailed instructions and diagrams.

Review: On Things That Go Bump In The Dark
This is one of the most fantastic books I've read in ages. Note that this has very little to do with cryptozoology; most of the creatures discussed are not always material.
In this surprisingly readable book, we have a discussion of various common preternatural and supernatural monsters. Not all of these would ordinarily be considered monsters (such as mermaids and angels), but are classified as such for ease of use.

Mr. Greer covers a lot of very useful ground, such as investigative techniques for the amateur monster hunter, a detailed explanation of the different levels of reality that is the most internally consistent I've ever seen, and one of the best bibliographies in print today. He freely admits that many so-called monster sightings are, in fact, possibly something much more mundane.

The meat of this, though, is the section on actual monster descriptions. Here, we learn the nature of real vampires, what Nessie *really* is, and what demons might have to do with mental illness (and no, it's not necessarily a cause-effect relationship, either...). Information is given on the history of said monsters, various sightings, and what to do if one encounters said monster...realistically, most are treated as any other rare creature (i.e. be quiet, look, take notes and pictures if you can). Finally, he also discusses vulnerabilities and has a section on quick ritual magic if one does, in fact, have to go all Buffy on that vampire.

In summation, this is one of the best New Age/magical book I've read in years. He writes very well, and very entertainingly, and keeps a very level head. If you're at all interested in supernatural creatures, this is one of the best books for you.

Review: Fascinating, practical, down-to-earth and very readable.
Greer defines monsters as "beings that cannot exist, according to currently accepted scientific theories about the way the universe works, but which are routinely encountered by credible witnesses and described in traditional folklore". The major portion of the book extracts the common threads from world-wide folklore and modern day sightings of vampires, ghosts, werewolves, creatures of faery, mermaids, dragons, spirits, angels and demons, while dispelling modern TV myths. Although cultures vary in their interpretation of what monsters are, there is surprising agreement about what they do. This suggests that there are common phenomena that have been subject to different interpretations.

I was particularly attracted to the book because of this well-structured and systematic distillation of the evidence, old and new. It is written in a sensible style that gives one a great deal of confidence in the author. However, there is much more that is of interest, and different audiences will take different things from the rest of the book. For the complete newcomer to the field, there is an introduction containing a cogently argued defence of the idea that evidence shouldn't be discarded just because it doesn't fit our current theoretical models. However, the main thrust of the book is as a guide for psychical researchers, ghost hunters and other investigators of spontaneous anomalies. It contains some extremely practical information about e.g. equipment to take, questions to ask and how to ask them, how to detect hoaxes and how to do research. This should be required reading for any person involved in field work of this kind.

The monster catalogue itself contains two parallel threads. Besides describing reported monster behaviour and the development of associated folklore, the author also provides an interpretation, based on Western magical philosophy, of what the monsters are and how to deal with them. Fortunately, he keeps these threads fairly separate, so that one can extract a lot of useful information about monster sightings, even if one chooses to ignore the magical perspective. That said, the framework that he presents is internally consistent and seems to be an interesting way of analysing monster lore. The notions that he draws on could also be interpreted in terms of other cultural philosophies, and students of e.g. eastern mysticism or holistic medicine will find parallels in their own philosophy to the concepts used here.

While reading this book, I was consistently impressed by the author's clear mind, down-to-earth approach and considerate nature. While each element of it may be covered in more detail in other books, this is an extremely useful synthesis of many ideas. I found a lot to think about in it, and I recommend it highly.

A Field Guide to Demons, Fairies, Fallen Angels and Other Subversive Spirits (Paperback)

Amazon.com
The Macks divert our gaze from our contemporary red-faced, cloven-hoofed misrepresentation of demons to remind us of the ancient roles demons were originally assigned to play. From the Tommyknockers of North American mountain mines to the South African Mbulu that waits in the river for lone travelers, A Field Guide to Demons classifies these creatures by their domains--water, mountain, forest--rather than in alphabetical or cultural order, dishing out antique and contemporary lore on these most misunderstood of spirits. A Field Guide to Demons melds folklore and mythology; maintains a surprisingly evenhanded view of demons; and reveals their role as the necessary challenger to established order, the antagonist--without which there could be no hero--and the darkness through which goodness shines brightest. --Brian Patterson--This text refers to the Hardcover edition.

Reviews

"A round of applause for this demonic cast of characters . . . They let us glimpse other people's demons, and many of our very own." --Anna Deavere Smith, author of Fires in the Mirror

"An array of the most dreaded demons mythology has to offer." --Robert L. Carniero, Curator of South American Ethnology, American Museum of Natural History

Robert L. Carniero, Curator of South American Ethnology, American Museum of Natural History
"An array of the most dreaded demons mythology has to offer."

Review
"A round of applause for this demonic cast of characters . . . They let us glimpse other people's demons, and many of our very own." --Anna Deavere Smith, author of Fires in the Mirror

"An array of the most dreaded demons mythology has to offer." --Robert L. Carniero, Curator of South American Ethnology, American Museum of Natural History

Book Description
Watch your back! . . . How to spot and identify demons and other subversive spirits . . . And what to do next.

Demons, fairies, and fallen angels are everywhere. They lurk at crossroads, crouch behind doors, hide in trees, slip into beds, wait in caves, hover at weddings and childbirths, disguise themselves as friends, relatives-even disguise themselves as you. They are powerful; they are protean; they are enchanting. And, to the uninformed, they are often invisible. This illustrated guide-the first of its kind-reveals the remarkable permutations of the demon and fairy species worldwide. Packed with lore about each demon, detailing its origins, the culture surrounding it, and its reputed antics and exploits, A Field Guide to Demons, Fairies, Fallen Angels, and Other Subversive Spirits is a fascinating exploration of global mythologies. Perfect for the armchair traveler and the intrepid, seasoned demon-spotter alike, this complete guide to subversive spirits offers a behind-the-scenes look at the devilish mishaps, impish irritations, and demonic devastations that punctuate our lives.

About the Author

Carol Mack is an award-winning playwright with a master's degree in religious studies. Her daughter, Dinah Mack, a writer, earned her master's degree in cultural anthropology.

Review: Forewarned is Forearmed
This is a great reference work: useful, accessible and well organised. The demons, fairies and other mythical beings featured in this book were taken from the legends and folklore of several cultures and they are grouped according to their place of residence: water, mountain, forest, desert, domicile and psyche. Each chapter includes a short description of the creature's appearance, habits and preferences; one of two stories of encounters with it; and a section on disarming and dispelling techniques.
This guide includes some fascinating creatures, such as the Japanese Kappa and its surprising eating habits, the helpful and friendly Norwegian Nisse, the extremely fragile Australian Mimi, and the Chinese Madame White, who gives a whole new meaning to the expression femme fatale. Some better known beings like mermaids and werewolves are also featured. The Macks' writing style is clear and engaging, sometimes tongue-in-cheek but never disrespectful to other cultures. The detailed information on how to deal with these creatures is particularly useful; if you ever encounter any of them you'll know what to do to be able to tell the tale.

Review: Great Reference Book
You could spend lots of money on all kinds of folklore & mythology books, and still not have as much information on the "darker entities" as this book.

Each entry is very detailed with description, habitations, sightings, etc.

I think this book would make a great gift for anyone interested in the supernatural, or even RPG GM's looking for new ways to torture their players... ;)

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Review: Casual entertainment
Though the serious researcher or folklorist won't find much new content here, it's a fun and easy read with a unique format and a wide variety of entries. Most of the entries have associated stories, and some wonderfully unexpected things turn up (yes, Jung's Shadow is identified herein). And for that serious researcher? The bibliography is priceless, and I will probably go bankrupt amassing it. Do not, however, confuse this with an occult volume. This is simply legend and folklore.

Review: Not a serious demon book
This is not a serious demon book, and I doubt that the "protection rituals" will do anyone any good. If you have a real demon or haunting problem, buy a different book! Having got that out of the way... this is a great entertaining book... many mythical creatures are included that you would not expect to be there from this book's title... if you are looking for lots of really cool mythical creatures... each with just enough about it to be interesting, but not going on and on... then this is super-ultra-cool!!!







Giants, Monsters, and Dragons: An Encyclopedia of Folklore, Legend, and Myth (Paperback)

From Library Journal
There are three criteria for inclusion in this near-comprehensive reference work on a relatively narrow aspect of folklore: the creature cannot be divine, it must be a supernatural being from mythology, legend, folklore, or classic literature, and it may be a cryptozoological or symbolic being, such as a heraldic beast. Although various other sources treat giants, monsters, and mystery animals, none seems to cover them all at once, and this work's inclusion of the symbolic element appears to be unique. Entries give basic descriptions of each creature as well as its activities, region, culture, and historical period, and each entry is both cross-referenced and referenced to a selected bibliography. Appendixes categorize beings under country or region as well as such headings as "Beings Associated with Catastrophe." While works as modern as J.R.R. Tolkien's are cited, the Harry Potter series is not, though several monsters described here are present in J.K. Rowling's books. Perhaps Rose (Spirits, Fairies, Gnomes, and Goblins) does not consider Potter classic literature, but for a current reference work, this may soon prove a serious oversight. Recommended for public and school libraries where similar references are used.DKatherine K. Kaigler-Koenig, Ellis Sch., Pittsburgh, PA
Copyright 2000 Reed Business Information, Inc.

Choice
Lions and tigers and bears, oh my! have nothing on Rose, at home in a thicket of menacing creatures.

Choice
Lions and tigers and bears, oh my! have nothing on Rose, at home in a thicket of menacing creatures.

Book Description
We have always conjured up creatures never seen in nature, from flying horses and two-headed birds to fire-breathing dragons and enormous killer skunks, as well as fantastic distortions of our own image, from giants to nubile maidens. In these pages you will meet extraordinary beings from Hindu and Navajo religions, Scandinavian tales, Russian folklore, Lithuanian stories, Irish oral history, American tall tales, and Aztec myth. Just some of the monstrous entourage:

• Baku, a benevolent Japanese monster with the body of a horse, the head of a lion, and the legs of a tiger, who helps people by devouring their nightmares.

• Kurma, the giant tortoise of Hindu myth, whose upper shell forms the heavens and lower part the earth.

• Missipissy, the feared fish serpent of North America's Great Lakes region.

This illustrated encyclopedia not only identifies and describes individual beasts in their cultural context but also groups them together across cultures and discusses common mythological strands and conceits. 60 b/w illustrations.

About the Author
Carol Rose is a research member at the University of Kent and a senior lecturer at Canterbury College, England.

Review: Fantabulous!
Reviewer: John J Clements (FPO, AP USA) - See all my reviews
Carol Rose has done it again! The companion to her much-acclaimed Spirits, Faeries, Gnomes, and Goblins: an Encyclopedia of the Little People, Giants, Monsters, and Dragons provides the same thorough lexicon of the fantastic. More of less everything her previous book left out (ie. the large mythical creatures) that I complained about in my review of the said book, this book covers. Got a question on Qanekelak? Wondering about Wendigo? Tired of asking about Asipatra? Just plain curious about the Cockatrice? Well this well-documented book provides all the answers to the questions you might ask (and even answers to wuestions you might NOT have asked).

