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Inside this book: how to spot a vampire, mythology and vampire tales from around the world, historical vampires, how to avoid becoming a vampire, bloodsucking animals, fact or fiction?
Book #2 in the bestselling "Judas vs. Josiah" series! Two thousand years ago, Judas betrayed Christ for thirty pieces of silver. And ever since, in his cursed supernatural body, he has scoured the earth for the coins-coins which he believes are his only chance at salvation. Now, he's finally gathered them all, except for one... Josiah Reign, vampire leader of the Mani people, has the last coin in his possession. A coin that he stole from Judas. It won't be long before Judas' desperate quest will lead the ancient betrayer back to Josiah's castle. When Scion gains intel that Judas is recruiting mercenaries-and offering a bounty on Josiah's head-Josiah must build an army, too, to protect his family and keep the final coin away from Judas, at all costs. But this fight is not about material riches. An eternity in heaven or hell may be at stake-for both of them. The clash between good and evil heats up hotter than ever, and this battle will decide which vampire-Josiah or Judas-will be left standing...
Discusses vampires and wether or not they are real.
Dark Ages: Vampire takes you to the nights before the Camarilla, when kine truly had reason to be afraid of the dark. The vampires of this bygone age ride the dark as lords, play their games with the crowned heads of Europe, and travel to the mysterious lands of the East as they wage their ages-old war. The diablerie of saulot, the waking of Mithras, the destruction of Michael the patriarch, the return of the Dracon -- it all means the time of reflection is over. The Inquisition stirs and the time to act is now. Across Europe, monarchs of the night set princes and barons at each other's undying throats. Young vampires take to the field ready to claim their domain and become powerful lords in their own right. Blood calls to blood. A complete adventure for Storytellers.
Emerging from depths comes a series of papers dealing with one of the most significant creations that reflects on and critiques human existence. Both a warning and a demonstration, the monster as myth and metaphor provides an articulation of human imagination that toys with the permissible and impermissible. Monsters from zombies to cuddly cartoon characters, emerging from sewers, from pages of literature, propaganda posters, movies and heavy metal, all are covered in this challenging, scholarly collection. This volume the third in the series presents a marvellous collection of studies on the metaphor of the monster in literature, cinema, music, culture, philosophy, history and politics. Both historical reflection and concerns of our time are addressed with clarity and written in an accessible manner providing appeal for the scholar and lay reader alike. This eclectic collection will be of interest to academics and students working in a range of disciplines, such as cultural studies, film studies, political theory, philosophy and literature studies.
Famous for being deathly serious, the vampire genre has a consistent yet often critically overlooked subgenre--the comedic spoof and satire. This is the first book dedicated entirely to documenting and analyzing the vampire comedy on film and television. Various types of comedy are discussed, outlining the important differences between spoofing, serious-spoofing, parody and satire. Seminal films such as Abbott and Costello Meet Frankenstein, Love at First Bite, Vampire in Brooklyn, Dracula: Dead and Loving It and What We Do In the Shadows are featured. More importantly, this book demonstrates how comedy is central to both the common perception of the vampire and the genre's ever-evolving character, making it an essential read for those interested in the laughing undead and creatures that guffaw in the night.
As global cinema becomes increasingly difficult to distinguish, characterizations of horror films from various geographical and cultural locations seem more fluid and transitional than ever before. However, this does not mean denying the existence of national features that affect and are reflected in horror films, whether from an artistic or a reception standpoint. Horror is one of the most studied genres in cinema, yet none of the many books on the subject focus on films or traditions outside the United States or the United Kingdom. While Italian, Japanese, Mexican, German, and Hong Kong horror films have received a modicum of critical recognition, the areas of Egyptian, Romanian, Belgian, Dutch, New Zealand, and Thai horror all still need-in fact, demand-some attention. Horror International seeks to rectify this by giving the global perspectives and cross-cultural dynamics of world horror cinema its due. This groundbreaking collection of eighteen original essays examine a myriad of films, showing how each draws from Hollywood horror conventions and also local cinematic traditions, local folklore, and national historical and cultural concerns. The production, marketing, and reception of various national cinemas are also addressed, demonstrating how these films are understood by different audiences worldwide. This in turn sheds new light on the original cultural production of many works and their subsequent "translations" and meanings in different national contexts. The diverse and highly informative essays in Horror International will engross both scholars and fans of horror films and finally illuminate the distinct multicultural factors of this exciting cinematic genre.
In 1954, the comic book industry instituted the Comics Code, a set of self-regulatory guidelines imposed to placate public concern over gory and horrific comic book content, effectively banning genuine horror comics. Because the Code applied only to color comics, many artists and writers turned to black and white to circumvent the Code's narrow confines. With the 1964 Creepy #1 from Warren Publishing, black-and-white horror comics experienced a revival continuing into the early 21st century, an important step in the maturation of the horror genre within the comics field as a whole. This generously illustrated work offers a comprehensive history and retrospective of the black-and-white horror comics that flourished on the newsstands from 1964 to 2004. With a catalog of original magazines, complete credits and insightful analysis, it highlights an important but overlooked period in the history of comics.
From folklore to real life, this fantastic book looks at the history, legend, and real science behind this classic character.