Not only does it include the traditional monsters, Griffins, Dragons, Ettins, etc. but it also includes folklore monsters from the American Old West (Fearsome Critters). Also, some of the more popularized monsters like Werewolves and vampires are carefully restrained within the pages of this book.

Anyone who's had bad experiences with so-called encyclopedias of beasts-that-aren't, need not fear this book. It is not, repeat, NOT a re-telling of old folktales. This book states the physical description of each creature, in a clear, concise manner, and goes about with helpful information about it. If your trying to find their countries of origin, simply turn to the back for a thorogh cross-index of all the creatures.

So why does it recieve four-stars from me? The artwork is sub-par. Rather than original pictures, which, I admit, can rapidly become tacky, she has chosen to reprint old drawings and wood-prints from ancient texts and her private collection. Not that I'm against old-school pictures, but I prefer a more modern-touch. Maybe I'm just being picky. Before this book, I had just purchased a Monster Manual, mistakenly believing that it was a serious encyclopedia of monsters. Carol Rose's book certainly throws the Dungeons and Dragons book on their tails in the way of sheer informative value, but falls rather short in the visual department.

Review: Really fun text
Books of this type are nothing new. There are probably dozens of encyclopedia-style texts out there dealing with magical creatures and mythical beings, but this one is easily one of the more enjoyable volumes I've had the pleasure of reading. As has been pointed out in another review, this is not a book for those who are longing for visuals over text. This is not one of Froud's Fairy books or one of the Gnome texts. As fun as those books are, there is a heavy if not predominate focus on their original illustrations. Carol Rose's book is focused instead on textual descriptions and summaries. There are plenty of great illustrations in the book, mostly woodcuts from Rose's own private collection, but these are not the key focus of the book. But I highly recommend this to anyone who wants a good, searchable reference guide to creatures of myth and magic.

Review: Happy happy joy joy!
I am madly in love with this book. I have been looking for a book like this since I was old enough to read. I've read several dozen monster encyclopedias. This book is very similar to "The Encyclopedia of Things That Never Were," except that everything that Never Were did wrong, THIS book did right! You can actually find what you're looking for in this book!

This book does NOT make things up as it goes along. It does not mix the author's opinions with ancient opinions; its voice is neutral, but not dry. It does not contain illustrations which are irrelevant to the text. It is not messy in its layout- everything is perfectly organized. The bibliography is truly perfect, and is referred to constantly.

This book does indeed cover giants, monsters, and dragons; and it also covers a lot of gods, spirits, undead, goblins, fictional famous people, and so on. It covers ALL the mythologies of the world, concentrating on them equally. Most books like this will, say, tell you all about European mythics at great length, but only touch briefly on Thunderbird or Rainbow Snake, often the sole representatives of the entire continent they come from, and all their fascinating brothers are neglected completely. This book doesn't mix in movie monsters with the ancient ones (as some books do) although there are some fairly recent entities listed, such as Paul Bunyan. Rather than using modern illustrations drawn by an illustrator who is clueless about how the monster is supposed to look aside from the text description, and so produces something totally useless for reference, this book uses old illustrations, woodcuts and steel engravings- my only complaint may be that those illustrations are few and far between, and all grayscale, but it has a perfect bibliography, so you always know where to look for more- this book is designed to start you off, tell you where to go for more if you want to. Every single entry tells you which books it came from. It's full of some really seriously obscure creatures, too, so that's good.

As I was reading an entry about a creature which was born in the mythologies of an area near where I live, I thought to myself: "The only way this book could be any better was that if there was an index in the back that listed all the mythics by location! But of course there won't be, nothing is that perfect."

And lo and behold, I looked in the back, and it was THERE. As a counterpoint to the fully indexed alphabetical listing of all the monsters, the appendixes in the back list all the monsters by category, so you may look them up that way. There are category listings such as Thailand, or United States Native. And then there are category listings for type of monster, such as "beings that are horses or part horse," or "dragons- occidental." And so on. You can seriously find whatever you're looking for in this book, and there's plenty of it.

Review: Mistical..

This book has all merfolk, Paul Baunyan, and dragons. It even has jabberwocky.

Review: A good reference, but unforgivably overpriced
I'm not sure if this is Carol Rose's fault or her publisher's, but this book cost me eighteen dollars brand new with the older cover. This was only a few months ago. While this is an excellent reference book, one of the best I have seen, the price is a bit steep for casual readers.

Monsters in history
From Wikipedia

Social concept
At one time, the monster was an important social concept. Monsters were generally composed under a group that befell humans. Monsters were often associated with unknown lands and unknown things. For instance, historically, unexplored areas on maps would be marked indicating that monsters such as dragons lived there. This connection between monsters and the unknown meant that the monster was an important concept in the Renaissance and the Enlightenment, as Western society began to use science and other academic disciplines to try to understand the unknown. Monsters were seen as scientific puzzles; things science needed to understand. In the Enlightenment, the cabinet of curiosities would often include monsters in amongst the scientific instruments and toys. Similarly, the monstrous was an important concept on aesthetics during the enlightenment, often closely associated with the wondrous and the sublime.

Religion and mythology
Many Eastern religions such as Hinduism, as well as ancient religions such as Greek mythology and Norse mythology, depict monsters as the enemies of the gods. Ragnarok in Norse mythology was the final battle between the gods of Asgard and the many monsters of the world.

Ancient peoples considered the birth of "freaks" representations of the wrath of the gods, a demonstration, as it were. The first so-named monstra were the showpieces in traveling carnival freakshows, people afflicted with body deformities or diseases like elephantiasis.

Occasionally, there are monsters who act out of legitimate motives and their monstrous appearance leads to serious misunderstandings. Some well known examples are King Kong , Frankenstein's Monster, and the Horta in the Star Trek episode, "The Devil in the Dark".

There is a pattern which many monsters in mythology follow. They are often portrayed as a threat which kills indiscriminatly and mericlessly, only to be eventually slain by the hero. Good examples of this include Beowulf and the legend of St George and the Dragon.

Monsters in literature
The relationship between science and monstrosity became an important theme in many Victorian-era horror novels, where science was often depicted not merely as studying monsters, but as producing them. Notable examples include Dr. Jekyll and Mr. Hyde and Frankenstein. This change corresponded with a decline in the popularity of science among the general public.[citation needed]

Some traces of this classic relation to monsters can be found in the popularity of tabloid newspapers such as the Weekly World News.

Monsters in philosophy
Contemporary philosophers such as Lorraine Daston have written at length about the relationship between how society depicts monsters and the role of science in that society. Monsters also occur in a variety of philosophical works (Aristotle, Augustine, Montaigne, Locke, Leibniz, Diderot ...); see Monsters and Philosophy, ed. by Charles Wolfe (London, 2005; and http://www.monstersandphilosophy.com).

Monsters in cinema

Pre-World War II
During the age of silent movies, representations of monsters were the size of a person played by an actor in a costume: Frankenstein's monster, the Golem, and vampires are the most well-known ones. The film Siegfried featured a dragon that was a giant puppet on tracks. A few dinosaurs were presented by stop-motion animated models, something that was carried over into RKO's King Kong, the first giant monster of the sound era.

During the sound era, the film studio Universal specialized in monsters, offering Bela Lugosi's portrayal onscreen of his role in the stage play, Dracula, and Boris Karloff as Frankenstein's monster. They also made many lesser films, such as Lon Chaney, Jr.'s portrayal of an electrified zombie in Man-Made Monster.

Werewolves were introduced into the movies during this era, and a similar type of person afflicted with traits said to come from an animal was presented in Cat People. Mummies also became a fearsome type of monster, and a variant of Dr. Frankenstein was played by Peter Lorre. His mad surgeon, Dr. Gogol, transplanted hands that embodied a malevolent temperament, which would then re-animate in Mad Love, which became another genre. As for giant monsters, the serial Flash Gordon had a man in a monster suit, who played a huge dragon by attacking a doll dressed like the title character. The "monster" cycle eventually played itself out becoming comedic in Abbott & Costello meet Frankenstein of 1948.

Post World War II
After World War II, however, giant monsters returned to the screen in a pattern that has been causally linked to the invention of nuclear weapons. The first was American: The Beast from 20,000 Fathoms was a dinosaur that attacked a seaport. But later there were Japanese, (Godzilla, Gamera), British (Gorgo), and even Scandinavian (Reptillicus) giant monsters attacking cities. The tantalizing proximity of other planets brought the notion of alien monsters from outer space to the screen; some were huge, (such as King Ghidorah and Gigan), but cheaper movies had those of a more human scale. In this age as well, the monster type of the fish-man was developed in the series Creature from the Black Lagoon.

The British studio of Hammer brought color to the human-sized monster in the late 1950s. At this time, the earlier Universal films were shown on US television by independent stations (rather than being scheduled by a network) by mocking announcers, and these together gained a large number of young fans. Since that era, although the type of monster has changed, it has not disappeared as it did in the late 1940s.

Occasionally, monsters are depicted as friendly or misunderstood creatures. The monsters of Monsters Inc. scare to create the energy to run their secret world, and the furry monsters of The Muppets and Sesame Street live as complete equals to their fellow humans and animals.

Miscellaneous
They are also a mainstay of role-playing and video games in general. "Monster" often, but not always, implies that these creatures are larger than or equal to human size. It also almost always implies that the creatures are powerful and hostile to the hero (and consequently evil), and must be defeated to progress. The monster par excellence is the dragon.

In heavy metal and gothic rock, frequent references are made to monsters. The Finnish band Lordi, who rose to international fame in 2007 after winning the Eurovision Song Festival Contest, dress like monsters and wear hideous masks.

Well-known monsters
Bigfoot
Bogeyman
Cerberus
Chimera
Chupacabra
Cthulhu
Dracula
Dragon
Frankenstein's monster.
Gamera
Ghidorah
giants
Goblins
Godzilla
Golem
Gorgon
Grendel
Hyde
Lernaean Hydra
Jabberwock
Jersey Devil
King Kong
Kitsune - Japanese werefox
Kraken
Loch Ness monster
Medusa
Mothman
Mothra
Naga (mythology)
Nuckelavee
Reptilian humanoid
Roc
Rodan
Scylla & Charybdis
Sphinx
Spring Heeled Jack
Tarasque
Vampire
Werewolf
Yeti
Yomi

Monster Mash Song Words
words and music by Bobby Pickett and Lenny Capizzi

I was working in the lab late one night
When my eyes beheld an eerie sight
For my monster from his slab began to rise
And suddenly to my surprise

He did the mash
He did the monster mash
The monster mash
It was a graveyard smash
He did the mash
It caught on in a flash
He did the mash
He did the monster mash

From my laboratory in the castle east
To the master bedroom where the vampires feast
The ghouls all came from their humble abodes
To get a jolt from my electrodes

They did the mash
They did the monster mash
The monster mash
It was a graveyard smash
They did the mash
It caught on in a flash
They did the mash
They did the monster mash

The zombies were having fun
The party had just begun
The guests included Wolf Man
Dracula and his son

The scene was rockin', all were digging the sounds
Igor on chains, backed by his baying hounds
The coffin-bangers were about to arrive
With their vocal group, "The Crypt-Kicker Five"

They played the mash
They played the monster mash
The monster mash
It was a graveyard smash
They played the mash
It caught on in a flash
They played the mash
They played the monster mash

Out from his coffin, Drac's voice did ring
Seems he was troubled by just one thing
He opened the lid and shook his fist
And said, "Whatever happened to my Transylvania twist?"

It's now the mash
It's now the monster mash
The monster mash
And it's a graveyard smash
It's now the mash
It's caught on in a flash
It's now the mash
It's now the monster mash

Now everything's cool, Drac's a part of the band
And my monster mash is the hit of the land
For you, the living, this mash was meant too
When you get to my door, tell them Boris sent you

Then you can mash
Then you can monster mash
The monster mash
And do my graveyard smash
Then you can mash
You'll catch on in a flash
Then you can mash
Then you can monster mash

KEY C

verse/chorus:

Background: Why Monster Mash? Why not? It all started while getting ready for the Halloween celebration at the Texas Renaissance Festival four or five years ago. Andrew wanted to perform this song for Halloween. Marc didn't want to argue. Once they adapted it and made it their own, with dancing goblins and the whole she-bang, it became one of their favorite Halloween songs.

Buffy The Vampire Slayer - Collector's Set (40 discs) (1997)

Plot Outline
After the traumatizing ordeal in the movie with the same name, Buffy Summers and her mother move to Sunnydale, only to discover that L.A. was just a walk in the park...
Plot Synopsis: Buffy is sixteen years old and is the "chosen one" . She gets to kill vampires because it is her destiny to do so. She had a bad reputation at her old school in Los Angeles because she had burned the gym down. The principal at her new school at first rips up her records, and then tapes her records back together again. Buffy tries to explain that the gym at her old school had to be burned down because it was full of vampires! Buffy and her mom just want a fresh start in their new, suburban California home, where the good part of town is half a block away from the bad part of town. In her new high school, Buffy meets an eccentric librarian who knows that Buffy is the "chosen one". At first, the librarian scares her away by showing her a book about vampires, but then she returns to the library, knowing that the librarian can help her out with fighting off vampires and other supernatural things.

Amazon.com
From its charming and angst-ridden first season to the darker, apocalyptic final one, Buffy the Vampire Slayer succeeds on many levels, and in a fresher and more authentic way than the shows that came before or after it. How lucky, then, that with the release of its boxed set of seasons 1-7, you can have the estimable pleasure of watching a near-decade of Buffy in any order you choose. (And we have some ideas about how that should be done.)
First: rest assured that there's no shame in coming to Buffy late, even if you initially turned your nose up at the winsome Sarah Michelle Gellar kicking the shit out of vampires (in Buffy-lingo, vamps), demons, and other evil-doers. Perhaps you did so because, well, it looked sort of science-fiction-like with all that monster latex. Start with season 3 and see that Buffy offers something for everyone, and the sooner you succumb to it, the quicker you'll appreciate how textured and riveting a drama it is.

Why season 3? Because it offers you a winning cast of characters who have fallen from innocence: their hearts have been broken, their egos trampled in typically vicious high-school style, and as a result, they've begun to realize how fallible they are. As much as they try, there are always more monsters, or a bigger evil. Despite this, or perhaps because of it, the core crew remains something of a unit--there's the smart girl, Willow (Alyson Hannigan) who dreams of saving the day by downloading the plans to City Hall's sewer tunnels and mapping a route to safety. There are the ne'r do wells--the vampire Spike (James Marsters), who both clashes with and aspires to love Buffy; the tortured and torturing Angel (David Boreanz); the pretty, popular girl with an empty heart (Charisma Carpenter); and the teenage everyman, Xander (Nicholas Brendon).

Then there's Buffy herself, who in the course of seven seasons morphs from a sarcastic teenager in a minidress to a heroine whose tragic flaw is an abiding desire to be a "normal" girl. On a lesser note, with the boxed set you can watch the fashion transformation of Buffy from mall rat to Prada-wearing, kickboxing diva with enviable highlights. (There was the unfortunate bob of season 2, but it's a forgivable lapse.) At least the storyline merits the transformations: every time Buffy has to end a relationship she cuts her hair, shedding both the pain and her vulnerability.

In addition to the well-wrought teenage emotional landscape, Buffy deftly takes on more universal themes--power, politics, death, morality--as the series matures in seasons 4-6. And apart from a few missteps that haven't aged particularly well ("I Robot" in season 1 comes to mind), most episodes feel as harrowing and as richly drawn as they did at first viewing. That's about as much as you can ask for any form of entertainment: that it offer an escape from the viewer's workaday world and entry into one in which the heroine (ideally one with leather pants) overcomes demons far more troubling than one's own. --Megan Halverson

Review:
Welcome to the Hellmouth

What can really be said about "Buffy the Vampire Slayer" that hasn't already been said. In every form of production this series was a miracle: after leaving Buffy for death after the desasterous 1992 feature film, writter Joss Whedon took his original idea and tranformed it into television form. But it was only the upstart network: The WB that would give Joss and company a chance. It was from there in March of 1997 that Buffy was born. Eventhough the show was "officially" cancelled 6 times durring its run the show lasted seven years filming 144 episodes.

To sum up the story of Buffy is extremly difficult, especially when you don't have the amount of space a book offers to do so. In the simplest of forms Buffy the Vampire Slayer is a story about outsiders, true love, and family. Buffy is a typical blond southern californian girl: superficial, peppy, and niave. It isn't until that she finds out that she is actually the lastest in a long line of women chosen to fight vampires and the forces of darkness. That secrest forcess Buffy to grow up rather fast, especially when she and her mother relocate to Sunnydale, California. It was there that Buffy truly began her journey. But she was a unique slayer in fact that she had friends by her side that saved her life more times than anyone can count... overtime these friends became her family, and the core to the show.

The best was to write about the complete series is to do so in a season by seaosn basis. Season 1 (which lasted on 12 episodes) basically series as an introduction to the series. The characters are introduced, and fleshed out... it is amazing that it only takes the show 12 episodes to establish seven character that seem like they become part of the family by the episode "Prophecy Girl". But the first season also serves as an introduction to the universe the show is set in. Sunnydale (the town buffy lives in) serves as a "hellmouth" of sorst which means that it has alot of mystical energy that draws "the forces of darkness to it."

Season Two served the show, by demonstrated what the series was capable off. Buffy will not always be a fluffly happy show, and in times can become rather depressing... Anything goes, like real life: hearts can be broken, people can die, the world will go on. It is in this season that Buffy learns all these major lessons....

Season Three tells the story of ending... and how to deal with them... There are only a few amount of people that you can count on... This is learned when the Mayor of Sunnydale becomes the #1 bad guy, trying to asscend and rid the world of humans. This season also shows that friends can become family, family is not just blood, its who you choose.

Season Four was all about the growing up. When Buffy and company go off to college, they learn that there are many things that can pull them apart, but it is who you trust that is ultimatly important...

And so on... each season's basic focus is about the growing trends and how people eventually become who there are, and what influences... how people are torn apart, and brought together. How Family doesn't just have to be blood, but can be found...

I have only just scratched the surface of this amazing show that digged so deep down that is has become the sole focus of numerous college courses. Joss Whedon and his writters developed a world that is full of so many themes (universal and specific) that it can charm anyone of any age (while at the same time making them laugh, cry, and want to throw up with pain).

I personally started watching the show when I was 9 years old from the very first episode. I continued on with the show until the series finale when I was 15 (I also followed the series Angel)... And the show still seemes so fresh in my mind. Eventhough I have seem the "highschool episodes" many many times, I still find that there is more and more to discover in this universe... The best way I can describe this show is magically.

When I started watching Buffy, it was the only tv show that I watched (besides teh simpsons), it was from there that I branched out into other shows: dawson's creek, chamred, felicity, gilmore girls, and so on... but no matter how many shows I watched I could not find anything to match the wit and magic that I originally found in Buffy. When I first bought the first season on DVD years ago, I remember listening to the commentary for "Welcome to the Hellmouth" and "the Harvest" by the series creator: Joss Whedon (the commentaries are included on this set). It was in this commentary that Joss Talked about everything from the movie to getting the show to last into its fifth season... He talked about the show and the process of making the show with so much compassion and love and drive it really touched me... I believe that the commentary is the soul purpose that influenced me to become a television writer... It is less than 2 months before I start college, and I believe that there would be no more perfect time for this set to come out.

If you have ever put off buying this series, this is your chance to own the complete series of the of the best things to ever air on television!

Interview with the Vampire (1994)

Plot Outline
A vampire tells his epic life story: love, betrayal, loneliness, and hunger.
Plot Synopsis: It hadn't even been a year since a plantation owner named Louis had lost his wife, and now he had lost his will to live. A vampire named Lestat takes a liking to Louis and offers him the chance to become a creature of the night: a vampire. Louis accepts, and Lestat drains Louis' mortal blood and then replaces it with his own turning Louis into a vampire. Louis must learn from Lestat the ways of the vampire.


Review: A Haunting, Erotic Treat

I haven't cared very much for Anne Rice's recent books, but her earlier work was outstanding. I loved "Interview" in particular, so I was really looking forward to this movie. There is always a risk in adapting such a vivid and powerful-not to mention beloved-book into a film. Director Neil Jordan and his collaborators have succeeded marvelously, though. This is an exciting, engaging film; remarkably faithful to Rice's original text.
The story opens in present day San Francisco. Louis (Brad Pitt), a 200 year-old vampire, is telling his life story to an interviewer (Christian Slater), who is shocked by his supernatural revelation. "I am flesh and blood," Louis tells him, "but not human."

His story takes us back to late 18th century New Orleans where Louis first encountered the Vampire Lestat (Tom Cruise). Desiring a companion, and in love with his beautiful looks, Lestat gives Louis the "Dark Gift"-that is, he makes him into a vampire. They live together for many years, roaming the streets at night, united by their common quest for blood.

Eventually, though, Lestat fears that Louis is going to leave him. Desperate, he makes a vampire of Claudia (Kirsten Dunst), a beautiful young child, knowing the Louis would never leave the girl. Thus they are bonded together as "one big, happy family." As it turns out, though, they are not so happy after all.

The story takes the vampires to Paris, where they finally encounter some more of their own kind. The coven of vampires is led by the stunningly handsome Armand (Antonio Banderas) who quickly falls in love with Louis. Louis is enamored of him as well, but he will never leave little Claudia, something Armand realizes.

The film ends back in the present in a departure from Rice's book. The new twist is exciting, though, and sets up the story for an inevitable sequel. It hasn't been made yet, but if it ever is, I'm looking forward to it.

The big question, of course, is, how is Tom Cruise as Lestat? In one word: brilliant. This is one of his best performances ever, heightened by the fact that he is playing a role so different from his typical screen persona. Cruise has always been an underrated actor, but hopefully that will start to change after people see him here. He is terrific.

The rest of the performances are also quite good. Brad Pitt does very well as the tortured, guilt-ridden Louis. Antonio Banderas is extraordinary as the seductive, young master of darkness. His is the most convincing portrayal of a vampire, filled with power and charisma.

Neil Jordan's direction is top-notch. Visually, "Vampire" is stunning, helped considerably by Dante Ferretti's superb production design. Anyone who has read the book-and anyone who has not-is sure to enjoy this haunting, erotic treat

Review: Dies Irae, Dies Doloris

"Libera me, Domine, de vitae aeterna" - "Free me, Lord, from eternal life": If a movie begins with a choir and boy soprano singing these words, in a requiem's style and overlaying the camera's sweeping move over nightly San Francisco bay, zooming in on a Victorian building's top-floor window after having followed the life on the street below like a hunter follows its prey - if a movie begins like this, you know you're not looking at your average flick, whatever its subject. (And if the first thing you catch is the Latin phrase's grammatical mistake, this is probably not your kind of movie to begin with).

Much-discussed even before its release, due not least to Anne Rice's temporary withdrawal of support and her no less sensational subsequent 180-degree turn, Neil Jordan's adaptation of the "Vampire Chronicles"' first part, based on Rice's own screenplay, is a sumptuous production awash in luminous colors, magnificent period decor and costumes, rich fabrics, heavy crystal, elegant silverware and gallons of deeply scarlet blood, supremely photographed by Phillippe Rousselot, with a constant undercurrent of sensuality and seduction; an audiovisual orgy substantiated by one of recent film history's most ingenious scores (by Elliot Goldenthal). Although the book only gained notoriety after the publication of its sequel "The Vampire Lestat," followed in short order by the "Chronicles"' third installment, "The Queen of the Damned," by the time this movie was produced, Rice had acquired a large and loyal fan base, who would have been ready to tear it to shreds had it failed to meet their expectations. That this was not unanimously the case is in and of itself testimony to Neil Jordan's considerable achievement (only underscored by the botched 2002 realization of "Queen of the Damned"). Sure, some decry the plot changes vis-a-vis the novel and the fact that some of the protagonists (particularly Louis and Armand) look different from Rice's description. But others have embraced the movie wholeheartedly; praising it for remaining faithful to the fundamentalities of Rice's story and for its production values as such. I find myself firmly in the latter corner; indeed, in some respects I consider this one of the rare movies that are superior to their literary originals - primarily because the story's two main characters, Louis and Lestat, gain considerably in stature and complexity compared to Rice's book.

While both film and novel are narrated by Louis (Brad Pitt), giving an interview to a reporter (Christian Slater) in the hope of achieving some minimal atonement for 200 years of sin and guilt, and while Lestat (Tom Cruise) appears on screen barely half the movie's running time, Lestat is much more of a central character than in Rice's novel; and vastly more interesting. For Anne Rice's Lestat only comes into his own in the "Chronicles"' second part, which is named for him and where we truly learn to appreciate him as the vampire world's aristocratic, arrogant, wicked, intelligent and unscrupulous "brat prince," who although completely lacking regret for any of his actions nevertheless shows occasional glimpses of caring, even if he would never admit thereto. *This*, however, is exactly the movie's Lestat; not the comparatively uninformed and, all things considered, even somewhat brutish creature of Rice's first novel. It is no small feat on Tom Cruise's part to have accomplished this; and in my mind his portrayal has completely eclipsed the character's original conception, which was reportedly based on Rutger Hauer's Captain Navarre in "Ladyhawke."

Similarly, while every bit as guilt-ridden as the character created by Anne Rice, Brad Pitt's Louis regains more inner strength - and more quickly so - than the narrator of Rice's book, rendering him more of an even foil for Lestat, and equally lending greater credibility to his initial selection as Lestat's companion, his actions to ensure his and Claudia's escape to Europe, and his later decision not to stay with Armand. (Indeed, Louis's and Armand's separation after the burning of the Theatre of the Vampires makes perfect sense in the movie's context; it would have undercut both characters', but especially Louis's credibility had they gone on to share years of companionship like in the book.)

Kirsten Dunst's Claudia was not only this movie's biggest discovery - not surprisingly, in an interview included on the DVD Dunst calls this "the most prominent role" of her career so far - she, too, embodies the novel's child vampire to absolute perfection; capturing her eternally childlike features as well as her Lolitaesque seductiveness and the ruthless killer hidden under her doll-like appearance. Doubtlessly furthest from the novel's character is Antonio Banderas's powerful and charismatic Armand: But while I do somewhat miss Rice's auburn-haired "Botticelli angel," I always had a problem imagining him as the leader of the Paris coven, in control even of the quicksilver-like Santiago (marvelously portrayed by Stephen Rea in one of his most overtly theatrical performances). Here, too, the movie - if anything - gives the story greater credibility; although it's admittedly hard to reconcile with parts of the "Chronicles"' later installments, particularly Armand's own biography.

In interviews, Neil Jordan and Brad Pitt particularly have mentioned the emotional strain that this vampire movie put on all its participants; due its almost exclusively nightly shooting schedule, and even more so because of its incessant exploration of guilt, damnation and, literally, hell on earth. Anne Rice's vampires truly are the ultimate outsiders; no longer part of human society, they feed on it, can neither be harmed by sickness nor by methods the world has taken for granted ever since Bram Stoker's "Dracula" (which are in fact merely "the vulgar fictions of a demented Irishman," as Louis explains, simultaneously amused and contemptuous) and are thus, if not killed by fire and/or beheading, condemned to walk the earth forever, without any hope of redemption. It is primarily this element which has given Rice's novels their lasting appeal, and which is perfectly rendered in Jordan's adaptation. I'm still not sure I'd ever want to meet them in person, though ...

Psychic Vampire Codex: A Manual of Magick and Energy Work (Paperback)

Lee Prosser, Ghostvillage.com
One of the best reference works available on contemporary vampirism.

Book Description
The Psychic Vampire Codex is the first book to examine the phenomenon and experience of modern vampirism completely from the vampire’s perspective. Father Sebastian, a fellow psychic vampire writes in the foreword that Michelle Belanger’s system "introduced a breath of fresh air into the vampire subculture. It freed us to look at ourselves in a new light, and it also helped those outside our community to view us differently. No longer were we parasites or predators . . . we could use our inborn abilities to help people heal."

Psychic vampires are people who prey on the vital, human life energies of others. They are not believed to be undead. They are mortal people whose need for energy metaphorically connects them to the life-stealing predators of vampire myth.

In The Psychic Vampire Codex, Michelle Belanger, author and psychic vampire, introduces readers to the fascinating system of energy work used by vampires themselves and provides the actual codex text widely used by the vampire community for instruction in feeding and other techniques. Belanger also examines the ethics of vampirism and offers readers methods of protection from vampires.

The Psychic Vampire Codex explodes all preconceptions and myths about who and what psychic vampires really are and reveals a vital and profound spiritual tradition based on balance, rebirth, and an integral relationship with the spirit world.

Fascinating, significant, exceedingly well done, September 28, 2004
Reviewer: Jacflash (Acton, MA USA) - See all my reviews
The Codex is really two books: a tour of the vampire subculture, and an energy work manual. As an introduction to vampirism, it's quite effective, providing interesting historical tidbits for veterans of the scene as well as enough context to clue in newbies and the curious. It's an easy, enjoyable, engaging read.

But it's the Codex itself -- the manual of energy work -- that really delivers. Ms. Belanger's walk through the basics and the not-so-basics of working with energy is a tour de force -- well-paced, evenhanded, clear as spring water, and thoroughly comprehensive. Throughout, her tone is compassionate, wise, and straightforward -- a balanced, enlightened teacher addressing the sophisticated student. The advanced techniques she presents are amazing, innovative, very well thought out, and effective, and include a full range healing and fighting skills in addition to the energy vampire's specialties.

One small caveat: the book really does expect the reader to have at least a rudimentary familiarity with the basics of moving and working with energy. The author glosses over some basics -- in and itself not a problem, but as a sometime teacher of This Stuff I do wish she were a bit clearer about first steps.

Overall, this book represents a substantial addition to the canon of advanced energy work techniques in print. For the serious student, it would be a bargain at three times the price. Bravo to Ms. Belanger (and to Weiser) for bringing it to us.

Review: Sheer stupidity
This doesn't even deserve the star I gave it. Think about how ridiculous this is! It was written by a self-proclaimed vampire, and describes magic spells and other bs used for other aspiring vampires to replace blood-sucking with energy...um...sucking.
Don't believe this bs for a second. If you are sincerely interested in the wackjob vampire subculture, get a book on its history. If you personally believe yourself to be a vampire, go for psychiatric help. You probably have dissociated personality disorder.

Review: A refreshing breath of air into a subject old as man
Reading this book is a very eye opening experience. The author is very comprehensive on the subject of psychic vamprism, so that people can be exposed to the light of truth about vampires and their life styles. This is a must read for anyone who is intrested in vampires, the occult, or any paranormal/metaphysial subject matter.

Review: Fabulous!
This is a good book I have personally recommended to those who are just learning or those who wish to know more about real vampires. Very easily read and informative.

Vampire: The Requiem (Hardcover)
Repeat after me: Vampire the Requim is NOT NOT NOT NOT Vampire the Masquerade 4th edition. Its a new game, new rules, and a new world. Frankly I was extremely impressed that unlike TSR's endless parade of editions White Wolf had the courage to end one of the most sucsesful rpg lines in gaming history and go in a brand new direction. I see a lot of complaints about "watering" down of vampire powers but frankly so what? I'm glad to see that they made the system more balanced instead of leaving loop holes that could easily be exploited to make uber characters(disagree create a vampire with presense 5 in old VtM and then compare it in any sort of competition to any other character they kick butt). People who are in love with the whole Caine mythos should realize theres no reason why they can't continue to use it. By leaving the origins of vampires in the world completely ambiguous White Wolf has left the door open for every story teller in the world to give his own Cannon explanation. If you like Caine make it Caine and the antedeluvians. If you prefer Lilith(which is really more mythological accurate any way) make it Lilith. Or if like me you'd rather leave it open to speculation then you can do that to. As to choices you actually have far more options with your character then you ever had in the entire history of VtM. In VtM you had 13 clans and the assorted blood lines. Many of the bloodlines ranged from the repetitive, to the unbalancing to the simply silly. NOw you have 5 clans and several sects all of which have there own signature powers. If you don't like those your character can create a brand new blood line with its own unique discipline after he reaches a certain point(an option completely missing from the original game), or create your own new sects if the Ordo Dracul and Inviticus don't do it for you. Frankly on the story front theres a much more interesting political dynamic with a bunch of different sects struggling for power in each city then the old idea of two main sects who duked it out each controlling entire cities.

Review: Cold. Hard. Rage...

I. Feel. Nothing. But. Rage...

I have read this book and the new Vampire books, since that point I have felt a cold rage enter my heart. I find the new game mechanic's too simple, and the met plots ridiculous...

I feel betrayed by WW because THEY HAD MY BUISNESS, I gave up playing D&D to experience a superior gaming system, and genuine robust storyline's of morality and choices of falling into darkness.

Now it's White-Wolf, The Sell-Out. Nothing that made WtA and VtM the magnificent and inspiring table tops RPG's that the where is in these new products. I think WW looked at what Wizards is doing (D&D) and tried to copy it, but D&D has had 30 yrs to perfect and make it's system. WW had an original system, but have fallen onto mediocrity, and that makes a bad game...

Don't ever buy this if you are a fan of the old system. You will most likely hate it. If you are a new player I recommend playing D&D, it's a whole lot better...

Review: A good reworking
Despite what the overall rating of the game looks like at the time I am writing this, Vampire the Requiem is a very strong game. The system is solid in terms of mechanics and they do not flip flop between games, nor do they introduce myriad skills that are covered by another skill in one game, but not in the others.
Specific strong points of Requiem:

1. Blood Potency. Nothing drives a gamer nuts like having a character who cannot ever really improve his power level, in Vampire the Masquerade it was very difficult to improve your vampiric power statistic (Generation) you had to either belong to the Sabbat, where the reprehensible tactic diablerie was legal, or be granted the allowance of diablerie by the Prince if you were a Camarilla vampire. In Vampire the Requiem if you want your character to have great control over the powers of her blood, you can simply save up your xp to buy another level of Blood Potency. If your character is the reprehensible sort you can still Diablerize, but it automatically penalizes you if you destroy someone's soul.

2. Humanity. Humanity was in VtM as well, but it also had Paths of Enlightenment that allowed you to perform horrendous wicked acts without being punished. Paths developed a very bad reputation amongst most VtM Storytellers, earning the nickname of, "The Path of What I Was Going to Do Anyway."
Example:
Player: I blow up the orphanage with a sack of C4!
ST: Uhhh... roll humanity...
Player: Nope! I don't have to I'm on the Path of Un-utterable Carnage, I hope to transcend vampirism by blowing up nuns and orphans. It's in The Guide to the Sambrionali. Actually I'd have to roll for a loss of Path if I didn't blow up the bus!

Vampire is a Personal Horror game - you are confronting the horrible nature of the curse that has been laid upon you. Killing anything you want to is Splatter-Punk, not Personal Horror.

3. Bloodlines. Bloodlines as presented in Vampire the Requiem are an interesting reworking of the Bloodlines and lost clans of Vampire the Masquerade. In Masquerade you had about a thousand bloodlines and different varieties of vampire, each with their own discipline and not necessarily any real play balance, or even a clan weakness. Now you have the ability to design your own Bloodlines for your game, and they are things that can be entered only by certain varieties of vampire. They are somewhat like Prestige Classes in D&D, in that you have to have a certain parentage and Blood Potency to enter them. Characters can choose to enter the Bloodline of their sire by taking certain steps, or they can enter a different Bloodline within their clan at a slightly higher Blood Potency, or they can start their very own Bloodline at a higher Blood Potency. It allows for infinite possibility within the range of what type of Vampire you are, but keeps some ground rules about it.

4. No set Good/Bad Guys group(s). In Masquerade you had the Camarilla and the Sabbat. Neither was supposed to be really "Good", nor were they "Bad", but you really only had two choices as to which side you were on (unless you were of an independant clan, and then you had your own clan's side.) In Requiem they have several different Covenants, groups of Vampire organizations. From the Lancae Sanctum, a dark reflection of the Catholic Church, to the Ordo Dracul, a group of vampires allegedly begun by Dracula himself who attempt to overcome vampirism and become something else entirely. Neither is the good or bad group. Despite how the Lancae Sanctum sound like they should be horrifically evil, the Ordo Dracul are potentially just as likely as antagonists.

All in all this game is very much worth your money. It is not perfect, but it is a very strong game. Don't forget that you have to have the base World of Darkness book to play it, as this book merely contains the rules for mortals who have become vampires.

Review: a better game
I was pleased with Requiem. It made more sense than the old Masquerade and its myriad clans etc. The same problem is lurking in the background with this version with the potential of a zillion bloodlines to start up but in this game the Storyteller has much more control over what they want to include. I don't see that it would be too hard to convert an existing Masquerade game to this system, since no one's sure what the orgin of vampires is. Of course, you'd have to ignore the "end of the world" part;)

Review: Less for the Reader, More for the Player
I applaud White Wolf for doing what they have done in releasing Vampire: The Requiem. I was a great fan of the VtM system, with a few minor annoyances, and was initially concerned that "revamping" (so to speak) the system for a new game was just a money grab for the good people of White Wolf (but then again, what isn't, in the end?), and that too much focus would be on making things DIFFERENT rather than on making them BETTER.

After having read the book and preparing my first chronicle with it, I can say that I am thoroughly impressed with the changes made. The "minor annoyances" I mentioned earlier have largely all been dealt with nicely, and the new system seems more user-friendly and gives the potential for better games.

Annoyances that have been fixed:
1) They're Ancient and Powerful, You're Not, So Deal With It: VtM was always a tad frustrating in that the Antidiluvians and Methuselahs (probably misspelled) were so ancient and so powerful that they were as Gods to ants above other vampires of higher generations, and there was nothing the weaker ones could do. Granted, life isn't fair so why should the game be, but I personally like the Requiem system whereupon the oldest and most powerful vampires are losing their minds and memories, leaving them as tortured and twisted as young vampires struggling to survive against more powerful social forces. The added difficulty of life at the top really makes the fact that vampirism is supposed to be a "curse" a lot more prevalent among all Kindred - in VtM, though vampires were aparently "cursed", they had it pretty good once they were among the truly mighty.

2) The Power of the Kine: As an extension of the last point, VtM also bugged me in that though there was occasional mention of how the Masquerade existed because humans would wipe out vampires if they knew about them, the Kindred's control of human society at every level made this seem unlikely. Because the mightiest vampires, as mentioned earlier, had God-like powers, and vampires controlled all of the human infrastructure in full, breaching the Masquerade was made pretty much impossible, and the Kine seemed pretty harmless no matter what. In Requiem, vampires influence society a lot, but don't seem so utterly in control of it. Also, given that the mightiest vampires aren't nearly as God-like as in VtM (pleeeeeeease don't bring out Master level disciplines), they seem much more insecure as a whole, making, in my opinion, for more enjoyable, edge-of-your-seat gaming.

3) You Are What You Are: If I had put more thought into ordering these point, this one should have come first, becuase it was the thing that most annoyed me about VtM. In that system, your clan pretty much dictated your character. With 13 base clans, plus antitribu, bloodlines, and other variations, there was probably a good fit out there for whatever character you wanted to create, but the problem was that your clan was your whole identity, at least in the eyes of others, as well as being your only support network. If you were in good with your clan, then you had to have a character within certain parameters. If not, you were on your own. Clans cast too much prejudice in VtM, wbereas in Requiem, with far fewer clans (five), who knows how many bloodlines, and covenants that you may choose or not choose at will, vampires balance their inherited identity with their chosen one, serve more than one master, and can be a lot more unique without being shunned and hated. The clan/covenant system makes gaming much more dynamic, and there is more moral responsibility on the shoulders of the player than ever before, which is great. Another aspect of "You Are What You Are" in VtM was generation, which was inherited and defined your place on the food chain permanently. The only was to change this was through diablerie, and even then you would be killed immediately if you were found out. Essentially, then, the only way to increase your place on the food chain in VtM was through evil, heinous actions, which really sucked if you wanted to play a character that cared about humanity. In Requiem, blood potency goes up the longer you survive and the more active you are. There is the possibility for real advancement without having to dip into evil to get there, and a driving notion that your character may someday be a powerful elder, as opposed to the VtM belief that one day you'll be a powerful vampire that will always be limited by generation. And finally, the last "You Are What You Are" of VtM was the Camarilla/Sabbat system, whereupon you were one of the other, or an independant shunned by both. "But I want to play a Camarilla Lasombra". Nope. This massive encompassing was of the Kindred was too easy for storytellers and limited what you could do with any given clan or character. In the old WOD, my favourite vampire game was Dark Ages, whereupon every conflict was internal, and there was no grand war between two huge organizations. In modern day, this pre-existant war was ever-frustrating. In Requiem, it is finished. If you argue that the fact that petty squables are all you can do now, laud it if you will - I celebrate the fact.

4) Is There Any Real Mystery?: Though the writers of VtM liked to toss in suggestions that maybe Caine never existed or maybe the Antideluvians aren't real, they clearly were. This mythology was loved by many, not by me, because though it was nice as a piece of mythology alone, this was a game, and the most important thing in a game is the players having fun. Knowing that there were omnipotent and utterly evil people above you who control your every action and who you'll never, EVER, be able to compete with isn't really very much fun. A lot of people have complained that Requiem lacks any Metaplot, but in truth, it's moreso that the Metaplot isn't given. The origins of vampire really is a mystery in Requiem, and one that storytellers should be encouraged to look at for themselves, rather than regurgitating what they read. Earlier in these posts, someone mentioned that the more sourcebooks you buy, the fewer original ideas you have. I agree heartily. In Requiem, it's not that the mythology doesn't exist at all, it's just that there isn't one dominant mythology that can more or less be accepted as fact. I think this can make for much more mystery and fun than the VtM system.

5) The Phony Prince: My last major annoyance that was fixed in Requiem was that in VtM, Archons and other constantly loomed above the Prince, leaving him or her with very little real power. The title of "Prince" was more ceremonial than functional, and Princes could be overturned easily, with so many others above that were eager to step in. Not in Requiem. Now the Prince has real power, and nobody is telling him or her what to do (or are they...). This makes for a lot more struggling with internal politics in individual cities, and more of a struggle to become Prince. In VtM, several times characters I've played with have turned down opportunities to become Prince because it carried great danger but little real authority. This was a problem, and now, blissfully, it isn't.

In closing, many have complained that The Requiem ruins a good thing, calling out that "If it ain't broke, why fix it?". And as the title of this review mentioned, the VtM system gave a lot more for readers, with its emersive and deep mythology that was so interesting. However, I believe Requiem will be more fun for players, and that, in my opinion, is the most important thing. If you disagree, then by all means, keep playing Masquerade. Granted, no new books for it will be coming out, but there were already way too many to begin with. If you don't have the books and mourn that you can't buy them...well, look hard, and ye shall find. But give this game a chance...I really think it keep much of what made VtM great, but makes it freer, more open, and most importantly, more in the hands of the players and storytellers.

Review: A new interpretation of the modern vampire mythos
Excellent and worth every penny you dish out. Vampire has not only revolutionized roleplaying, but it has become a cornerstone of the gaming industry in the horror genre. Following such greats as Call of Cthulhu and Chill, Vampire (and subsequently Werewolf and Mage) are the core games of White Wolf. Definitely of a mature nature, these games will offer you the opportunity to adopt the role of one of the undead. You get to belong to one of five Blood Clans and join one of five great Covenants. You can be a sensual Daeva or a lordly Ventrue, a hideous Nosferatu or a stalwart Mekhet. This new game is a must for any who want to experience X-files type investigative horror or tell stories in the World of Darkness (but you must buy the World of Darkness Rulebook which gives you all the crunchy rules). This leaves the setting book of Vampire the Requiem to concentrate on all the horrific and beautiful aspects of playing one of the children of the night.

Get it, you wont regret it!

Review: What happened
I love the old world of darkness. Granted i was more in to the noval then the RPG side of it. It had such a rich history. The best part being the fact that cain was the father of all vampire, cused by god for the killing of his brother.The antediluvians were grate to, the i dear that out there in the shadows lay terrofing monsters just weighting for the time to rise up and fall a pone there childen. For years i read the noval and the RPG books and loved it. Hunter and demons were all grate reads as well. Then the end came. In some way i was sad but in other way not. You were going to find out the truth about the antediluvians and cain. But in the end you didn't really did we. Before we no it it was all over. The last vampire novel wasn't to bad, but the RPG WAS A GRATE LET DOWN. so when i herd they were starting new world of darkness up i was so happy, that was untill i got this book and found out that all i loved from the old one was gone. No 13 clans, not antediluvans or cain. This will most likly be the last white wolf book i will buy. it sad when something you come to love is destoryed.

Review: Solid
I have been a World of Darkness gamer for the past 5 years or so, and while the new system alters many aspects of the world (including some aspects that people found endearing), the majority of changes are for the best, and make the game more clear, concise, and fun. Ultimately, Vampire: The Requiem is more accessible and equally as engaging as its celebrated predecessor.

Review: Old times were better..
This is my first review ever and English is not my native language so please be patient with me.

Well, as many other players I began with Vampire back in 1991 and it's been the coolest game I've ever played. Along came Werewolf, Mage, the great WRAITH and the, um, "curious" Changeling. As a "fan" of crossovers I always found it difficult to mix character types but I'll tell you what: my players trembled when they saw me pull out Werewolf from the shelf.

Much of the complexity of the old World of Darkness derived from the fact that...it was a complex, almost "real" world. So I'm not complaining about how difficult it was to pit Gnosis against Arete, or about complex questions like, if a Mage kills a guy, why doesn't he need to make a sorta Humanity roll? The game developers explained that each game had a series of themes, topics and moods to explore and THAT was great, if you ask me!

Now, I was beginning to think that, with so much material, the OWoD was, let's say, exhausted. In a way I understood, albeit grundingly, the "move" to a new system and all that fanfare. I am now preparing a Gehenna chronicle to end ten years of game and I'll certainly use all and every book I have.

Enter The Requiem. Nice cover, great design. Period. Look, I'm not going to bitch and moan: I only want BACKGROUND and STORY.
What's SO horribly wrong about metaplot? I mean, so far, you COULD use it or NOT. I certainly don't own the entire OWoD bibliography, but that doesn't jeopardize my enjoyment of the games. The five (six, Orpheus) of them. Now, I have read some commentaries by WW staff and fans alike stating that "players won't feel LIMITED by any sort of metaplot". Right, so, it's for FREEDOM's sake that there's no metaplot. I'm sorry WW, I'm a "loyal Wolfer" but I don't buy it. And even if I did, I don't like it.

Some time ago I arrived at the conclussion that the more sourcebooks you get, the lazier you become. We want "ready-to-go" stories and every world detail presented so we ST don't have to think very much. Yet, the Requim approach takes this to the other extreme. I have bought a couple of sourcebooks and, honestly, I've only finished "Rites of the Dragon". And that's because it's SHORT. I don't see myself buying more, since my group of players don't like the Requiem.

I had high hopes for Werewolf. Really. You see, I thought it was a game with great potential. The Forsaken is, um, bad, a bad game.

I STILL have faith in Mage. The previews look at least interesting, but without an adequate storyline its fate may be as uncertain and the rest.

So, to sum up: the Requiem is a watered down version, more limited (note: someone mentioned in the old Vampire you only got 13 clans and now you have like 30 combinations; please, do realize that those 13 clans had antitribu versions and that you could play them Camarilla, Sabbat, Anarch, Independent...) and without a bigger picture to reffer to. No real creation mythos, simple political outmaneuvering. No generation, no Jyhad, no Eternal Struggle, no Gehenna, no ancients...No element that you may use as a real threat. Only silly skirmishes over a city. Please. Some players DO like complex stories, ages-long chronicles and even a bit of confusion and uncertainty. If someone argues that I could HAVE antediluvians in my Requiem games because now I'm so incredibly free...well, that's not the point. But in the end I'll keep playing the Masquerade as long as I can. Don't buy the Requiem, at least don't pay for the book. Get it from a friend and skim through it. Then THINK about the Masquerade and, like many others, you may feel this longing for the one true game. Conversely, if you like streamlined character creation, seamless character type interplay and cheap sourcebooks (it hurts me to write this, really) go for the Requiem. Welcome to the "limitless" possibilities of the absence of real background.






A Girl's Guide to Vampires (Mass Market Paperback)

From Booklist

All Joy Randall wants is a little old-fashioned romance, but when she participates in a "Goddess evoking" ceremony with her friend, Roxy, Joy finds out her future true love is a man with the potential to put her immortal soul in danger. At first the ever-practical Joy is ready to dismiss her vision as a product of too much gin and too many vampire romances, but while traveling through the Czech Republic with Roxy, Joy begins to have some second thoughts about her mystery lover because she is suddenly plagued by visions of a lethally handsome stranger. Then, when she and Roxy attend a local GothFaire, Joy meets Raphael Griffin St. John, head of security, and she becomes even more bewildered because the dark and dangerous Raphael seems too close to her dreams for comfort. Readers will gladly give in to the wickedly sharp bite of MacAlister's wit in this temptingly toothsome romance. With its superb characterization and writing that manages to be both sexy and humorous, this contemporary paranormal love story is an absolute delight.

Review: Just A Fun Book

If you're a fan of vampire romantic fiction, you'll enjoy this one. The basic premise is that our heroine, Joy, is accompanying her friend Roxy on a trip to the Czech Republic to try to visit a reclusive author of romantic vampire fiction and to explore whether or not vampires do exist. Joy is a disbeliever but she doesn't want Roxy to do this on her own, so she agrees to go along. Naturally, Joy is the one the vampire takes an interest in. In her acknowledgements Ms. MacAlister thanks Christine Feehan, so it's not surprising that the reclusive author's vampires have a marked tongue-in-cheek resemblance to Feehan's Carpathians, including the inclusion of a series of steps to soulmate-hood. If you like Feehan's books, you'll enjoy Roxy's obsession with the Rules of the Dark Ones.
This book was just so funny in sections that I laughed out loud. The heroine wasn't a petite little thing (a wonderful change of pace); the hero was mysterious and sexy; the setting was a nice change of pace - a GothFest in the Czech Republic; and the secondary characters were fleshed out enough to make them interesting and relevant. All and all, it was just a fun book and I enjoyed it.

Review: Katie is A Wonder!
Well first off I have to say that if you want to read a book that is full of humor, hot, sticky, passionate love scenes, great heros and fantastic heroines, story lines that keep you reading long after you should be asleep, then read a book by Katie MacAlister. I have read everything she's published so far and I eagerly await more.
One thing I really like about the way Katie writes is that she writes as if this were her story. You don't find many authors writting in the 1st person so its refreshing to read Katie's books.

A Girl's Guide To Vampires is a thrill ride. You have a lot of suspense and danger that keeps you guessing until the end. You have two wonderfully funny friends, Joy, the Heroine and Roxy the adorable best friend. The hero Raphael is.... Well let's just say I want one exactly like him! Raphael's rival Christian ain't too shabby himself.

Review: I even loved the cover of this book. Its way to cute!
All in all I have to say that this is a WINNER!!!!
Run, don't walk to buy this book.

Review: Good, but not her best
Katie Macalister is a brilliant writer with a flair for the funny. This particular book was well written with an interesting plot. She did set up the next book quite nicely. I was just a little disappointed that there were two guys who you were rooting for...one was bound to loose, and although he has his own book, it was still a little disappointing at the way she created a love triangle. Overall, although it isn't my favorite of her books, it is still a great one!

Review: A Girl's Guide to Vampires
This was a good one in her series, but not the best. I did like it but only because it follows other people in the whole series. Would I reccomend it? Yep! I will keep it for my collection. Go Katie! Keep writing for us vampire lovers.

Review: Loved it and the next two! Looking forward to reading more from this author!

I just finished reading the first 14 stories in the Carpathian series by Feehan - I fell over backwards when I started this series immediatly afterwards and found several references to the Caprapthian series!!

These books are funny! They are sexy! They each have a different plot line and make good use of former books characters!! Which seems to be missing in alot of the paranormal romances that are supposedly written to be in the form of a series.

These books compair favorably to Harris' "Dead as..." series and Davidson's "Undead and..." series!! I'm looking forward to reading more from this author

Vampire
From Wikipedia, the free encyclopedia.
This article contains information that has not been verified.
If you are familiar with the subject matter, please expand the article, citing sources.
For other uses, see Vampire (disambiguation).

Count Orlok from NosferatuVampires are mythical or folkloric creatures said to subsist on human and/or animal blood (hematophagy), often having unnatural powers, heightened bodily functions, and/or the ability to transform. Some cultures have myths of non-human vampires, such as demons or animals like bats, dogs, and spiders. Vampires are often described as having a variety of additional powers and character traits, extremely variable in different traditions, and are a frequent subject of folklore, cinema, and contemporary fiction.

Vampirism is the practice of drinking blood from a person/animal. Vampires are said to mainly bite the victims neck, extracting the blood from a main artery. In folklore and popular culture, the term generally refers to a belief that one can gain supernatural powers by drinking human blood. The historical practice of vampirism can generally be considered a more specific and less commonly occurring form of cannibalism. The consumption of another's blood has been used as a tactic of psychological warfare intended to terrorize the enemy, and it can be used to reflect various spiritual beliefs.

In zoology, the term vampirism is used to refer to leeches, mosquitos, mistletoe, vampire bats, and other organisms that prey upon the bodily fluids of other creatures. This term also applies to mythic animals of the same nature, including the chupacabra.

Etymology
English vampire comes from German Vampir, in turn from early Old Polish *vaper' (where a is a nasal a, and both p and r' are palatalized), in turn from Old Slavic *oper (with a nasal o) or Old Church Slavonic opiri. The Slavic word, like its cognate netopyr' ("bat"), comes from the PIE root for "to fly".

Vampires in ancient cultures
Tales of the dead craving blood are ancient in nearly every culture around the world. Vampire-like spirits called the Lilu are mentioned in early Babylonian demonology. These female demons were said to roam during the hours of darkness, hunting and killing newborn babies and pregnant women. One of these demons, named Lilitu, was later adapted into Jewish demonology as Lilith. Lilitu/Lilith is sometimes called the mother of all vampires. For further information, see the article on Lilith.

The Ancient Egyptian goddess Sekhmet in one myth became full of blood lust after slaughtering humans and was only sated after drinking alcohol colored as blood.

In Homer's Odyssey, the shades that Odysseus meets on his journey to the underworld are lured to the blood of freshly sacrificed rams, a fact that Odysseus uses to his advantage to summon the shade of Tiresias. Roman tales describe the strix, a nocturnal bird that fed on human flesh and blood. The Roman strix is the source of the Romanian vampire, the Strigoi, which was also influenced by the Slavic vampire, and the Albanian Shtriga.

In early Slavic folklore, a vampire drank blood, was afraid of (but could not be killed by) silver and could be destroyed by cutting off its head and putting it between the corpse's legs or by putting a wooden stake into its heart.

Medieval historians and chroniclers Walter Map and William of Newburgh recorded the earliest English stories of vampires in the 12th century.

Many vampire legends also bear similarities to legends regarding succubi or incubi.

Folk beliefs in vampires
It seems that until the 19th century, vampires in Europe were thought to be hideous monsters rather than the debonair vampire made popular by later fictional treatments. They were usually believed to rise from the bodies of suicide victims, criminals, or evil sorcerers, though in some cases an initial vampire thus "born of sin" could pass on his vampirism onto his innocent victims. In other cases, however, a victim of an untimely or cruel death was susceptible of becoming a vampire. Most of the European vampire myths have Slavic and/or Romanian origins.

Slavic vampires
The Slavic people including most east Europeans from Russia to Bulgaria, Serbia to Poland, have the richest vampire folklore and legends in the world. The Slavs came from north of the Black Sea and were closely associated with the Balts. Prior to 8th century AD they migrated north and west to where they are now.

Christianization began almost as soon as they arrived in their new homelands. However, through the 9th and 10th centuries, the Eastern Orthodox Church and the western Roman Catholic Church were struggling with each other for supremacy. They formally broke in 1054 AD, with the Bulgarians, Russians, and Serbians staying Orthodox, while the Poles, Czechs, and Croatians went Roman. This split caused a big difference in the development of vampire lore - the Orthodox church believed incorrupt bodies were saints, while the Roman church believed they were vampires.

Causes of vampirism included being born with a caul, teeth, or tail, being conceived on certain days, irregular death, excommunication, improper burial rituals etc. Preventative measures included: placing a crucifix in the coffin, or blocks under the chin to prevent the body from eating the shroud, nailing clothes to coffin walls for the same reason, or piercing the body with thorns or stakes.

Evidence that a vampire was at work in the neighbourhood included death of cattle, sheep, relatives, neighbours, exhumed bodies being in a lifelike state with new growth of the fingernails or hair, or if the body was swelled up like a drum, or there was blood on the mouth and if the corpse had a ruddy complexion.

Vampires could be destroyed by staking, decapitation (the Kashubs placed the head between the feet), burning, repeating the funeral service, holy water on the grave or exorcism.

Romanian vampires
Tales of vampiric entities were also found among the ancient Romans and among the Romanized inhabitants of eastern Europe, Romanians (known as Vlachs in historical context). Romania is surrounded by Slavic countries, so it is not surprising that Romanian vampires are similar to the Slavic vampire. They are called Strigoi based on the Roman term strix for screech owl, which also came to mean demon or witch.

There are different types of strigoi. Strigoi vii are live witches who will become vampires after death. They can send out their soul at night to meet with other witches or with Strigoi morti who are dead vampires. The strigoi morti are the reanimated bodies which return to suck the blood of family, livestock, and neighbours.

A person born with a caul, tail, born out of wedlock, or one who died an unnatural death, or died before baptism, was doomed to become a vampire, as was the seventh child of the same sex in a family, the child of a pregnant woman who didn't eat salt or who was looked at by a vampire, or a witch. Moreover, being bitten by vampire, meant certain condemnation to a vampiric existence after death.

The Vârcolac which is sometimes mentioned in folklore was more closely related to a mythological wolf that could devour the sun and moon (similar to Fenris in Norse mythology), and later became connected with werewolves rather than vampires. The person afflicted with lycanthropy could turn into a dog, pig, or wolf.

The vampire was usually first noticed when it attacked family and livestock, or threw things around in the house. Vampires, along with witches, were believed to be most active on the Eve of St George's Day (April 22 Julian, May 4 Gregorian calendar), the night when all forms of evil were supposed to be abroad. St George's Day is still celebrated in Europe.

A vampire in the grave could be told by holes in the earth, an undecomposed corpse with a red face, or having one foot in the corner of the coffin. Living vampires were found by distributing garlic in church and seeing who did not eat it.

Graves were often opened three years after death of a child, five years after the death of a young person, or seven years after the death of an adult to check for vampirism.

Measures to prevent a person becoming a vampire included, removing the caul from a newborn and destroying it before the baby could eat any of it, careful preparation of dead bodies, including preventing animals from passing over the corpse, placing a thorny branch of wild rose in the grave, and placing garlic on windows and rubbing it on cattle, especially on St George's & St Andrew's days.

To destroy a vampire, a stake was driven through the body followed by decapitation and placing garlic in the mouth. By the 19th century people were shooting a bullet through the coffin. For resistant cases, the body was dismembered and the pieces burned, mixed with water, and given to family members as a cure.

Roma and vampires
Even today, Roma frequently feature in vampire fiction and film, no doubt influenced by Bram Stoker's book "Dracula" in which the Szgany Roma served Dracula, carrying his boxes of earth and guarding him.

Traditional Romani beliefs include the idea that the dead soul enters a world similar to ours except that there is no death. The soul stays around the body and sometimes wants to come back. The Roma myths of the living dead added to and enriched the vampire myths of Hungary, Romania, and Slavic lands.

The ancient home of the Roma, India, has many mythical vampire figures. The Bhuta is the soul of a man who died an untimely death. It wanders around animating dead bodies at night and attacks the living like a ghoul. In northern India could be found the brahmaparusha, a vampire-like creature with a head encircled by intestines and a skull from which it drank blood.

The most famous Indian deity associated with blood drinking is Kali, who has fangs, wears a garland of corpses or skulls and has four arms. Her temples are near the cremation grounds. She and the goddess Durga battled the demon Raktabija who could reproduce himself from each drop of blood spilled. Kali drank all his blood so none was spilled, thereby winning the battle and killing Raktabija.

Sara, or the Black Goddess, is the form in which Kali survived among gypsies. Gypsies have a belief that the three Marys from the New Testament went to France and baptised a gypsy called Sara. They still hold a ceremony each May 24th in the French village where this is supposed to have occurred. Some refer to their Black Goddess as "Black Cally" or "Black Kali".

One form of vampire in Romani myth is called a mullo (one who is dead). This vampire is believed to return and do malicious things and/or suck the blood of a person (usually a relative who had caused their death, or hadn't properly observed the burial ceremonies, or who kept the deceased's possessions instead of destroying them as was proper).

Female vampires could return, lead a normal life and even marry but would exhaust the husband.

Anyone who had a hideous appearance, was missing a finger, or had animal appendages, etc., was believed to be a vampire. If a person died unseen, he would become a vampire; likewise if a corpse swelled before burial. Plants or dogs, cats, or even agricultural tools could become vampires. Pumpkins or melons kept in the house too long would start to move, make noises or show blood. (See the article on vampire watermelons.)

To get rid of a vampire people would hire a Dhampir (the son of a vampire and his widow) or a Moroii (the much rarer living, as opposed to undead, offspring of two vampires) to detect the vampire. To ward off vampires, gypsies drove steel or iron needles into a corpse's heart and placed bits of steel in the mouth, over the eyes, ears and between the fingers at the time of burial. They also placed hawthorn in the corpse's sock or drove a hawthorn stake through the legs. Further measures included driving stakes into the grave, pouring boiling water over it, decapitating the corpse, or burning it.

According to the late Serbian ethnologist Tatomir Vukanovic, Roma people in Kosovo believed that vampires were invisible to most people. However, they could be seen "by a twin brother and sister born on a Saturday who wear their drawers and shirts inside out." Likewise, a settlement could be protected from a vampire "by finding a twin brother and sister born on a Saturday and making them wear their shirts and drawers inside out (cf previous section). This pair could see the vampire out of doors at night, but immediately it saw them it would have to flee, head over heels."

Other Old World vampires
In Ancient Greece and Medieval Bulgaria the Lamia had the upper body of a woman, the lower body of a winged serpent and craved blood (especially the blood of women). Medieval and later Greek folklore features the vrykolakas, (which is now considered synonymous with "vampire").

In Moravia, vampires were fond of throwing off their shrouds and attacking their victims in the nude.

In Albania, a type of vampire known as the Liogat was supposed to be the reanimated corpse of Albanians of Turkish descent. It was covered in a shroud and wore high-heeled shoes. The only way to vanquish it was to have a wolf bite its legs off so it would never rise again from its grave.

In Bulgaria, a vampire had only one nostril and slept with his left eye open and his thumbs linked. It was held responsible for cattle plagues.

New World
In Aztec mythology, the Civatateo was a sort of vampire, created when a noblewoman died in childbirth.

Later Mexican vampires were easily recognizable by their fleshless skulls.
In the Caribbean, vampires known as Soucoyant in Trinidad and Tobago, Ol' Higue in Jamaica, and Loogaroo in Grenada, take the form of old women during the day, and at night shed their skin to become flying balls of flame who seek blood. They were said to be notoriously obsessive-compulsive, and could be thwarted by sprinkling salt or rice at entrances, crossroads and near beds. The vampire would feel compelled to pick up every grain. They could also be killed by rubbing salt into their discarded skin, which would burn them upon returning to it before morning.
The Rocky Mountain vampires sucked the blood out of its victim's ears using its pointed nose.
Brazilian vampires had plush-covered feet.

Asia and the Pacific
India is home to beliefs in a spirit called the vetala, a wraithly vampire that can leave its host body to feed.
In Japan, the kitsune is a vampiric shapeshifting fox-spirit that takes its origins from both Chinese and Indian mythology. Kitsune may be either maleficent or benevolent, or both; kitsune are said to drain the life-force of its victims after charming them or becoming their lover, in similar fashion as succubi or incubi. Oni myths also have similarities with Western vampire legends. There are also tales of kamaitachi, a phenomenon where it was said that evil gods would thirst for human blood.

The Chinese vampire, the hopping corpse (jiangshi), has more in common with Western ideas of corporeal zombies or ghouls but is still depicted as draining the victim of blood.

In Philippine folklore, the Manananggal was a female vampire whose entire upper body could separate from her lower body and who could fly using wings. She sucked the blood of fetuses. The Aswang was believed to always be a female of considerable beauty by day and, by night, a fearsome flying fiend. She lived in a house, could marry and have children, and was a seemingly normal human during the daylight hours.

In Malaysian folklore, the Penanggalan was a vampire whose head could separate from its body, with its entrails dangling from the base of its neck. The Pontianak was a female vampire that sucked the blood of newborn babies and sometimes that of young children or pregnant women.

In Australian aboriginal mythology, the yara-ma-yha-who is a creature with octopus-like suckers on its fingers that it uses to suck blood.

Eighteenth century vampire controversy
During the 18th century there was a major vampire scare in Eastern Europe. Even government officials frequently got dragged into the hunting and staking of vampires.

The word vampire only came into the English language in 1732 via an English translation of a German report of the much-publicized Arnold Paole vampire staking in Serbia.

It all started with an outbreak of alleged vampire attacks in East Prussia in 1721 and in the Austro-Hungarian Empire from 1725 to 1734. Two famous cases involved Peter Plogojowitz and Arnold Paole. As the story goes, Plogojowitz died at the age of 62, but came back a couple of times after his death asking his son for food. When the son refused, he was found dead the next day. Soon Plogojowitz returned and attacked some neighbours who died from loss of blood.

In the other famous case, Arnold Paole, an ex-soldier turned farmer who had allegedly been attacked by a vampire years before, died while haying. After his death, people began to die, and it was believed by everyone that Paole had returned to prey on the neighbours.

These two incidents were extremely well documented. Government officials examined the cases and the bodies, wrote them up in reports, and books were published afterwards of the Paole case and distributed around Europe. The controversy raged for a generation. The problem was exacerbated by rural epidemics of so-claimed vampire attacks, with locals digging up bodies. Many scholars said vampires did not exist, and attributed reports to premature burial, or rabies. Nonetheless, Dom Augustine Calmet, a well-respected French theologian and scholar, put together a carefully thought out treatise in 1746 in which he claimed vampires did exist. This had considerable influence on other scholars at the time.

Eventually, Empress Maria Theresa of Austria sent her personal physician to investigate. He concluded that vampires do not exist, and the Empress passed laws prohibiting the opening of graves and desecration of bodies. This was the end of the vampire epidemics. By then, though, many knew about vampires, and soon authors would adopt and adapt the concept of vampire, making it known to the general public.

Contemporary belief in vampires
Belief in vampires still persists across the globe.

During late 2002 and early 2003, hysteria about alleged attacks of vampires swept through the African country of Malawi. Mobs stoned one individual to death and attacked at least four others, including Governor Eric Chiwaya, due to a belief that the government was colluding with vampires.[1]

In Romania, several relatives of Toma Petre dug up his body, tore out his heart, burned the organ and drank its ashes in water in February of 2004, thinking that he had become a vampire.[2]

In January 2005, it was reported that an attacker had bitten a number of people in Birmingham, England, fuelling concerns about a vampire roaming the streets. However, local police stated that no such crimes had been reported to them, and this case appears to be an urban legend.[3]

In the modern folklore of Latin America, the chupacabra (goat-sucker) is a vampiric creature that feeds upon domesticated animals. Some attacks were reported around the mid-1990's.

Traits of vampires
Vampires, being already dead, do not need most normal things required for human life, such as oxygen. They often have a pale appearance, and are cool to the touch from the perspective of humans.

Vampires are sometimes considered to be shape-shifters, though this feature is more commonly present in fiction than in the original folklore.

Some vampires can fly. Sometimes this is supernatural, other times it is connected to the vampire's ability to turn into flying creatures (e.g., bats, owls, flies) or into lightweight forms (e.g. straw, dust, smoke) and then create winds as a means of propulsion.
Vampires typically cast no shadow and have no reflection. This mythical power is largely confined to European vampiric myths and may be tied to folklore regarding the vampire's lack of a soul. In modern fiction, this may extend to the idea that vampires cannot be photographed.
Some tradititions hold that a vampire cannot enter a house unless he or she is invited in. This concept has been referenced throughout the history of vampire fiction (from Bram Stoker's novel Dracula to Stephen King's novel 'Salem's Lot). Generally, however, after the first time the vampire is invited in he or she can come and go as desired.

Vampire powers are often limited during the day or in daylight. In some cases sunlight may burn or kill vampires, or they may be comatose during the day.

Vampires may be reluctant to enter or cross bodies of water.
Some tales maintain that vampires must return to their native soil before sunrise to take their rest safely. This property may be related to phenomena involving digging up corpses to see if they were vampires.

Vampires in some tales have very specific dietary requirements while others do not. However, most tales of the undead feature vampires that cannot eat (or at least cannot gain nourishment from) normal human food.

There are things in which vampires have no power against such as garlic, a branch of wild rose, and all things sacred (e.g., holy water, a crucifix, a rosary, or sacred objects from other faiths). This weakness fluctuates depending on the tale. Garlic is confined mostly to European vampire legends. In myths of other regions, other plants of holy or mythical properties sometimes have similar effects. Holy water and other holy symbols depend upon the culture. In Eastern vampiric myths, vampires are often similarly warded by holy devices such as Shinto seals.

There are three main ways to destroy a typical European vampire: a sacred bullet, a wooden stake through the heart, or decapitation. This includes other means of death that effectively removes a vampire's head, such as incinerating the body completely.
Old folklore from Eastern Europe suggests that many vampires suffered from a form of Obsessive Compulsive Disorder, being fascinated with counting. Millet or poppy seeds were placed on the ground at the gravesite of a presumed vampire, in order to keep the vampire occupied all night counting. Chinese myths about vampires also state that if a vampire comes across a sack of rice, s/he will have to count all of the grains. Aside from the Muppet character of Count von Count on Sesame Street this characteristic seems to have largely disappeared from popular culture. It was also referenced in an episode of The X-Files.

Natural phenomena that propagate the vampire myth

Pathology and vampirism
Some people argue that vampire stories might have been influenced by a rare illness called porphyria. The disease disrupts the production of heme. People with extreme but rare cases of this hereditary disease can be so sensitive to sunlight that they can get a sunburn through heavy cloud cover, causing them to avoid sunlight — although it should be noted that the idea that vampires are harmed by sunlight is largely from modern fiction and not the original beliefs. Certain forms of porphyria are also associated with neurological symptoms, which can create psychiatric disorders. However, the hypotheses that porphyria sufferers crave the heme in human blood, or that the consumption of blood might ease the symptoms of porphyria, are based on a severe misunderstanding of the disease. There is very little evidence to suggest that porphyria had anything to do with the development of the original folklore. [4]

Others argue that there is a relationship between vampirism and rabies.

There have been a number of murderers who performed this seemingly vampiric ritual upon their victims. Serial killers Peter Kurten and Richard Trenton Chase were both called "vampires" in the tabloids after they were discovered drinking the blood of the people they murdered, for example. Legends that Erzsébet Báthory, a medieval Hungarian aristocrat, murdered hundreds of women in bizarre rituals involving blood, helped mold contemporary vampire legends.

Some psychologists in modern times recognize a disorder called clinical vampirism (or Renfield's syndrome, from Dracula's insect-eating henchman in the novel by Bram Stoker) in which the victim is obsessed with drinking blood, either from animals or humans.

Finding vampires in graves
When the coffin of an alleged vampire was opened, people sometimes found the cadaver in a relatively undecomposed state, which could have been interpreted as the corpse being the equivalent of a well-fed vampire. Folkloric accounts almost universally represent the alleged vampire as having ruddy or dark skin, not the pale skin of vampires in literature and film. In the past, people were often malnourished and therefore thin in life, which could account for the pale skin often referred to. Corpses swell as gases from decomposition accumulate in the torso and blood tries to escape the body. During decomposition blood can often be seen emanating from nose and mouth, which could give the impression that the corpse was a vampire who had been drinking blood. Natural processes of decomposition, absent embalming, tend to darken the skin of a corpse — hence the black, blue, or red complexion of the folkloric vampire.

Vampire bats
Bats have become an integral part of the vampire myth only recently, although many cultures have myths about them. In Europe, bats and owls were long associated with the supernatural, mainly because they were night creatures. On the other hand, the gypsies thought them lucky and wore charms made of bat bones. In English heraldic tradition, a bat means "Awareness of the powers of darkness and chaos"[5]. In South America, Camazotz was a bat god of the caves living in the Bathouse of the Underworld.

The three species of actual vampire bats are all endemic to Latin America, and there is no evidence to suggest that they had any Old World relatives within human memory. It is therefore extremely unlikely that the folkloric vampire represents a distorted presentation or memory of the bat. During the 16th century the Spanish conquistadors first came into contact with vampire bats and recognized the similarity between the feeding habits of the bats and those of their mythical vampires. The bats were named after the folkloric vampire rather than vice versa; the Oxford English Dictionary records the folkloric use in English from 1734 and the zoological not until 1774. It wasn't long before vampire bats were adapted into fictional tales, and they have become one of the more important vampire associations in popular culture.

A Field Guide to Demons, Fairies, Fallen Angels and Other Subversive Spirits (Paperback)

Amazon.com
The Macks divert our gaze from our contemporary red-faced, cloven-hoofed misrepresentation of demons to remind us of the ancient roles demons were originally assigned to play. From the Tommyknockers of North American mountain mines to the South African Mbulu that waits in the river for lone travelers, A Field Guide to Demons classifies these creatures by their domains--water, mountain, forest--rather than in alphabetical or cultural order, dishing out antique and contemporary lore on these most misunderstood of spirits. A Field Guide to Demons melds folklore and mythology; maintains a surprisingly evenhanded view of demons; and reveals their role as the necessary challenger to established order, the antagonist--without which there could be no hero--and the darkness through which goodness shines brightest. --Brian Patterson--This text refers to the Hardcover edition.

Reviews

"A round of applause for this demonic cast of characters . . . They let us glimpse other people's demons, and many of our very own." --Anna Deavere Smith, author of Fires in the Mirror

"An array of the most dreaded demons mythology has to offer." --Robert L. Carniero, Curator of South American Ethnology, American Museum of Natural History

Robert L. Carniero, Curator of South American Ethnology, American Museum of Natural History
"An array of the most dreaded demons mythology has to offer."

Review
"A round of applause for this demonic cast of characters . . . They let us glimpse other people's demons, and many of our very own." --Anna Deavere Smith, author of Fires in the Mirror

"An array of the most dreaded demons mythology has to offer." --Robert L. Carniero, Curator of South American Ethnology, American Museum of Natural History

Book Description
Watch your back! . . . How to spot and identify demons and other subversive spirits . . . And what to do next.

Demons, fairies, and fallen angels are everywhere. They lurk at crossroads, crouch behind doors, hide in trees, slip into beds, wait in caves, hover at weddings and childbirths, disguise themselves as friends, relatives-even disguise themselves as you. They are powerful; they are protean; they are enchanting. And, to the uninformed, they are often invisible. This illustrated guide-the first of its kind-reveals the remarkable permutations of the demon and fairy species worldwide. Packed with lore about each demon, detailing its origins, the culture surrounding it, and its reputed antics and exploits, A Field Guide to Demons, Fairies, Fallen Angels, and Other Subversive Spirits is a fascinating exploration of global mythologies. Perfect for the armchair traveler and the intrepid, seasoned demon-spotter alike, this complete guide to subversive spirits offers a behind-the-scenes look at the devilish mishaps, impish irritations, and demonic devastations that punctuate our lives.

About the Author

Carol Mack is an award-winning playwright with a master's degree in religious studies. Her daughter, Dinah Mack, a writer, earned her master's degree in cultural anthropology.

Review: Forewarned is Forearmed
This is a great reference work: useful, accessible and well organised. The demons, fairies and other mythical beings featured in this book were taken from the legends and folklore of several cultures and they are grouped according to their place of residence: water, mountain, forest, desert, domicile and psyche. Each chapter includes a short description of the creature's appearance, habits and preferences; one of two stories of encounters with it; and a section on disarming and dispelling techniques.
This guide includes some fascinating creatures, such as the Japanese Kappa and its surprising eating habits, the helpful and friendly Norwegian Nisse, the extremely fragile Australian Mimi, and the Chinese Madame White, who gives a whole new meaning to the expression femme fatale. Some better known beings like mermaids and werewolves are also featured. The Macks' writing style is clear and engaging, sometimes tongue-in-cheek but never disrespectful to other cultures. The detailed information on how to deal with these creatures is particularly useful; if you ever encounter any of them you'll know what to do to be able to tell the tale.

Review: Great Reference Book
You could spend lots of money on all kinds of folklore & mythology books, and still not have as much information on the "darker entities" as this book.

Each entry is very detailed with description, habitations, sightings, etc.

I think this book would make a great gift for anyone interested in the supernatural, or even RPG GM's looking for new ways to torture their players... ;)